/ v WEKSNISEK-POITER OBE-Dip.WondCraflCoundl 170 Weggery Drive West Waikanae Beach Aotearoa, New Zealand Tel/Fax 04 293 5429 .~_'VV_o|ume 8 Number | Aug. I965 ew Zealand "

”fitF'l V E _s H-l L L ,| ‘N G s MIREK SMl/é/EK—OBE—PO'ITER 170 Weggery Drive West Waikanae Beach Aotearoa, New Zealand Tel 04 293 5429 [J I b, NEW ZEALAND POTTER vdL’. a no.1

C 0 N T E N T S

EDITORIAL ...... Page 2

PHOTO CREDITS ...... Page 2

EXHIBITIONS....“ .....---=o-...... Page 3

KILN MANAGEMENT — Roy Cowan.. . Page 10

LONDON NEWSLETTER - Kenneth C1ark...... Page ll

CHANGING CLIMATE..... Page 20

QUEEN ELIZABETH II ARTS COUNCIL...... Page

SHOJI HAMADA...... Page 27

BOOK REVIEW ~ James K. Baxter...... assoc. Page 37

GLAZING OF EARTHENWARE n 0.0. Stephens.. Page 4O

LIFE MEMBERS ...... g..aoa.... Page 43

NEW ZEALAND SOCIETY OF POTTERS INC.... Page 47

THE AUCKLAND SCENE « Martin Beck.. ,. Page 48

NINTH NEW ZEALAND POTTERS' EXHIBITION...... Page 49

TWO SCHOOLS OF THOUGHT — Helen Mason..... Page 51

POTTERS...... , , a . Page 56 EXHIBITIONS EDITORIAL

For the first time, both Auckland and Looking at the other crafts represented Wellington Potters' Associations have in the two local exhibitions it seems made a consistent effort to include to us fair to say that they are at the crafts in their Annual Exhibitions. stage we were at when the first New The Wellington Exhibition in fact was Zealand Potters' Exhibition was the means of starting off the New organised in Dunedin. Some very good Zealand Branch of the World Crafts work is being done, particularly in January 2Q — 30. Pottery by Len Castle, Council. The effect has been increased weaving (the most organised so far), Doreen BIumhnrdt, Helen Mason, with public interest in the whole show and a but there is no unity of standard. paintings by Tom Esplin at the Globe consequent fillip to sales. As one of Theatre, Dunedin (for the Dunedin the purposes of an exhibition of this It is as well to remember how much hard Festival). kind is to attract and educate poten— work and unrelenting discipline has‘ tial buyers this must benefit all con- gone into putting the potters where cerned. they are today. It has not been easy March 22 — April 2. Pottery by Paul to establish the New Zealand Society of Melser, paintings by Colin Broadley, The two Craft Conferences held in Potters and formulate its constitution. at the Centre Gallery, Wellington. Palmerston North and Auckland did good All craftsmen have a great deal in Extract from the Centre Gallery News— work in preparing the ground and making common and by all means let us co- letter: ”Of his work, Paul MeIser people aware of the various crafts that operate. But the great problem of the says: '1 have always been interested Paul Melscr are being followed in this country. In crafts which still remains to be solved in domestic ware and have worked countries such as ours, where crafts is: Where does the standard begin? largely within the Leach tradition, other hand, much more SOphisticated in natural The potters have been facing are not indigenous but are the this fact producing stoneware with a variety of his approach to pottery, but a concen— for some years now. It would outcome of an affluent society with be a pity glazes. Lately I have begun experi— tration upon Small items robs his dis— time on its hands, pottery is usually to lose the hard—won ground. The menting with ceramic sculpture, using play of impact. There is, however, a the first to get established. Certain— choice is between immediate popular spheres, cylinders and bowls in com— standard of craftsmanship present which the potters are the support, or the more politically ly in New Zealand bination. With some pots I have con— is much to be admired.” difficult first to have a national unity and an struggle for standards which contrated on producing patterns of annual exhibition which imposes its own will in the long term win durable light and shade using holes, angles and Times” respect. T.E. inuOtago Daily standards. textures; with others, pure simple forms. My main interest in sculpture has been in creating forms unassociated May 10 — 21. Pottery by Patricia with natural objects. Many of these Perrin, Prints by Kees Hos, New Vision PHOTO CREDITS sculptural pots are purely decorative, Gallery, Auckland. ”For Patricia but they derive from the utilitarian Perrin, making pots is not only a skill, ware in their basic shapes.” it is a creative adventure between hands,

Cover: Pots by Shoji Hamada made and fired in April 14 — 20. Pottery by Barry Wellington: Photo: Doreen Blumhardt Brickell, Carl Vendelbosch. Paintings by Colin McCahon, Robert Samson, Michael Page 3: Top Ans Westra Bottom Christopher Bede Eaton, at the Globe Theatre, Dunedin. Page 4: Christchurch ”Star" ”The pottery from Barry Brickell of Page 7: Healy Studio Coromandel has all the dash and vitality Page 8: Graeme Storm of youth, impaired only occasionally by Pages 15 - 17: Kenneth Clark Pottery craftsmanship or a fault in Page 18; John Mason a lapse in form. His best work has the vigour of Pages 27 — 33: Georg Kohlap pottery shapes. Carl Page 37: Elwyn Richardson early English Vendelbosch of Geraldine is, on the Page 43: Otago Daily Times Page 48: Bernd Taeger Pat Perrin's Exhibition 3 clay and firing. Her recent interest June 14 - 25. Wellington Potters' in slab pottery has given her work a Association Annual Exhibition together great sculptural feeling. She uses a with work of New Zealand Members of the combination of wax resist and a wood ash World Crafts Council, Centre Gallery, pots, jugs and bowls; among the latter While most of the work by exhibiting glaze almost exclusively. The most Wellington. Rachel Rose for her good sense of colours potters is earthenware Oswold Stephens, striking point about Miss Perrin's work ing and Juliet Peter for her fine feeling Lila Coker and Beryl Jowett have produced is that she has developed her technique — of form and texture deserve mention. some first—class stoneware. Shape and Modern trends, tempered by their utility and it is an impressive one — completely particularly glaze have always been the and purposefulness,prevailed in the com; strong points in Otago pottery but decor- out of her own resources. She has not bined showing of Wellington Potters' and Dr. 0.1:. Bell ”Arts in Wellington" ation still lags behind. This is not travelled overseas to absorb new ideas Members of the World Crafts Council and is willing to stretch her own surprising since many potters achieve some (the President of both is Mrs. N. feature in ”Home and Buildin g ” ma g azine, competence at throwing and glazing, but capability, and the possibilities of Berkeley, an artist in her own right). decoration takes a special kind of skill clay, to daring lengths.” In spite of the limited space available and sensitivity. at the Centre Gallery the over 300 B.B. in the ”Herald” objects were well and harmoniously June 14 — l8. Otago and Southland There are many outstanding pieces in this arranged by Doreen Blumhardt. They Potters' First Exhibition, Otago Savings exhibition, and its popularity with the June 13 — 18. Pottery by Warren comprised pottery, screen printing, Bank Chambers, Dunedin. ”From the tex— public has already been shown by the large Tippett, Several Arts, Christchurch. tiles, enamel,wood and metal work Renaissance the tradition has existed among number of sales already made on the first ”This exhibition contains what I consid— which Peter Sauerbier's that bankers are regarded as good patrons (Auckland) two day." er the best work I've produced to date,” "Tiki" figures were the most original. of the arts. It is interesting to note Mra Tippett said. "I that the Otago Savings admit very read- Muriel Moody's sculptures are always a Bank continues ily there are a lot of influences in it. this honourable tradition by T.E. "Otago Daily Times" June 16. pleasure to see as are the ceramics of inviting the I'm quite happy that these influences Otago and Southland potters to exhibit Doreen Blumhardt and of Helen Mason; the their craft in the are here and that I'm building up for artistic horizon of both has been en— head office in Bowling Street. myself on what's been before me.” The larged by their sojourn in Japan. exhibits, thrown or press—moulded, range In the short threeuyear existence of the in size from 20 inch bread crocks to tiny Nan Berkeley showed some fine batik work Otago and Southland Potters Group this The Auckland Festival Crafts Exhibition faceted trinket boxes and include a wide and enamelled slightly over—decorated occasion is an important milestone, for Auckland Museum - May — June 1965. selection of both domestic and decorat— bowls of agreeable shapes. Whilst the this is the first time it has held a ive ware. Four main glazes have major exhibition. been pottery part of the exhibition was on the Weeks of planning lie Here was an exhibition interesting not used: Tenmoku, black behind the collection breaking away to whole of consistently high standard the of 177 exhibits, only for the general standard of work rust on prominent now tastefully edges; rich brown same cannot be said of the Craft Council's displayed on hessiana displayed so dramatically, but also for clay glazes; covered tables wax resist; and pale offerings which were of uneven merit. I in the bank foyer. a brave attempt to combine the crafts of grey—blue colours, mostly pottery, weaving, metal work and jewelln decorated in understand that a stricter selection is iron or cobalt Some 29 potters from Oamaru to ery; the exquisite bookbindings blue. Many of the pots envisaged for the future. The idea of Invercar~ of gill have contributed have painted or impressed designs. ranging over the whole field of applied a wide and interest" guest exhibitor, Edgar Mansfield; to— ing variety of ceramics ranging from gether with exhibits and demonstrations arts, instead of limiting the display to bowls, dishes, jars, mugs, pots and by Maori craft workers and weavers. Interview in the Christchurch ”Press” ceramics only, is a good one. It re— vases to tiles, plaques, jewellery, sculpture June 16. lieves the,monotony of hundreds of vases, and even a complete chess set. The implied critical note is no reflect" ion on the Maori exhibit. It was first The display shows enterprise, invention class both for the exhibited work such and enthusiasm. As might be expected, it as korowais, piupius, bodices, tanikos reveals a very mixed standard of attain— and flax kits of various kinds and also ment, ranging from the highly competent to for the adept and lively demonstrations the unremarkable. by Maori women. However, there may have Much interest will centre around the loan been here an embarrassment of riches. collection of the work of Hamada, the It was questionable whether this combin— world-famous Japanese potter who recently ation of historical crafts of one cult— visited Christchurch for the Pan—Pacific ure provided a satisfactory entity, even Festival. by contrast, with the contemporary crafts of another. Many visitors felt it did The Hamada pots are quite magnificent, and not come off and that the Maori exhibit deserved a separate presentation, per- to add to their interest is the fact that they were thrown in Christchurch from haps with other material from the Poly~ Nelson clay. nesian background. COUNTRY EXHIBITION shows: firstly, was there a valid Since this exhibition the Museum has future a spacious central aisle arranged to have the Maori craft'worka reason for such with the exhibits somewhat crowded on Wright, Malcolm ers actually working on a project of Wilf Wright, Janet either side? This is not in accordance at the Reikorangi decorative panels for the Orakei Church Warr, Maree Lawrence with modern exhibition design. Secondly, from Wellington, in the Maori Court and surrounded by the Hall, approx. 50 miles appropriate atmosphere of the past. a strong plea, if demand is too strong 10 — l7 July. This seems to be an eminently suitable a word, for more light on the subject! people setting and purpose and the fact that Exhibitors of quality will simply not This experiment by four young both the idea sprang from the Festival exhib— support future shows so lacking in ele— really paid Off, being successful ition was, perhaps, sufficient justificn mentary facilities. This would be a artistically and financially. Wilf and ation for its inclusion there in the great pity for the Societies concerned Wright's pots were even in quality first place. as well as the Museum authorities and had that sureness and finish that only the public all of whom must share in comes after a thorough study of his In other respects, general feeling the stimulation afforded by a show of craft. Both throwing and firing were amongst potters at least, and probably this quality. equally good. His work ranged from Janet Wright fairly universal, was that the combin- domestic ware to more experimental ation of other crafts was both desirable on the other hand, opened by Dr. And the pottery itself? A most encour— forms. Janet Wright, The Exhibition, which was and successful. The Hand Weavers Guild the vigor and excite- afternoon, aging if slight advance on the part of showed in her work T. Barrow on the Saturday may have some reservations on this state— sudden discov— next to most exhibitors to work from the re- ment that comes with the was staged in the local hall ment as some of their exhibits, used as of clay. Using where sources of their own minds and hearts ery of the possibilities the country school of Reikorangi, background for pots, were inclined to be with less reliance on the masters. techniques her use It was slab or pressmoulded the Wrights have their pottery. accepted purely as background and not Summed up perfectly by Paul Beadle in the public, who of glazes was imaginative. very well patronised by viewed objectively as exhibits. This is his catalogue introduction: "Pottery into the seemed to enjoy the excursion a very moot and difficult point of exhib— at the top is magnificent ..... at the screen printing, while would seem to Maree Lawrence's wintry countryside. This ition arrangement but one worth consid— bottom insufferable." May we individu- side, was really inter— somewhat on the conservative indicate that people are ering for the future. Other comments on ally be kept humble by wondering just Malcolm Warr is a around very sound and good. ested in artistic developments the presentation of the exhibition, less where we are! in the process of some dis- serious young painter them and are prepared to go of criticism than as consideration for M.B. His development is finding himself. tance to discover them. sure and his work well worth studying. H.M.

