Australian pottery founded in 1858 by a Scot, George Guthrie (1808–1909), in the town of Bendigo, Victoria. The factory made household wares, including acid bottles, bricks, clay pipes, roof tiles and tableware. During World War I it also made portrait jugs of military commanders, and in the 1930s it made agate-ware vases that were marketed as Waverly ware. The pottery is still active, but since ...
Rory Spence and Ursula Hoff
Australian family of artists and writers founded by the landscape painters Arthur Merric Boyd (1862–1940) and his wife Emma Minnie Boyd (1858–1936). Their children included (William) Merric Boyd (1888–1959), who founded Australia’s first significant studio pottery at Murrumbeena with his wife, the ceramicist Doris Lucy Eleanor Boyd (c. 1883–1960); and (Theodore) Penleigh Boyd (1890–1923), who was a noted landscape painter and etcher. Penleigh’s son (1) Robin Boyd became a well-known architect and writer, who helped to develop a more critical approach to Australian architecture and culture. Merric and Doris had five children, all of whom became artists and were at some stage involved with ceramic art. Among them were Lucy Boyd (b 1915); Guy Boyd (1923–88), who was also a sculptor; David Boyd (b 1925); and Mary Boyd (b 1926), who married John Perceval (...
(b New Plymouth, New Zealand, Oct 26, 1935).
New Zealand potter. In 1960 he obtained a Bachelor of Science degree from the University of Auckland and in 1961 became a full-time studio potter. His interest in historical methods of potting and firing and in the relationship between the arts and industry led to his construction of small-scale railways and a variety of firing kilns. A particular interest was in using coal-fired kilns to achieve a salt-glaze finish to his work, as can be seen in his ‘Thinso’ jug (see New Zealand §VII 2.). Brickell is best known for his sculptural terracotta work, many examples of which are held in New Zealand institutions and museums. A relief tile mural by Brickell is on display in the offices of Waitaki Refrigeration Ltd, London. In 1987 Brickell published A New Zealand Potter’s Dictionary, a guide to the materials and techniques of pottery for New Zealand and South Pacific Island potters....
(b Auckland, 1924).
New Zealand potter. He started making pottery in 1947. Initially self-taught, he was the first potter to be awarded a fellowship from the Association of New Zealand Art Societies, travelling to St Ives to work with Bernard Leach in 1956–7. He was a founder-member of the New Zealand Society of Potters in 1963. In 1966–7 he studied in Japan and visited potters in Korea and China. He was a regular exhibitor in the annual New Zealand Studio Potters Exhibitions, which started in 1967. His domestic wares, mainly in stoneware (e.g. a simple, glazed bowl, 1974; Auckland, Inst. & Mus.), explore the properties of clay bodies, both glazed and unglazed, in a sculptural manner. A more experimental style can be seen in an unglazed vase of 1975 (Auckland, priv. col., see Blumhardt, 1976, p. 69).H. Morse: Ten Years of Pottery in New Zealand (Auckland, 1967) D. Blumhardt: New Zealand Potters: Their Work and Words...
(b Mount Barker, March 24, 1911; d Adelaide, May 15, 1995).
Australian painter, printmaker, potter, teacher and art critic. Chapman studied at the South Australian School of Arts and Crafts (1928–32) and became a fellow of the Royal South Australian Society of Arts (RSASA) while still a student. Ivor Hele (1912–93) was a notable influence on her and when he became a war artist, Chapman taught his life-drawing and painting class at the school from 1940–41. From 1942–5 Chapman served in the Australian Women’s Army in army education in Adelaide, Melbourne and Sydney. In 1945 in Sydney she married the artist James Cant (1911–82). With Cant she was a co-founder of the Studio of Realist Art (SORA). While supporting realist artists as secretary–organizer of SORA, Cant experimented with abstraction and surrealist automatism. She exhibited abstracts works with the Contemporary Art Society in 1947–8.
From 1949–55 Chapman and Cant lived in England, but she did little painting, being then and later the main breadwinner in her marriage. They returned to Australia and settled in Adelaide in ...
A. K. C. Petersen
(b Bromley, Kent, March 3, 1899; d Auckland, Feb 18, 1987).
English painter, sculptor, potter and teacher, active in New Zealand. He studied from 1919 to 1924 at the Royal College of Art in London, where he first became interested in the modern movement in painting and experimented with direct carving. In 1925 he emigrated to New Zealand to take up a position at the King Edward Technical College, Dunedin. There he proved an influential teacher. He established the Six and Four Art Club, partly in response to the English 7 & 5 Society, and inspired several students who were to become leading New Zealand painters, notably Colin McCahon and M. T. Woollaston.
Mostly small-scale, Field’s work was experimental and helped to free art in New Zealand from representational values. Paintings such as Christ at the Well of Samaria (1929; Wellington, Mus. NZ, Te Papa Tongarewa) were striking for their pure colour and pointillist brushwork. Carvings such as Wahine (...
(b Melbourne, Feb 1, 1923; d Melbourne, Oct 15, 2000).
Australian painter and potter. Perceval is best known as one of the Melbourne Angry Penguins, a group of artists who brought radical innovations of style and subject-matter to Australian painting in the 1940s. He first exhibited with the Contemporary Art Society in Melbourne in 1942 at the age of 19 and was praised by its then president, John Reed, in the art magazine Angry Penguins the following year. Along with his colleagues he established a new emphasis on the urban landscape, often at night (e.g. Negroes at Night, 1944; Canberra, Australian N.G.) via a highly expressive treatment of mythological, allegorical, and/or Old Master references in a local setting.
After meeting Arthur Boyd in 1941, he joined his household at Murrumbeena (then an outer hamlet of Melbourne), marrying Boyd’s sister, Mary, with whom he had four children. Perceval’s next phase included sombre-toned religious studies after Bruegel and a series of Quattrocento-inspired portraits begun while studying at the National Gallery School in Melbourne in ...