stained glass ‘St Joan’. She also exhibited mosaic. The ceramics courses at the RCA and Central School also received awards. In the 1950s Billington gathered around herself at the Central School of Arts and Crafts a team of teachers who represented an alternative to Bernard Leach’s Eastern aesthetic of utilitarian stoneware vessels glazed in muted colours, and the School became associated with brightly decorated tin-glazed earthenware made by her protégées Alan-Caiger Smith, William Newland, Margaret Hine, Ann Wynn-Reeves and Nicholas Vergette. She was President of the Arts and Crafts Exhibition Society from 1949 and was involved with the Crafts Centre of Great Britain in London, which was chaired by her colleague John Farleigh, and she selected the ceramics shown there. She was also involved with the Smithsonian touring Exhibition of British Artist Craftsmen in the 1950s. Her book The Art of the Potter (1937), was the first to relate contemporary craft practice to its historical context and in The Technique of Pottery (1962) she gave a comprehensive account of different methods of working. Since the 1980s there has been an increased interest in her influence on twentieth century British studio pottery. Selected publications The Art of the Potter, Oxford, OUP, 1937 The Technique of Pottery, London, Batsford, 1962 , revised edition 1972 References Further reading Colman, Marshall, "Dora Billington, Time for Reassessment" (and request for information for a biography), December 2012, Fired Up blog Colman, Marshall, "Legacy", Ceramic Review, Sept/Oct 2013 External links University of Aberystwyth Ceramic Collection and Archive 1890 births 1968 deaths English potters Alumni of the Royal College of Art Alumni of the Slade School of Fine Art People from Tunstall, Staffordshire Women potters 20th-century ceramists British women ceramicists