IAN MCPHERSON * Over 2,000 peOple attended the exhibition.

WOLLASTONITE 80 lbs. bags £1.12.10 DOLOMITE superfine 112 lbs. £1. 5. 5 Wilf Wright MAGNESITE 80 lbs. £1. 4. 1 WHITING (Calcium Carbonate) _ 80 lbs. 18. O FELDSPAR, Nelson 112 lbs. £1. 6.10 TALC 56 lbs. 15. 9

All the above minerals are ground to 200-300 mesh. Freight or postage additional to listed prices. IRON OXIDE 112 lbs. £1. 8. 0 Lb. lots 1/- per 1b.

Freight or postage additional to listed prices. I

All these products have been tested and approved by practical potters.

Accounts will be forwarded monthly. Ian McPherson, Mapua, 6 Nelson. Graeme Storm New Vision Gallery July 5 — 16

The strength of his work, as is shown in this exhibition, is not so much his forms — which are conservative — but the incredible variety of his glazes.

Not for him the uniformity of domestic earthenware or stoneware. He extends into the purely decorative field and produces pots that have their raison PAINTING S d'etre in shape and colour alone. SCULPTURE in this exhibition an intense purple is the Storm hallmark but equally arrest— ing is his combination of blue and white, an echo of Victorian cottage— ware. GALLERY

Most of his pots are assembled rather GRAPHICS than thrown and within this more sculptural discipline he achieves a beautifully fluid line. All his work, DRAWINGS either massive—bodied pots or articles no bigger than a liqueur glass, have precision, balance and symmetry. Storm appears to be a cautious worker; other than with glazes he is not an ex— perimenter or an innovator.

B.B. Herald 15.7.65

June 21 — July 3. Pots and Prints by Juliet Peter and Roy Cowan, New Vision Gallery, Auckland. ”Cowan is the more experimental and shows real panache in the way he handles very large pieces. Some Forthcoming Exhibitions: of his bowls are 30 inches in diameter, symmetrical and with even glazes; not Warren Tippett: Centre Gallery, only a feat of throwing, but a feat of Wellington 6 — 17 September, with Brush firing as well. He brings a new pract- Drawings by June Clifton. icality to pottery with his lanterns and floor vases and, for Auckland, a complete- B B ' k 11: N ' ' ll , ly new concept of plastic construction. mania: - 2530:2215? Juliet Peter's pots are all stoneware and, CRAFT CENTRE as in her prints, the sense of design and Len Castle: Opening approx. 18 October, I decoration is very strong. She follows Leech Gallery, Auckland. traditional shapes and seldom moves away 8 HIS MAJESTY'S ARCADE from the accepted glazes but balance, form and finish are consistently good." QUEEN STREET, AUCKLAND PHONE: 42505 B.B. "Herald" Fig.1 They may be stilted in the normal mann- gas flow evenly: with a mantle of small- er, but particularly for larger kilns er pieces (Figis 3. or where heavy pieces are to be fired — columns assembled from whole .d half The Choice of Kiln Furniture

,. fire tricks f llllllll Three types of shelves are commonly used, —v These are arranged t o i the white i the buff coloured Sillimanite, snelvesv ith linrel piece I... High—Alumina and the dark brown Silicon the Supporting points. Altho Carbide. stacked this looks suSpiCi ermediate Space is more closely arranged c;’ fact the s as it is usually here that the gases Sillimanite is one of a group of miner— will tend to flow most freely into the als having the composition A1203.Si02. stack. The top shelf is packed to allow On heating it forms Mullite, 3A1203. gases to pass between the pots and the ZSiOZ, and Silica. The Sillimanite In setting up such a stack, leave the Crown. The graduation of sizes shown shelf consists of Mullite needles in a fl shelves some lateral freedom as the for this shelf assists in equal maturing matrix of highly viscous silica glass, i l expand within the kiln. of the flame front and the inner pots. and withstands oxydising conditions and Note tn the too lintel bricks at the The pieces nearest to the firing side temperatures to Cone 10 well. Prolonged tabilising brick on them. will receive extra radiation from the or repeated reduction will affect iron flame front. This can be offset by the traces, turning the shelf grey and hast- Vertical Spacing W7 i3"? placing of a low screen of small pieces, ening the advent of softening. or of a miniature bag wall on the shelf. Fuel fired kilns resemble electric kilns High-Alumina shelves are compositions of in one respect; more heat transference Sillimanite, high-alumina clays, pure Roy Cowan With experience it will be found that KILN MANAGEMENT from source to ware is accomplished bv manipulation of the density of packing alumina and refractory grog. The result radiation than by contact with hot gas. at diiferent levels can be made to pro— is a rich phase of Mullite in Silica Packing and the volume of radiation striking anv duce close correspondence in cone move— glass, reduced iron content and more con- pot depends upon the thickness of the - ments at all levels. sistent performance in the different Figure 1 suggests a pattern for a kiln local blanket of emitting gas. A relat- atmosphere types. designed to take four shelves and fired ively cool pot will cool the boundary The placing of very large pieces may from opposing sides. The shelves are layer of gas and, therefore, the rate of cause problems through the disturbance The surfaces of these two materials re- about three inches apart in plan, three heating by only contact is influenced by the of uniform gas flow.' Such pieces mains "DRY" at heat and a kiln wash to four inches from the end walls and speed of flow, which should be as even should be placed as high as possible in will be needed when setting many types about six inches from the firing sides. as possible in all parts. In parenthe— the kiln and in a position to divide the of bodies. As the temperature increases, sis, too high an average gas speed re- sults in slipstreaming effects and un— Fig.5 even firing, too slow a speed retards the firing. Too high 2 Speed further— more means excessive amounts of fuel to heat the larger volume of air passed through the kiln. The kiln dimensions given in previous articles are based on a gas Speed of three feet a second.

