Prompted by the rise of communism at home Hungarian sculptor George Barsony arrived in Sydney in 1949 as an assisted migrant. He later married British immigrant Jean Bird who worked for a Sydney pottery. Barsony was devout and had had some success in Hungary as a sculptor of religious works. His 2.2 metre bronze statue of St Francis of Assisi reputedly still survives in 32 Ferencesek street Pecs. George Barsony was highly skilled in design and mould casting.
George and Jean Barsony established their own pottery Barsony Ceramics in 1955 at their home in Bankstown and in 1956 built a workshop in Guilford, New South Wales, which operated until the 1970s. In the post war years artistic immigrants were encouraged to open small craft businesses. Studio pottery became a successful livelihood catering to a rising market for home decor.
An early product by Barsony Ceramics were Australian Aboriginal heads as wall plaques made for the 1956 Olympics market. The latter range may have prompted the signature Barsony range of black painted wall plaques,candlesticks,figurines,lamp bases, book ends, vases, bowls and ashtrays. In particular graceful 'black lady’ lamps as they are now known, with skimpily but discretely dressed negro, Hawaiian and other exotic ethnic belles as well as ballerinas, flamenco dancers, modern bathing beauties and even tennis players. The figures were painted by Jean usually with added motifs and colours, bright with red lips. Many had pearl drop brass earrings.
A distinctive feature of Barsony lamps were the plastic ribbon lampshades in multi colour stripes and occasional patterns. These were made from cutting up rolled up shower curtains into strips.
Barsony Ceramics were prolific in the 1960s a huge range of products and motifs in the black figurines and in other finishes including lustre, white, brown and even gold finish. Stores such as David Jones were regular customers.
The diversity of the Barsony range can be seen online with a number of sites devoted to providing details of the complex numbering by which to determine an original.
The 1970s saw protection of the local pottery industry undermined by tariff removals which allowed Japan mass produced ceramics to come on to the market but the 1970s also saw a move away from the rather happy hedonism and vivacity of the Barsony style. The ceramics business closed in 1970 although lampshade making continued to 2005.
Barsony ceramics have an established and robust collectors market but the work of the studio is unrepresented in any art or applied art museums. No scholarly study, formal exhibition or recognition has celebrated a unique and highly skilled Australian ceramic art studio.
- Writers:
-
- Date written:
- 2021
- Last updated:
- 2021
