One of a small collection of ceramic works that remained in the personal collection of artists Reg Preston (1917-14 June 2000) and Phyl Dunn (1915-1999) until they were donated to the Powerhouse Museum from their estate, through executor, potter John Dermer,as part of a wider distribution in 2001-2002. Reg Preston studied sculpture at the Westminster school of Art in London, in 1938. At the beginning of WW2 he returned to Australia and spent three months in 1944 potting at the Melbourne Technical College with Jack Knight and Klytie Pate. Throughout 1945-1946 he worked at Cooper and Cooke's Pottery. In 1947 he established a pottery studio at Warrandyte and with Phyl Dunn was among the founders of the Potters Cottage in 1958. Throughout this time he continued to work in earthenware. For some time he was also interested in working with the English slipware tradition and was also interested in using Aboriginal motifs. In the late 60s Preston began working in stoneware. Preston is perhaps now best known for his work in stoneware, often large pieces with bold, abstract decorations, and his lidded shaped pieces with rich vitreous glazes over-poured or brushed with other metallic glazes.
Phyl Dunn had watched Merric Boyd demonstrating pottery at a school demonstration before the war, and had also seen a film about African women firing pots, deciding then that she would like to make pots too. It was not until after the war, however, while taking painting classes from Danila Vassilief at Warrandyte, that she convinced a rather unwilling Reg Preston that he should take her on as an apprentice. After formal training in London in 1954-1955, she returned in 1956, marrying Preston in 1958, about the time the Potters Cottage was established. Dunn had an exhibition in the Argus gallery in 1962, then both started exhibiting in Craft Association shows, and in all the travelling exhibitions.
When the Potters Cottage was sold in 1982, Preston and Dunn moved to Woolamai in Gippsland where they set up a studio together, alongside their friends Mr and Mrs (Edna) Witt.

Plate, earthenware, slip decoration, made by Reg Preston, Warrandyte, Victoria, Australia, 1956 - 1958

Earthenware plate constructed of a shallow, oval form. Pale yellow glaze painted over red clay body, with a pattern of five criss-crossed fish boldly painted with lines of brown glaze. A double thin brown line around the rim with a pattern of white dots painted at irregular intervals between the lines. The eyes and tail of each fish is also painted in white glaze. Random background pattern of brown and white coloured dots, squiggles and circles.

Maker's signature on base in black glaze.

Small circular white sticker with black handwritten '4' on front of plate.

Designed by Reg Preston (1917-14 June 2000), an early example of slipware influenced by both English slipware traditions and by Aboriginal art. Reg Preston studied sculpture at the Westminster school of Art in London, in 1938. At the beginning of WW2 he returned to Australia and spent three months in 1944 potting at the Melbourne Technical College with Jack Knight and Klytie Pate. Throughout 1945-1946 he worked at Cooper and Cooke's Pottery. In 1947 he established a pottery studio at Warrandyte and with Phyl Dunn were among the founders of the Potters Cottage in 1958. Throughout this time he continued to work in earthenware. For some time he was also interested in working with the English slipware tradition and was also interested in using Aboriginal motifs. In the late 60s Preston began working in stoneware. Preston is perhaps best known for his work in stoneware, often large pieces with bold, abstract decorations, and his lidded shaped pieces with rich vitreous glazes over-poured or brushed with other metallic glazes.
Of his own work Reg Preston once said: "I quite simply make pots that please me. They are derived from a number of factors, the clay itself, the firing, other pots from other ages; these factors have over the years of work been gradually assimilated and become unconscious. The best ideas for me come from pots and from long bouts of continuous work. I find continuity of thought about the pots that I'm making day to day to be the time that is most fruitful. Occasionally when all the thought about the process, the technical knowledge merge and become one, then days later you might get from the kiln one or two pots that stand as it were 'on their own legs' detached and quite apart."(Reg Preston, 'Recent Ceramics, an exhibition from Australia', 1980).

Made by Reg Preston at Warrandyte, Victoria.

Remained in the collection of the artist, until part of a selective distribution to public collections in 2001-2002.

Gift of the estate of Reg Preston and Phyl Dunn, 2

Maker's signature on base in black glaze: 'Preston'.

Small circular white sticker with black handwritten '4' on front of plate.

2002/122/1

200 mm

280 mm

35 mm