figure 3 shows two settings of I a bowl I between shelves which will give greater I tle outside and to the in— ‘\ /

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\ they both show a progressive softening Firing and at Cone 10 will begin to bend under oil and air at normal temperature is wanted, there should be a curing period with a slight decrease of temperature. moderate loads. Failure, however, usu« To start Pot Burners, run in a little about 1500 C. In practice the result This treatment withdraws the driving ally results from crack growth arising fuel and light oil or kerosene soaked is reduced by less perfect mixture and energy of the gas-forming reactions and from repeated slight bending and the rags. Allow the burner to warm up loss to cooler surroundings. If the allows the glaze time to settle down. effects of heat shock. without air blast at first, then pron firing is oxydising, more air must be supplied than can be used, reducing gressively apply air. In the initial reduction firings. giving a firing maximum Finishing Care must be taken to avoid glaze spill— cool stages it is possible to over-blow flame heat and age as the materials combine readily between cones 7 and 8. the burners, so that they subside, so The procedure depends upon the result with the glaze. remain in attendance until steady com- If the kiln is in good gas If in these conditions the fuel ratio is desired. bustion is established. If firing condition and is sealed promptly increased, the kiln atmosphere becomes holding Silicon Carbide crystals are produced by raw pots. it is wise to start the full reduced colour hazy and then develops a comparatively on finishing, the the electrical fusion of coke and sand. burner in the Open and swing it into will be maintained. Alter» transparent sheet of very bright flame. of surfaces Heated in air SiC ”burns" to form 002 position when it has settled down. burners can be turned These are maximum heat conditions. natively, the and SiOZ. When protected against oxygu damper pushed in to The gas contains myriads of radiating well down and the en, 810 will withstand extremely high If the combined system of Pot and the atmosphere while the tem- carbon particles, whose emission is maintain temperatures and in the shelves the pro— Pressure burners has been fitted, firing widely effective because of the compara— perature falls. tection consists of embedding the cryst~ should continue on the Pot burners in— tive transparency. The possible firing als in silica glass, giving a product creasing to full off but\the air draft output until Pressure temperature is about Cone 12, and the If fuel is turned whiCh will withstand 1800 C. oxydising conditions will burner spray will ignite in the fire— atmosphere is reducing. is continued mouth or kiln, usually at about 400 C. rule. The effect is least upon dense most on exposed and after 3% hours. Subsequently the if the fuel ratio is further increased glassy glazes and These shelves age through gradual oxyd— which will develop Pot burner should be kept on and the the flame passes to orange with Visibil— surfaces of bodies ation of the SiC component, with swell— oxydation. Given spray kept to the minimum until dull ity down to an inch or two. The heat" a thin layer of red ing of the surface layer and treatment, the of vesiculated red is Visible at say 5 hours, when the ing effect is much lower because of the the right clay type silica glass. Although intense ('Iron Foot'). the shelves are Pot burners can be withdrawn. The self blanketing effect of the dense colour can be prepared to withstand is an optical effect re« a measure of oxyd— temperature rise until 6 hours should cloud of carbon particles from which The intensity ation, their use for oxydising from colour absorption of a firings, be held to a steady 100 C. an hour. much radiation never reaches the pots, sulting especially overlying a cool, a device in the range 800—1100 C. is and Cone 7 to 8 will be the highest warm layer not recommended. familiar to oil painters. SiC shelves come into Once a brighter red appears, firing can registered. Something like the effect their own under conditions of high temp— be accelerated to 150 C. an hour, but, of a hotter firing can be obtained in erature, reduction and very heavy load— until 800 C., no haze or flame should time but the results may differ in Blowing down. ing. be developed amongst the pots. If the quality due to the differing responsive" firing is of earthenware, these condi— ness of glazes to reduction as against When a reduced cooling time is wanted, Fireclay setters are needed with these tions are maintained if the ware carries temperature. or when, especially with large slow shelves to separate ware from the tacky glazes affected by reduction. If it cooling kilns, it is desired to remove surface. The surface can be 3dried' is desired to fire to the limit without Higher temperatures for all types of Cristobaliteuforming bodies rapidly with Flint wash but the resultant light~ reduction, the placing in good View of firings can be obtained by pre—heating from the region of activity, the fueling ening of colour impairs the heat trans— a fluid high~zinc type glazed plaque the air supply. For every 100 degrees may be stopped but air blast and circum mission, which is superior to pre—heat, an increase of 20 degrees in that of will furnish a control. ZnO reduces lation maintained while the temperature the lighter coloured materials. If it readily to the metal and vaporises the flame temperature is secured. In plunges. The process must be stopped is desired to fire ilat objects requir- industry, pre—heats of more than 1000 C. reached. causing the glaze to bubble. At Cone 6 before 800 C. is ing total support such as tiles, are used. a sand— the Bristol glazes are ideal for this wich of a Sillimanite or Alumina type purpose. shelf, fireclay Firing time. setting strips and SiC Finishing the firing. base to ensure straightness may be used. FrOm 800 C. the flame length for reduc- A recommended minimum firing time for tion firings may be increased to the As the temperature rises there is usually kilns up to 100 cubic feet. To sum up, the Sillimanite and High maximum just short of smoke emission. gas emission from body and glaze and the Alumina type shelves should be used for surface will contain bubbles, pinholes To 5 hours 500 C. all electric kiln work and for oxydis- and dimples. If firing is stopped _ 5 - ll hours 500 to lZOO C. ing firings Flame temperatures. up to Cone 8. For reduc- abruptly from a rising temperature these ll - 12 hours 1200 to 1250 C. tion firings and all higher tempera- features will be frozen into the glaze. 12 — 13 hours 1250 to 1300 C. tures, use Silicon The maximum temperature which Carbide. can be When the best possible glaze surface is 13 — 14 hours or longer, maturing time produced by burning a perfect mixture of

12 finishing with curing with a drop of Wanted to Sell: Jane Snead Electric LONDON NEWSLETTER about 50 C. Kiln in working order, but needs minor repairs. 1 cubic foot internal measure, Kenneth Clark When experience accumulates and the kiln 3 way control, Kanthal elements. Spare of set of elements. Price £45. Apply KILN, can be taken without haste or waste One of the most important happenings in the ten» P.O. Box 617, Wellington. time to the full temperature, recent months was the opening last week firing dency arises to regard the real of an exhibition called ”Craftsmanship as beginning with the fall of the high To—day" by the recently formed Craft with results determined by what cone, Council of Great Britain. At the same one does in the succeeding hours. time their appeal for £250,000 was launch- ed. This will be used to implement their ambitious programme for all the crafts. Though the Craft Council was formed out of the Craft Centre, it is a separate body with not dissimilar aims. There has been Ring, write or call: considerable confusion in the public's 9,4?"1‘9- mind as to why there is an appeal for a Oi -...k. ' Craft Council Fund when the Craft Centre W D McGREGOR LTD is still running. Actually the‘Craft Centre would have folded last Christmas 48a Stoddard Road, Mt. Roskill, Auckland. Phone 899-619 through lack of funds, but for an Manufacturers of Electric Pottery Kilns, Furnacesand Allied Equipment. annonymous donor who gave enough to cover one year's running, plus an offer to pay ”Craftsmanship To—day” Exhibition. half the expenses for a further two years Jug: A. Harris & Sons. Pot and Teapot: if the members raised the other half. David Leach. Large Dish: Colin Pearson. Established 1946 Hence the confusion, and it is difficult Dishes: Ray Finch. Bowl: Alan Geiger—Smith to say what the outcome will be.

