Blue Italian

Framed by an 18th century Chinese border, the central scene of Italian ruins was inspired by a 17th century drawing.

Launched in 1816, Blue Italian is one of the collections that secured the reputation of Spode as a leader in the ceramic industry.

In 1784 that Josiah Spode perfected the process of underglaze printing on earthenware with tissue paper transfers made from hand-engraved copper plates. Initially the designs were sympathetic reproductions of the Chinese porcelain that had been incredibly popular during the 1700s, but soon Josiah launched original designs such as Willow and Blue Italian.

Now considered a design icon, Blue Italian is inspired by scenes of the Italian countryside featuring remarkably detailed figures amongst Roman ruins and framed by an 18th century Imari Oriental border.


Silverplate from Hecworth was advertised in 1936. “Hecworth” was a brand name sold through a shopfront in Collins Street Melbourne.  Hecworth plate was made by Platers Pty Ltd in the Melbourne suburb of St Kilda at 39 Greeves street. The “Hecworth” brand was taken over by Rodd Pty Ltd in 1940. 

Bud vase

This cut lead crystal bud vase from the ‘Shaftesbury’ suite by Stuart Crystal has an everted rim, tapering in to a waisted neck and broad bulbous body with a lattice formed from five rows of interlocking diamond shaped panels surmounted by an elongated vertical wedge cut.

The base of the vase is thickened and star cut. It is marked on the edge with the word ‘STUART’.

It has a height of approximately 12.7cm, with a diameter across the rim of about
4.0cm and across the base of about 3.7cm.

The Stuart story started in 1827 when eleven year old Frederick Stuart was sent to work on the ‘crystal mile’, an area just outside Stourbridge where generations of local craftsmen had already made this the centre of English Glassmaking.

Over the years the skills and techniques of hand-gathered glassmaking remained virtually unchanged, a tradition to which successive Stuarts added unique creativity and innovation.

Source: Stuart Crystal ‘Shaftesbury’ Design Lead Crystal Teardrop Bud Vase

Schumann porcelain

Fruit Plates with lobed, pierced rims; various fruit cluster centers.

Originally from Angelroda (Thuringia) Christian Heinrich Schumann (*1822, †1884) had a small pottery in Arzberg that had to close because it was in the way of the railway which was finalized in November 1879 and connected Arzberg with the railway network.

Together with businessman Riess as financial backer, Christian Heinrich Schumann founded his new porcelain factory directly under the Jakobsburg castle, next to the market square in the town center and directly next to the railway tracks responsible for the closure of his previous business.

Carl Schumann II studied in America and founded the Schumann China Corporation of New York, which distributed Schumann products in the U.S. The factory was run by his brother Heinrich during his absence. While the new market in the U.S. at first seemed very promising, the world financial crisis which started in New York on October 25th 1929 put a dramatic end to nearly all Schumann export efforts.

Used between 1918 and 1929, single ‘SCHUMANN’ crown with ‘BAVARIA’.

French Wine Goblets

A vintage look that feels modern again.

Perfectly weighted, sturdy and charmingly adorned with a turned stem, the classic French wine glass has been around for decades.

A more generous bowl for serving wine as well as water, soda or cocktails.

Orrefors vase

“Sommerso” vase

Gray and clear glass, designed by Nils Landberg

An iconic series of mid 20th century Swedish glass. Nils Landberg (1907-91) designed his “Dusk” series in 1956 for the Orrefors glass company of Sweden. This series featured a smoky grey interior cased in an incredibly thick clear layer.

Height 6″ (15cm) Width 2″ (5cm), Height 9 1/4″ (23.5cm) Width 3 1/4″ (8.5cm), Height 6″ (15cm) Width 2″ (5cm), Height 7″ (18 cm) Width 3″ (8cm), Height 8 1/4″ (21cm) Width 3 1/8″ (10cm), Height 10″ (25.5cm) Width 4″ (10cm).

Orrefors bowl

Corona bowl

The heavy crystal circular ‘Corona’ bowl, designed by Lars Hellsten, comprising eight striking wedge shaped panels and a flat base; etched mark of Orrefors and numerals underside, with paper label.

Year of introduction 1978.

Height: 6cm Diameter: 18.5cm

Janet Gray

Large blue on white ramekin with crab, fish and starfish painting.




Janet Gray Studio at South Yarra was established by John Knight and Isabel Grose.

John Arthur Barnard Knight (1910-1993) was born in Warracknabeal, Victoria. He studied art at the School of Applied Art at the Melbourne Technical School (now RMIT University), and production methods at the Hoffmann and Maribyrnong Potteries, and also worked in the studio of Napier Waller from 1932-33. After graduating, he joined the staff, teaching pottery, modelling and drawing. In 1939, he took charge of the Pottery Department. In 1940 he married Isabel Grose, one of his students, and they established the Janet Gray Studio at South Yarra. He served in the RAF from 1942-1945, then continued to expand the Janet Gray Studio and to re-organise the teaching of pottery at the school, establishing courses for the Commonwealth Reconstruction Training Scheme, and upgrading classes to certificate and diploma courses in 1949 and 1950. He is best known as an educator, continuing to teach at RMIT until 1975.

A ramekin is a small single serve heatproof serving bowl used in the preparation or serving of various food dishes, designed to be put into hot ovens and to withstand high temperatures. They were originally made of ceramics but have also been made of glass or porcelain, commonly in a round shape with an angled exterior ridged surface. Ramekins are now used for serving a variety of sweet and savoury foods, both entrée and desert.

They are also an attractive addition to the table for serving nuts,dips and other snacks.


Sgraffito (in Italian “to scratch”) is a decorating pottery technique produced by applying layers of color or colors (underglazes or colored slips) to leather hard pottery and then scratching off parts of the layer(s) to create contrasting images, patterns and texture and reveal the clay color underneath. The layer(s) of color can be underglazes or colored slips. Below is an example of one technique and what can be achieved.


source: Pottery decorating with Sgraffito step-by-step tutorial | Process, tools and materials