At our August meeting Lee Bradshaw spoke on ‘Treason in a Wine Glass: The Romance of Jacobite Glass’, starting with the rise and fall of the House of Stuart, from James I to Bonnie Prince Charlie, and the simmering Jacobite sympathies in Britain under Hanoverian rule.

He introduced us to a range of beautiful glassware, starting with the very rare ‘Amen’ glasses, c1740, with their delicate diamond-point engraving. Lee explained the symbolism of Jacobite glass and showed us examples, including the rose with two buds, for James III, the Bonnie Prince and his younger brother, the sunflower, for loyalty, the thistle for Scotland, and so forth, and a range of obscure Latin inscriptions. Lee discussed the engravers, the literature and the changes in imagery, as expressing Jacobite sympathies became more dangerous. There is debate about these ‘disguised’ designs and it is not clear that all pieces so engraved were indeed Jacobite in intent. 

We then moved to 19th century Jacobite inspired copies, where the colour of the glass and the multiplicity of blown and cut features made it clear that they were not original; and the much more difficult area of 19th century ‘Jacobite’ engraving on genuine 18th century glass, and the degree to which such pieces sit in significant public and private collections as genuine Jacobite items.

In September, we were joined by members of the Sydney based Ceramic Collectors Society, and their president, Rhona Clement, introduced the Society and its activities.

Elizabeth Golding presented on Swedish glass design, particularly the works and stories of Edward Hald and Vicke Lindstrand. Edward spent his entire career at Orrefors whilst Vicke worked at Orrefors and also Kosta. She surveyed the many different techniques that they used, with matching examples of their work, such as cut and wheel engraving, cased glass designs ariel (where air bubbles are captured) and graal (where carved, etched or sand blasted glass is encased). Both designers produced ceramic works as well. Elizabeth also shared how she had tracked down the whereabouts of the mysterious Canberra Goblet. It was designed by Edward Hald as a gift to commemorate the opening of the Provisional Parliament House in Canberra in 1927. It is now located in the Parliament House collection.

Merilyn Hoystead then showed us ‘Kitchen Ch’ing’, 19th and early 20th century provincial ceramics made in southern Chinese kilns for the Southeast Asian market. Despite their humble origins, these wares, whether blue-and-white stoneware dishes, ‘mudmen’ from the Shiwan kilns, or festive Peranakan porcelain jars and vases, are very charming and can be extremely attractive. This was evidenced by the fine selection of chopstick holders that Merilyn brought for us to enjoy, with their characterful moulding and luscious coloured glazes.

In October we'll have the pleasure of Relton Leaver joining us again, to give us a three part presentation:

• Una Deerbon - techniques of construction and design, particularly plaster moulds and hand application; 

• Relton's own career and ceramics practice; and

• Relton and his brother Peter would be pleased to assess and date any pieces that members may bring.

Our November meeting will see our own Amanda Dunsmore, Senior Curator, International Decorative Arts & Antiquities at the NGV, speaking to us on some of the gallery’s latest ceramic and glass acquisitions, spanning the eighteenth to twentieth centuries. As it will be 18 months since we last heard from Amanda, this should be a most comprehensive presentation.

Finally, on Saturday 14 November we are having an event at Villa Alba, including a sociable lunch and a guided walk through the lovely gardens. Details are on the enclosed flyer. Please book by 31 October.

Genine Wallinga

President, September 2026