We manufacture a range of Electric Kilns specially designed for use in Schools, "Craftsmanship To—day" exhibition was Colleges, Industry and for the Hobbyist. 'MCGregor' Kilns have been manufactured extremely well mounted and covered son. Ian Auld's work was all stoneware, since 1946, and are built from the finest materials and workmanship. Their expert craftsmanship in the widest sense. How— with further developments of his slab de51gn and construction are the result of long experience in this field of manufacture. ever, the pottery displayed was of a very built rectangular forms and bottles, some We offer a complete range of standard kilns from one cubic foot upwards. Additionally, varied nature with few outstanding pieces. tall and thin, others short, thick and we manufacture a high temperature kiln suitable for burning stoneware to lBOOOC. One felt that the selector was not fully powerful, with some very beautiful matt informed about what was available and off-white glazes and some heavy rough We solicit your enquiries. lacked conviction of judgment. One of textured surfaces. Colin Pearson, on the best pieces was a stoneware panel by the other hand, showed earthy, vigorous Literature available describing kilns with prices. Eileen Nisbet, and there were some thrown shapes, with rich lush stoneware interesting slab sculptures by Bryan glazes in the tradition of Leach and of Newman. Pieces by better known names Ray Finch. These were mostly in dom— W.D. McGregor Ltd. were very disappointing. estic ware with many large jumbo—sized teapots. He also had a wide selection Electric Furnace & Kiln Manufacturers, The Craft Centre has had a very lively of square pressed dishes showing a selection of shows over the past year, possible Hamada influence. starting with Leach Pottery and Hamada pots. This sold well, the most lively This was also very evident in the current Phone: 899.619 Auckland. pieces being those of Janet Leach, with exhibition by Louis Hanssen at Primavera. of course, some fine pieces by Hamada, The main qualities of his work were 48A Stoddard Road, Mount Roskill, Auckland. though I did not find them all to my vitality and strength, combined with fine taste. craftsmanship. The work, however, show- ed many influences, and as yet he has not A later show was a very contrasting developed a really personal style. This Pear— 14 joint effort by Ian Auld and Colin may come with further experience. 15 launching of his book on mosaics for Studio Vista, which should be of great interest in New Zealand. The his mosaics colours of after were brilliant, pioneering m1x1ng but the glass fibre of so many media this country. chairs ' was often dis- Just recently turbing and gun he ha did not always to use ceramic 1: mosaic. complement the in his sculptur This approach panels. l e- could be a start— At present he ing point for is teaching others to devel further. OP even

andthe Craft Cent ___re. He is US} poster an 1‘11 ustrator aitist who shows mosaic pieces of animal ing wood, smalti, panels sculpture glazed by Rosemary in stoneware painting. tile and Wren. These The show was had a direct— to mark the ness and simplicity not always apparent in her more abstract free form shapes ians Unger: Mosiac Panel .xhibition. Craft Centre Eryan 65 Newman: Stoneware 1 Craftsmanship Sculpture Today” Exhibition

Mural in the process of making by the Kenneth Clark Pottery

Bernard Rooke is another stoneware potter from the gravel pit to the finished who has used clay decoration with imagin- article. Ann (Kenneth's wife) worked on ation and sensitivity. His small, in- it almost continuously from Christmas to dividual panels are very good but his Easter every evening after the children large stoneware panels are less success— were in bed, and also for several days ful, being too much an enlargement of his each week, While I developed all the smaller ones, glazes and carried out the placing and other arrangements with the help of Howard In another show it was good to see a very Williams. The headquarters of the lively selection of thrown pots by Company is at Leamington Spa so we had Katherine Pleydell Bouverie using spark- quite a lot of travelling to do. We took ling, less sombre glazes than usual, with all the pieces of the mural up in his a lively glaze on glaze decorating tech- Landrover and my Mini—van. ‘ nique. At the same time I have been busy design- We have recently finished a twenty foot ing tiles for a Stoke firm of Woolliseroft mural for the Board Room of ”Banking Tiles Ltd._ This has also meant. a lot. of Buildings Ltd.", a large construction and travelling, bUt I always enjoy working for prefabrication group of companies. The industry,_ especially' when . one has such mural had to depict the work of the firms enthuS1astic and progress1ve management.

17 b /\I\/\/\/\/\'\/\/‘/\/\/\A /\//\A /\//\N\/\/\M\/‘/\/l/

ENONFORITE§yyw / w\/ v\/ \/v \/V\ /\/‘/V\/V\‘\\ flflflfllélflMflW/Wf SHED/E9 and SUPPORFS upTo 800°C. fXFOZM750 VEQM/WUTE WWW/0GAGGREGATE PEFPAC’IJ’TfFIRECf/V7 John Mason in his studio at Glenvale Boulevard, Los Angeles ZIP 70/400?

When John Stackhouse was in Los Angeles photograph of John Mason in his studio MORMFZEJ’ ”RM/001775lfl/fll/MT/l/é’ he ran across John Mason. He says: is self—explanatory. He is one of the This interesting artist trained as a leaders in the movement in California 00/I/C’RE7E"P40/I’ED //1/ 70/b 5466’ potter, but after a few years he found towards freer use of imagination and his work leading him to the field where larger ceramic works. ceramics co—ordinate with architecture J. ELM BQRPENTER l'l'l). and sculpture. His work may veer to- Kilns I have seen in California are wards architecture, as in the doors he often around 7 feet high. The inside Box 9&85 A U C K I. A N D PHONE 51°89 did for the architect, Paul Hogg, or he dimensions of John Mason's kiln are: may tend to sculpture as in the 5‘6” Height about 7'6”, width about 6‘, depth cross recently purchased by the Chicago about 5 feet. The Tishman Building Art Institute. The wall panel used in figure was fired in about 30 pieces, the Tishman Building on the corner of which was small for him. The cross wilshire Blvd. and Flower Street in Los (66“) was fired whole. He uses a stone— Angeles, is very fine, and being 11 feet ware foundation with a lower firing for high it manages the difficult problem of the colour, which is very subdued, not making itself felt in the entrance of a competing with the form and texture but large and impressive city building. The enhancing them. 18 Chairman, founder and at present, "A Reikorangi potter is most impressed president of the Hampshire area of the with the excellent coaoperation he re- CLIMATE ceived last week CHANGING New Zealand was primarily a European British Association of Flower Arrange- from the local power board," writes farm rather than an economy of nuts and ment, Mrs Nora Samuel said she had W.G.W. of Campbell Street, Karori. bolts, the author and playwright Bruce found flower arrangements very differ— Mason told a packed Victoria University ent in New Zealand from those seen in ”His large Theatre yesterday. England. kiln was filled with special New Zealand is admittedly a small pots for firing for a week's exhibition country but there is no valid reason at the The artist in New Zealand was regarded ”You are well ahead with the Japanese Reikorangi Hall, which was to why we should behave like a small line, or Ikebana,” begin last as an "unuperson performing uaork". she said. ”This is Saturday. So he was most town. just becoming known in England.” disturbed to find a 'power cut' announ— ced The welfare state, a model for the for the 'firing day'. Conrad Bollinger not creative~ There the oriental style of decoration Landfall June 1965 world, aimed at health, ness. Its heros were runners, footm did not fit in so well with the beauty ”As the kiln takes 13 hours to fire, there ballers, and Sir Edmund Hillary. of old building materials, woods and was no way of avoiding the cut, architecture. and it looked as if he would miss the Looking into the future a generation exhibition. Mediocrity existed in all fields ago, many observers felt that existing except sport and medicine, which was I think you have most beautiful foliage Maori problems would be solved by the ”A also encouraged. The national motto and flowers to work with in this 'phone call to the power authority absorption of the changed native race into the was "She'll be right" — leave things as country," she Said, "particularly the everything. They told him to white. Many regretted that Maori arts they ate; and the national emblem was bottle brush tree and all those native go ahead with the firing and they would and culture would probably be largely the kiwi, a flightless bird. trees with wonderfully shaped leaves bring along a portable generator and lost along the way. Instead of that and branches.” connect it to the kiln for the duration we find signs on every side of this The State, if it was wise, would look of the cut. exciting resurgence of Maori pride in with sympathy on theatrical groups - ”Evening Post” — 7.4.65 Maoritanga. The more "pakeha" the like Wellington's Downstage — which "This they did. An excellent firing Maoris become, chiefly through their showed initiative. resulted. Also, a very satisfied own renewed longing and striving for customer.” education, the prouder the best of them ”The next 10 years are regarded as become of their Maori heritage. I crucial for New Zealand literature," believe with Doris Gordon that if we can Mr. Mason said. ”They will be crucial blend our Nordic and Polynesian blood— for theatre also." streams and characteristics, we can produce one of the finest races on earth. Bruce Mason "Dominion" If we can at the same time preserve both 16.7.65 BRICESCO our cultures, we can make New Zealand one of the most interesting places on earth. ELEGTRIKILNS saw as sig— Yes, I know. I get carried away and A writer with whom I Spoke of start shouting instead of speaking with nificant the growing cosmopolitanism With For further particulars a quiet restrained voice. But I am both Wellington and Auckland, write to the New Zealand agent: excited about this. In spite of re" cosmopolitanism, he believed, a sophis~ own would develOp. Miss Mavis maining vestiges of prejudice and isol— tication of our Jack, so many ways. ated instances of discrimination which ”It's already apparent in 62a Tinakori Road, is made, in news— cannot be denied even if they are some— Consider how much room Wellington, N.l. for times exaggerated or falsely evaluated, papers and on the radio, today said. I think the resurgence of the Maori as reviews and opinions,” he of a Maori is just about the most exciting Another sign of restlessness — Top—loading and front—door opening BRISCESCO Kilns still and hopeful thing that is happening in waiting? available to those with overseas funds who are in a New Zealand today. position to procure No Remittance licences. Books' Louis Johnson ibooking at Elements and shelves for Briscesco 3.4.65 Susan in the ”Dominion” - 22.5.65 ”Dominion” _ EK/TLS Kilns still available. BRITISH CERAMIC SERVICE CO LTD COMMERCIAL CHEMICALS LTD. (v) Talc often reduces crazing if used in very ponus bodies but a vitrified talc~ containing body tends to craze (because of the different minerals, e.g., cordierite, formed at fusion temperatures), Suppliers of materials for studio potters, schools and craft groups. (vi) In common types of stoneware, a little more feldspar in the body often Technical Topic —— one of a series by Commercial Chemicals Ltd. retards crazing.

