Christopher Sanders, commonly known as Chris Sanders, is an Australian ceramic artist associated with Melbourne’s studio pottery tradition. His work combines considered vessel forms with an exploration of glaze, colour and firing techniques.
Melbourne beginnings and training
Born in Melbourne in 1952, Sanders trained with his father, potter and sculptor Tom Sanders, before working with Ian Sprague at Mungeribar Pottery in Upper Beaconsfield from 1976 to 1978.
He later received Australia Council workshop assistance and taught part-time at Prahran College. In 1981, he established Clifton Hill Pottery in Melbourne and commenced full-time production.
Pottery, glazes and collaborations
Sanders’ practice included functional pottery, individual vessels and collaborations. He threw forms for artists including Anne Hall and Peter Cooley to decorate, bringing together the skills of potter and decorator.
His work is associated with reduction-fired glazes, particularly copper reds and celadons, informed by Chinese and Japanese ceramic traditions. The Powerhouse collection holds a copper-red glazed porcelain teapot made by Sanders in 1983.
He also contributed to Australian ceramics through teaching at RMIT and writing about ceramic techniques.
A jug from The McCorry Collection
The illustrated jug combines a generous handle and shaped pouring lip with a striking red, grey and black glazed surface. Its rounded lower body and tall neck give it a distinctive silhouette.
The relationship between form and glaze makes it an appealing display piece, whether collected as Australian studio pottery or enjoyed as an individual handmade object.
Signatures and maker’s marks
The base photograph shows the incised “Chris Sanders” name on the underside of the illustrated jug, together with additional incised numerals.
Published references record incised signatures including “Chris Sanders” and “C.S.”, as well as an impressed “CS” seal. Compare marks alongside the complete vessel, including its form, clay body, glaze and any accompanying documentation.
Initials alone do not establish the maker. A photographed signature is a useful reference, but should not be treated as a universal authentication test.
What collectors should examine
Look for balance in the form, confident shaping and an engaging relationship between the vessel and its glaze. On jugs, examine the handle attachments, pouring lip and foot.
Check for chips, structural cracks and repairs, distinguishing these from glaze variation or fine crazing. Retain photographs of the complete pot and base, together with measurements, purchase records and original labels.
Why collect Chris Sanders pottery?
Sanders’ work connects Victorian workshop history with the technical and artistic exploration of Australian studio ceramics. Collectors may be drawn to a particular glaze, a sculptural silhouette or the maker’s connection with Melbourne pottery.
A well-chosen example can bring character to a collection or make a distinctive gift for someone who appreciates handmade ceramics and their history.
Browse our Australian Pottery & Ceramics collection.
Further reading: Christopher Sanders’ 1983 teapot in the Powerhouse collection.