No.2. More about crazing: Technical Topic No.1 described the causes of crazing and (vii) Differences of temperature of firing the clay have a very marked effect on how glaze fit can be tested. Now, a few notes about the prevention of crazing. glaze fit, so try a range of temperatures. However, differences in temperature in glaze—firing don't affect the coefficient of expansion of the There are hosts of rules about getting glaze—fit, but the trouble is that glaze very much. If you have a good glaze, but you encounter crazing, try many, perhaps most of them, don't work. Imhdifications to the body or firing temperature of the clay. Most glazes have a fairly wide firing range and you can lower the fusion temperature of This is the problem: As a clay body is heated to higher and higher the glaze with a little frit or replacement of some flint by feldspar; or temperatures, reactions among the raw materials continuously alter its prgperties. raise the fusion temperature by adding a little more clay or flint to the Thus the glaze on a particular body may craze if the body is fired to 900 C, be a 0 glaze. little better if the body is harder fired, craze—free if the body is fired to 1150 C and tending to craze again if the clay is baked harder still. 1 (viii) Use our 'P' glaze for temperatures up to about 1140 -- or with a more re~ fractory glaze for higher temperatures. It has a low coefficient of This is because the free silica (quartz or flint) in the raw materials contraction. Changes through a number of forms -— about six of them. All of them have different (ix) An interface develops between glaze and body. This is caused by the corr- coefficients of expansion at different temperatures and the proportions of them will osive attach of glaze on body. It acts as a buffer, reducing the strains vary. In fact, it is almost impossible to predict the behaviour of a body because of between glaze and body. This interface develops a little better in tin~ (mainly soda, potash and lime compounds which are found in feldspars, this. The fluxes opacified glazes and where there has been a longer "soaking" at the end of calcite and fusible clays) begin to dissolve the silica to form complex silicates and the firing. glasses, all of which in turn have a different coefficient of expansion. And im— purities such as iron and titanium oxides "catalyse" some reactions. Obviously, the (x) It is possible to w0rk out, by chemical means, glazes which have a low con fired body can actually finally contain a host of siliceous chemical compounds in efficient of expansion but the chemistry of glazes is more complicated than Varying amounts. most potters realise or than popular books imply, and it's better to follow simple guides, such as those above ------It is wise to realise this, because it explains the unpredictability of glaze fit. However, there are a few guides, and although they may seem homely, AND NOW, to talk business. they're usually more helpful, to begin with, than complex approaches: We hope soon to have some new materials: (i) Extra FREE silica in the body (flint, silica flour, finely ground quartz) tends to reduce crazing in earthenwares but not necessarily so in porcelains —-—_»Our wet~plastic studio clay in 1 cwt polythene bags as well as the 190 lb drums. and stonewares. This will help replace the scarce SNl clay. —————A red—burning clay for the wheel, in wet_plastic form, in % cwt bags ------A glaze to fit this red clay —————— A few new (ii) Very fine free silica in the body has a much more powerful effect than colours ————— A ready nade stoneware glaze ------Nepheline syenite, in moderate quantities coarse silica. Its higher surface area increases its effectiveness. Coarse ----- Some 2” kiln shelf props——-——Some new titles in books about pottery~—~u«Red silica acts virtually as fine grog and does not greatly affect the co— copper oxide (cuprous) ————— and other new items. efficient of expansion of the whole mass. Send for our catalogue. A supplementary page is being printed. (iii) It is usually simpler to adjust the body to reduce crazing than to adjust COMMERCIAL CHEMICALS LTD. P.O. BOX 15-036, AUCKLAND, S.W.4. the glaze.

Phone Auckland 864-137 (iv) Extra Silica in a glaze also tends to reduce crazing. This is true of almost all types of glazes, but the extra silica also makes the glaze less fusible. It seems odd that extra silica in the glaze has the same effect as extra silica in the body. In the glaze, the silica becomes fused silica; in the body, except at extreme temperatures, it is crystalline and behaves differently. COMMERCIAL CHEMICALS LTD.

22 23 which can acquire Barbara Hepworth, Bryan Kneale or Sydney Nolan from over- seas, but cannot accept that Woollaston, McCahon or Rita Angus are major New Zealand artists of secure reputation. THE QUEEN ELIZABETH II ARTS COUNCIL This illustrates the difficulties of Firing well That we get the government we deserve any system of official patronage. It is a truism constantly being proved is easy where opera, ballet and the again. The very fact that this country theatre are concerned. They can show using Shell is old enough and affluent enough to good reasons fbr grants and back their have an Arts Council is quite somethingo pleas with numbers. But as we move As a group of creative people, whether nearer the individual original and active or passive, the potters should creative artist the voice grows smaller take a lively interest in what is and the wavelengths become confused. going on. We therefore propose to run In the early stages at this level it is a series of articles on various aspects sometimes difficult to distinguish the of the Arts Council as seen from our phoney from the genuine, and some mis— point of view. takes will of necessity be made. But better far to have an Arts Council that makes a few mistakes than one which is too concerned with safety ever to make New Zealanders have repeatedly proved them. their ability to march with the best when working in the arts overseas. To It is clear that if the official patron do this, however, they have had to is going to assist the truly creative become assimilated into the culture in arts to mature as well as the inter- which they work. This proves that pretive ones, those responsible for there is no lack of raw material here, action will have to possess a thorough environmental encouragement is what is understanding of conditions in this needed. Working in our own country we country. To be effective, an Arts need to learn from the art and history Council needs to become something more of other countries and then make our than a Finance Bureau, administered hy, own synthesis. comfortable elderly gentlemen. The drea- BI'IIIO tive arts do not look for handouts, but for The potters have certainly learnt from Superior quality low-cost fuel wise and perceptive encouragement, and for oil firing overseas and will continue to do so, the tactful provision of opportunity. but it is by what they have produced-of The artists need help in bringing their their own that their work has gained work before a public, the public needs attention abroad. The way in which the help in interpreting the work of the It has to be good to be # potters maintain substantial unity in artists, and an opportunity of assessing spite of the presence of traditional \A what is actually going on in their own and experimental phases has made the country. A wise Arts Council would be task easier for those selecting ex— alert to the dangers that bias and hibitions of pottery to go overseas. promotion of ideologies could create and The potters have also maintained the would endeavour to take a long view of confidence of the public. the whole situation.

This is not the position with painting, All this demands a lot more than good which suffers deep divisions inherited administration, financial wizardry and from abroad, but also possibly sharpen— lots of money to spend. It needs a ed here. The dilemma of the official warm understanding of what the.New patron is perfectly illustrated by the Zealander is and what he might develop buying of the National Art Gallery, into. At this present moment the Queen 25 ARRIVAL

Elizabeth II Arts Council is still The Council has now been established for settling down. A secretary, Mr. John one year and the outstanding event of Malcolm, has been appointed. The office this first was its admission to UNESCO, of the Director has yet to be filled. in the mutual information category of Is it too much to ask that he be some— the Section on Arts Education and the one appreciative of the New Zealand way Cultural Development of the Community. of life, able to comprehend both the A contract has been signed with UNESCO difficulties and the opportunities it to prepare a basic report on world offers the creative artist? craftsmanship.

Editorial Committee The inaugural meeting of the World Crafts Council held at New York on 12th June, (In our next issue Doreen Blumhardt will 1964, was attended by Nan Berkeley of discuss the role of the Arts Council in Wellington, as delegate, and Mary Hard- Education) wick-Smith of Auckland as observer.

A New Zealand Branch has been formed by EXHIBITIONS Mrs. Nan Berkeley and its first meeting AT THE PAN PACIFIC was held on 14th June after the private SHOJI HAMADA ARTS FESTIVAL IN CHRISTCHURCH at Warrandyte, Vic— ”Potters' Cottage" opening of the combined exhibition of is sponsoring a toria (near Melbourne) Wellington Potters and New Zealand Memb— When it was first rumoured round that ”Hamada might come”, it for potters, the results of competition ers of the World Crafts Council at the seemed quite beyond the realms of possibility. He came and has which will be on display in an exhibit- Centre Gallery, Wellington. The follow- gone and apart from a tendency for flattened bottles to appear in from October 16th next at Warrandyte. ion ing officers were elected: President, our kilns and a glowing wealth of treasure in some of our homes competition which will be judged by The Mrs. Nan Berkeley; Secretary, Miss E. what else has changed? Kenneth Hood of the National Gallery, Archdall; Committee, Lady Dorothea Victoria, offers two fifty guinea prizes We were all rather anxious when his arrival was imminent - the Turner, Mrs. Jenny Pain, Mr. J. Tarrant, for the two best pots. This is the legend about to materialize. He stepped out of the plane and for Mr. P. Janssen, Mrs. Mae Hodge, repre— largest prize money offered for a pott— a brief mOment gave the impression of a very small really old man. senting pottery, weaving, applied glass ery exhibit in Australia and the Warran— This impression lasted for a fleeting moment only and then com- art, metal enamelling and applique. dyte potters have ambitions for making pletely evaporated before his compelling vitality. Plans are being made for a much larger this an annual event. The exhibition is and more comprehensive exhibition next open to Australian potters only. It year, which will also incorporate samp- could make an important contribution to les of craft work from the other 45 pottery as an art form in that country. member countries. The New Zealand Branch now has a total of six group memberships and 29 individual member— ships ranging from Whangarei to Inver— WORLD CRAFTS COUNCIL cargill. - Geneva, Switzerland Mrs. Berkeley wishes to contact other The purpose of the World Crafts Council craft workers in New Zealand who may be is to establish an international associ— interested in joining. Her address is ation of all interested in the crafts 21 McFarlane Street, Wellington. which through information, education, advice and personal contacts can bring There is to be a meeting of the General to all peoples everywhere knowledge of Assembly in Geneva next June, to which standards of excellence, enhance public all World Craft Council members are appreciation and emphasise the need in welcome. Members travelling in other our time of the creative elements found countries will be given names of other ‘ in true craftsmanship. craftsmen with whom to make contact.

26 We grew to love this man’and Dr. Duff of -”i5¥ igih i555: ' the CRnterbury Museum shortly before Hamada left us captured the poignancy of farewell by using the Maori "Te Kotuku rerenga tahi". (The White Heron of single flight) meaning the White Heron whom one might see only once in a life time. Hamada left us this also:

"A potter should hold a line for 10 years — no say 5 years. He should be like a plant which grows up in the Spring. In the Summer it flowers and sets its seed. In the Autumn the fruit ripens — falls to the ground/is covered over by the snow and lies dead through the Winter. In the Spring it is born again and the flower it brings forth in the following Summer bears a likeness to the flower of the previous year." David Brokenshire

February 1965, here in Christchurch was, for potters, a month of tremendous rich- ness. The Medieval Pottery from the Guildhall London, Shoji Hamada's Exhibit— ion, Exhibition of New Zealand Potters, Japanese Decorative Art Exhibition and VVCDEKPCITQC} IPJ added to all this, demonstrations by both YPV(DTQTQE§ E{[}Sjjls Shoji Hamada and Atsuya Hamada, seminars for potters, slides and films, the glaz— STFIJIDIC) ing7stacking,firing and unpacking the kiln and behold,enough Hamada Pots for another complete Exhibition.

”and has anything else changed?”

Yes indeed. We will always remember this total potter — A Master standing firmly on tradition — his repertoire of shapes, not whim, but each form for an established definite purpose.

Can't you still see that terrifying bulge at the bottom of the pot firmly controlled and then vanish. What about the gasp of astonishment at the daring vigour of his turning and the delighted chuckle of K laughter through the darkness at the showing of the Pueblo Pottery Slides. Oh yes.we have changed. We have been imm- easurably enriched by his humble example working at the Studio of Design. We witnessed his incredible drive, we learned of his knowledge not only of ceramics but of many other crafts. l V --.a:.

Bottle, beaten and cut in facets. Tea Bowl, Hakeme slip over light Iron slip decoration, wood ash glaze grey slip. Decorative with iron slip. Wood ash glaze.

v ,‘~

Footed Tea Pot. Dark grey iron slip, ATSUYA HAMADA. Lugged Pot. Dark 30 incised decoration. Clear glaze. 1 grey slip. Poured hakeme slip. Wood ash glaze. BRUSHES AND TOOLS BESIDE POTS DECORATED AND READY FOR THE KILN

EXAMINING POTS AFTER THE KILN OPENING. The pots are arranged in the same order as they had been stacked in the kiln.

SUNDAY AT ARTHUR'S PASS

Barry Brickell, Graeme Storm, Denis Hanna, Atsuya Hamada, Vvonne Rust, Patricia Perrin, Neil Grant, Warren Tippett, Len Castle, Peter Hewson, Michael Trumic.

33 .,,,

m

a“!

v 1 part Iron Ore less than four gallon lots for the is the test chart. Test The following body clay glazes and all—over slips, and dark and ash glaze 4 parts VF No. l is the wheat straw

' light grey in two gallon containers, used by Hamada. This is a hard ash rice 'Hakeme' slip whereas the 'hakeme' slip (white) and and was used to simulate the ash iron decorating slip were made in small ash used in Japan. The wood straw 60 parts Nelson Fire Clay (this is a

1"“11 was rimu. quantities only. The 'hakeme' slip was used very white—firing high-

v1.1 made so thick that it would not drip maturing clay, ordinary were by weight. from the brush, which accounts for its All quantities not do) 9 — fireclay would All the glazes were fired at Cone density. Other slips were thinner and 40 parts Feldspar about the consistency of thick cream. 10. These slips were applied on to raw pots TEST NO. an 80 at the leather hard stage. Sometimes a All slips were screened through 1, Feldspar dark slip was applied first, and as Woodash mesh sieve.

soon as it was dry enough to touch, the bun.» Wheat straw ash 'hakeme‘ slip was applied. Feldspar Woodash The brushes he used for decorating were We intend, at some future date, to bib)? Wheat straw ash old friends, and his ‘hakeme' brush was bring out a special issue containing

of particular interest, made of dog's b.) Feldspar photographs of Shoji Hamada and Takeichi hair from the nape of the neck, and was Woodash Kawai at work. We feel that such a about two and a quarter inches long. who: Wheat straw ash record would be unique and valuable. It This same brush was used, from broad would be most helpful if anyone possess- Feldspar patterns on very large pots, to sugar ing prints in black and white would send Woodash cane designs on Signet rings. these to Doreen Blumhardt, 35 Harbour U‘NUJ Wheat straw ash WORKING POTTER View Road, Northland, Wellington. On the whole, Hamada applied his glazes, S. 7% Feldspar especially the wheat straw glaze, very 2% Woodash thickly on a soft biscuit 800-900 l Feldspar Shoji Hamada's visit came and went all 6. degrees Cent. In Christchurch he was l Woodash HONOUR FDR too quickly, but in the short time he given rimu ash (unwashed) and wheat LIVING TREASURE was here he worked so assiduously that straw ash (washed) to substitute for 7. 2% Feldspar he left a rich legacy for those who rice ash. With these, he made a series 7% Woodash JAPANESE ARTISTS were with him observing his excellent of tests, to find out their character— in Tokyo craftsmanship and meticulous attention istics. There were fired in conjunction Clear Glaze From Frank Devine to detail. with the dark slip. All the tests came Rimu Ash out in glazes which according to our called China Clay A Japanese theatrical director Before coming to New Zealand, he asked standards were most usable, but from and a sculptor in gold the Christchurch potters to make test Talc Monjuro Kirikate which he chose with great subtlety, the have just been tiles of various local materials. To Body Clay named Taihai Yonemitsu quieter results. NI—‘r-‘HD—l treasures”. reproduce glazes similar to the Mashiko Feldspar declared "living ones in a Strange country with strange The interiors of his teapots were Decorating slip treasure" label is consider— materials, demands a high degree of The "living glazed separately with very much (under or overglaze) ably more than a casual personal com— knowledge and skill. He approached the watered down glaze, to ensure that pliment. It was conferred on the problem by first looking at all the spout holes were not clogged. 2 parts Iron Ore sculptor and the director as the con- test tiles from various local potters, 1 part body clay sidered judgment of Japan's Cultural and selected a clear glaze, a kaki, a Both firings held in Christchurch in Assets Protection Commission, a Govern- tenmoku, and a rock glaze. Yvonne Rust's kiln, and fired by Mirek Dark Under Glaze slip ment—appointed board of 30 scholars, Smisek, were most successful. In the artists and artiStic experts For decorating slip he looked not for second firing, when applying tenmoku 1 part Iron Dre 11 the bright colours but for the subtle glazes, all incised patterns were 2 parts body clay Usually the commission - established greys, browns and blacks. From the painted with water before dipping, so years ago — makes judgments on abstract test tiles he selected four glazes and that the painted part would take less Light Green Under Glaze slip .or, at least, inanimate, institutions. four slips. There were made up in no glaze, and thus encourage it to break. 35 34 paintings, stories and poems at school. cost the Govern- It_h§§, for example, namedithe_tradi- payments don't really BOOK REVIEW He did not stand in their way any more lot of money. tional Kabuki and Nob theatres of Japan ment a than he could help. And the fruits of as national cultural assets, as well as But the thought is universally apprec» IN THE EARLY WORLD, by Elwyn s. their creativity and his humility are many paintings, sculptures, temples, iated. Richardson. Educational offered to us in a selected form in castles and architectural achievements. Research Series No.42. this book. Of the 54 men so far elevated 11 are Printed in New Zealand by The commission has a lot of prestige, connected with the traditional Japanese Whitcombe & Tombs Ltd. 35/— The problem of the teacher of art is and reasonably sincere Government theatre, 12 with traditional dancing and always that he finds himself dealing support. The elevation of the Kabuki 31 have been craftsmen (in wood, cera« with pupils, not with people; and there theatre to cultural asset status, for mics, dyeing, stone and so on). I remember once hearing Bernard Leach is no way round it, except the way of example, makes it eligible for subsidies talk to a small group of people in the abnegation, by which the teacher ceases from public funds on tours abroad, and No poets, writers or painters have made Department of Education. He was talk- to be teacher and becomes the eldest of it yet, but several people in these financial bolstering if it should run ing about art, in particular about his a group. To the extent that he does fields are under consideration, accord- into problems at home. own art of pottery. After a while he this he has ceased to do what he is ing to a commission spokesman. paused, and one well-feathered bureau- paid to do; he is concerned with re- To date 53 human beings have been named crat asked him — lationship, not with instruction, with In addition to their small annuities the national cultural assets (or ”living the free acts of the creative will, and ”living treasures” enjoy considerable treasures” in literal translation) and 'What can we do about this in the only by chance with the acquisition of “elevation in social status. They get there is a little money in it for them. schools, Mr. Leach? How can we recog— supposedly useful skills. I have held invited to gatherings at the Imperial nise the potential potters among the that it is impossible for anyone to Palace from time-to-time and have an Depending on the commission's assess- children - how can we help them to produce works of art in a classroom; honoured place at Government functions ment of their importance in the national develop their creative faculties?" but Mr. Richardson has all but convinced they deign to attend. cultural scene they receive from £30 to me that the impossible has been achieved. negotiating at £50 a year for life as soon as they are The commission is also "You needn't worry too much about that," If so, there must have been occasions funds to send selected designated living treasures. present for extra Leach said. "The best potters will very when his school ceased to be a school living treasures abroad as Japanese likely be the rebellious and ineducable and the angels held their breath. If I Since most of the men honoured are cultural representatives. ones. Just leave them alone. Give them were in control of our local bureaucracy pretty advanced in years (the theatrical the materials and leave them alone." I would have Mr. Richardson jailed from the director and gold sculptor named this (Reproduced by permission immediately as a saboteur. He has week were 64 and 76 respectively) these ”Dominion” — 3.4.65) Perhaps I'm putting words into Mr. wantonly thrown a spanner in the works Leach's mouth; but that's the way I of that machine in whose grim bowels remember it. He was paying a tribute human beings are turned into computers SIR ISAAC PITMAN & SONS LIMITED to the creative faculties that most and filing cabinets. To the chain gang children have anyway, with a side‘swipe with him! Some invaluable books for potters w beginners and experienced - at the educational process which so often reduces these faculties to Pictures of pots are not so good as pots CERAMIC DESIGN by John B. Kenny _ 78/6d. nothing or to a feeble imitative ges- which one can touch and handle. But ture. pots can't be divided and multiplied, This book shows how to achieve satisfying results in design. It is illustrated with and remain the same, as poems, and in a more than 50 photo sequences and over 100 pictures of outstanding examples of ceramic So one must recognise from the start lesser degree pictures, can. As far as design, including 16 pages in full colour. that this magnificent book was not created by Elwyn Richardson or by the I can judge, the children's pots are strong, lumpy, assy- STONEWARE AND PORCELAIN: The Art of High Fired Pottery by Daniel Rhodes - 69/-d. New Zealand Council for Educational good. They are VResearch. The noonday demon of abstract metrical pots, with bold incisions and of the craft, but also with the This book is concerned not only with the methods boredom which has its home in our broad marks like bandages. I think they making. standards, meanings and values in pottery offices and schools is not its progen— have that quality which belongs to all itor. The book was made in spite of child art - they aren't built to last by John B. Kenny - 55/-d. THE COMPLETE BOOK OF POTTERY MAKING that all—pervading power; and Mr. for ever - they would be good to make and In nineteen series of photographs the learner is shown the various techniques — slab- Richardson is to be congratulated also good to smash — except for one or building, throwing, moulding, solid—casting, jiggering, using a turning box. chiefly for his humility. He made it two that would be kept as a memento of possible for Dennis, Eric, David, Mavis, a time when one felt particularly full Sir Isaac Pitman & Sons Limited, Barbara, and the rest, to make pots, of satisfaction. Because most children 158-164 Bouverie Street, lino-cuts, printed fabrics, drawings, feel (so rightly) that they will never Carlton, N.3, Victoria. 37 36 COWS

die, the urge to make remarkable monuu notion; for it delivers them from any Away down in the man high fern ments is usually absent from their encounter with the BBEEH ... Instead Cows are roaming creative action. It is one of the one has little houses made of tickyn With shiny backs showing. points of separation between the lives tacky in which little children made of (and so the art) of children and the tickyntacky grow up to be big people That poem by Owen gives me great satis— made of very thick strong rubbery lives (and so the art) of adults. I opaque faction; there are many others nearly tickyntacky. And 1 must get down from have seen squarish Japanese vases in as good. Yet I notice it follows the by soap box.) ’ which the urn-quality, the endurance present style for classroom poetry — of the knowledge of death by the living, wherever the children are 'encouraged' was so much part The fabric prints pleased me least of them that I found to write it — a clear, hard, exact it hard to (though even they were good to look at) look at them for long: one image (often, though not in this case, should not look too long at death or w chiefly because I suspected the a simple comparison); something at the naked sun. children had been 'encouraged' to look at caterpillars and leaves and make up observed; a tiny, broken fragment of experience; something expressed very The children made masks. Naturally patterns that resembled them. It's a visually; a form reminiscent of the they resemble most the geometrical way of integrating Nature Study with Japanese haiku. Like some of the fabric spirit—masks and ancestorumasks of the art syllabus. God help usl I Africa. A certain amount of a child's remember some gruesome hours at an prints, it side—steps the essential problem — that children are very loth to sense of what is terrible is represent— Ardmore Training College Teacher§ ed (or rather, signified) in them. Refresher Course when we had to look express their actual feeling states in That is the way they affect me. at leaves through magnifying glasses, the deeply authoritarian world of the and then paint them, and then write classroom — they will imitate, improvise, (At the risk of being mistaken, I would poems about them, under the guidance of make something in order to please. In like to make a crude distinction bet- an incarnation of the noonday demon, a the broad terms of Carl Jung, intellect ween craft and art. The small, beast- youngish art instructor on his way to and feeling predominate; intuition and headed, callipygnous earth mother which the top of the ladder. There were sensation remain for the most part I carved out of wet pumice with a 'extension exercises', if I remember asleep. To go back to the pictures — rusty nail, and which now stands on my rightly — something like being hung up or forward, if you like — would the window shelf, is a work of art, however with weights attached to one's ankles. children from time to time when they ill made. I made her to outlast the I wrote and circulated a number of represent people show them equipped with Hydrogen Bomb. Three things combined obscene quatrains in order to fend off genitals? I doubt it; I doubt if it to make her: my slight skill, the wet the power of that boring devil. Perhaps would occur to them to do so, except on pumice which taught me what I could do Mr. Richardson has 'encouraged' his the dunny wall. The world of the school and couldn't do with it, and a mainly children; perhaps not. Some of the and the world outside the school are subconscious feeling state connected fabric prints look the nearest thing to still separate — yet I deeply respect with motherhood and beasthood and what— it - very twondimensional, very nice the working compromise initiated by ever endures. The first two things and flat. people like Mr. Richardson. Let us not (skill and material) go to make craft; say, though - YThis is free; this is the third is necessary, however when you buy this book, you must look say — ’This is a nebulously, to make a work of art. In yourselves at the passages where Mr. art' - let us rather creative my own art, the making of poems, there Richardson tells how they built and development of a part of the of compromise; is no such thing as craft alone. Poems used their kiln. I liked reading about faculties in a situation are either symbols or nothing. But in it. But you would know precisely what may it continue.' all the arts where one carves, shapes, was involved in it. decorates, craft can stand separate On the whole I was much moved and from art. There is a school of thought It seems that Mr. Richardson was pre- cheered by this book. Some of the work which holds that craft is art, that the pared to accept whatever the children is very beautiful. And all of it was essential relation is that which exists produced, to get their confidence — it done by the children. They can do it between the artist and his medium — an would take a good while - and then let anywhere if they are allowed to. attractive notion, but in the long run the whole group make comments. My own depressing — too far, I think, from the doubt about whether actual works of primitive sources where some touch of art can be produced in a classroom the sacred symbol lay on everything rises to the surface when I read the James K. Baxter made. But our educators love this children's poems — 39 38 THE PICTURE GALLERY LTD. Base glaze: A Chestnut, cone 07A add Manganese dioxide 15 grams for a glossy mulberry brown. a discuss White lead 85 grams The Picture Gallery maintains the purchase of any work of a permanent sales display of Pottery in high standard. add Wengers 754 G.S. 5 grams for a Felspar 12 grams it attractive Gallery in the centre of glaze similar in colour to the Whiting 4 grams Lower Hutt city, and will be shortly Copenhagen blue grey. Ball Clay 12 grams moving to a much larger Gallery that THE PICTURE GALLERY LTD. add Rutile 30 grams, and Wengers 750 GS, Flint 100 grams is being built especially with Pottery 15 grams for a cold matt beige-grey 321 G. 120 grams Zinc oxide in mind. Potters are welcome to call 136 High Street, 60 Main Street, add Wengers 8Gs 50 grams, Rutile 3 grams 50 grams Tin oxide 12 grams and view at any time. Mr. Young (the Lower Hutt Upper Hutt Wengers 769G. 100 grams for a very good 58 GS Galleries Director) would be happy to 'phone 64—234 'phone 7768 red. 12 grams add Titanium oxide 40 grams for a good Second glaze: A light coat of Jade, matt beige. cone 07A. add Tin oxide 20 grams and Cobalt oxide 4 grams for a powder blue. white lead 350 grams add Tin oxide 20 grams, Zinc oxide 50 Felspar 50 grams grams, Copper oxide 5 grams for good Whiting 20 grams Frit 3 has the approximate composition:- turquoise green. Ball clay 20 grams GLAZING 0F EARTHEN WARE Flint 100 grams O.9l PbO . Blistering 235 GS 40 grams 0'09 NaZKZO ) 0.06 A1203 1.38 8102. O.C. Stephens. Sometimes if a glaze has blistered the Final glaze: A flecked green glaze, The glaze above can be modified in pot can be reclaimed by grinding off the cone 07A. texture by adding blisters and spraying on a thin coat of a soft majolica glaze. The pot must be White lead 400 grams Final Article Zinc oxide 15 grams warmed before the spraying. For this I Felspar 50 grams Tin oxide 12 grams. use my 2009 glaze maturing at 920 Whiting 20 grams The second article of this series 960 C, which iszv Ball clay 20 grams dealt with glazes maturing at 9600C And if then copper oxide 3 grams is Flint 110 grams (cone 07A) except that the last glaze added a delightful soft green results. Red lead 230 grams Zinc oxide 60 grams was a lead bi—silicate glaze maturing Flint g 12 grams Tin oxide 50 grams at lOBOOC. Either that glaze, or the Another base glaze formula thatogives China clay 40 grams Copper oxide 2 grams base glaze that follows can be used good results from 1080 C - 1140 C is:— 224 GS 3 grams with the oxides, glaze stains and Red lead has a nasty habit of cementing Rutile 30 grams modifying oxides, as with the 9600C Frit 3 387 grams on the bottom of the bottle, but this range of glazes. The colour tones and Clay 89.4 grams can be prevented by adding about 1 gram A completely different effect is obtain— of anhydrous textures will not be exactly the same Whiting 36.6 grams Calcium Chloride to one ed if the second glaze is omitted, and' but a good guide for further experi— Silica 85.2 grams pint of glaze. Sometimes Magnesium a different effect again is obtained if menting will be obvious. Sulphate is used but I find the Calcium the glazes are fired between each coat. This second base glaze is:- Using the lead bi—silicate glaze given Chloride more satisfactory. In this case the pot must be heated and in the second article the the second coat of glaze sprayed on. Frit 3* 200 grams following Decoration using glaze on glaze White clay additions give good results:— 44 grams On a coloured biscuit I recommend a base whiting 9 grams Using about 508 grams This is a most useful way of obtaining cone 07A glaze:— Flint 41 grams of base glaze, and firing to 1140 C — effects in the glaze which can be very beautiful. A base glaze is put on the 769G* 375 grams biscuit (rather add Copper oxide 40 grams to get a gun— more thinly than usual) White lead 50 grams metal star then a second glaze is put on top; and Felspar 50 grams even a third glaze can be put on top of Whiting 20 grams add Zinc oxide 150 grams, for a satin— all. Care must be 20 grams matt glaze. taken that the total Ball Clay coating is not too thick or the glaze 50 grams add iron oxide 70 grams for a golden Flint Frit 3 is obtainable from the Ceramic may crawl in the glaze firing. brown speckle. This is covered by a second glaze coat Supply Co., 1 Lakemba Street, Belmore, add Crocus Martis 15 grams for a clear of either one of the two following Sydney. A good example of a triple glaze—on» golden brown cone 07A glazeszu glaze is:— 40 41 I Orange. These are just some suggestions You will doubtless find many more. White lead 400 grams Felspar 50 grams Paper Resist. Whiting 20 grams Oswold Stephens at the Otago and Ball clay 20 grams can be cut out of paper and Flint 110 grams A design Southland Potters' First Exhibitiqn held in place on a flat surface with Zinc oxide 60 grams small lead weights while the second Tin oxide 50 grams glaze is sprayed on. The paper design Copper oxide 2 grams is removed before firing. 224 GS 3 grams Rutile 30 grams Acrylic Resist. II When an earthenware pot has been glazed fired, it is necessary to have it white lead 400 grams and before another glaze is put on. Felspar 50 grams hot makes it impossible to use wax for Whiting _ 20 grams This resist pattern, for the wax would Ball clay 20 grams the the pot was being heated. A Flint 110 grams melt while LIFE MEMBERS however be painted on using Zinc oxide 60 grams design can (No.1 gloss) put on Tin oxide 50 grams 'Cryla' medium fairly thickly. Then heat the pot, Copper oxide 2 grams At glaze - and then the first Annual Meeting of the New Mazarine 20 GS 10 grams spray on the second Zealand Society of Potters, three Rutile with the point of a sharp knife care— people 35 grams were elected life fully lift up the end of the medium and members as a tribute to the way in which they No.1 gives a lovely green fleck, and peel it gently off, carrying its cover had served the craft for many years. They No.11 gives a blue fleck. of the second glaze with it. Sometimes were:— Oswold Stephens, Elizabeth Matheson with all methods of Resist Decoration, and Olive Jones. A brief history = The 769 is a heavy coat of the second of each glaze, 321 glaze, and the if there follows: various glaze stains mentioned; glaze, the glaze blisters. If this 58GS, 23568, 22488, and ZOGS are happens, grind off the blisters as much obtainable from Wengers Ltd. as possible and spray with a soft majolica glaze such as my 2009, or a wax version of it:— Resist. coloured at this early Oswold Stephens has long been regarded date he was experimenting with stoneware pottery, 230 grams as the doyen of potters in Otago. The and when, in When this method of decoration is used Red Lead 1932, he was appointed respect in which he is held is, Principal Science on earthenware, which must be sealed Flint 12 grams indeed, well-founded. Master at King Edward Technical College by the clay 40 grams glaze, unlike stoneware, a base China in Dunedin, he felt he could continue oxide 20 grams glaze must be applied before the Uranium his interest in pottery as a hobby. pattern Calcium chloride, anhydrous 2 grams or design is painted on, After a brilliant academic career at using a hot mixture of Texwax and Canterbury Agricultural College, where By 1936, Oswold Stephens had construct— Kerosene. Then a second glaze is This of course must then be refired. he was gold medallist, he graduated ed a studio pottery at the bottom of applied by pouring or dipping. This It may be decided to do this even if M.Sc., with first-class honours in his garden and the demand for his work second glaze runs off the wax, covering the glaze has not blistered as it often chemistry from Otago University in so exceeded his expectation that his only the unwaxed surface. In the gives very beautiful results. 1923. It was at the University that hobby became a serious spare-time occu- ordinary glaze firing that follows, the his interest in the heat treatment of pation. He enlarged his studiq.and wax burns away, showing the first glaze I hope this series of articles has clays was first aroused, and consequent— built himself a bigger kiln, this time making the design through the second given the earthenware potters some ly, after a short year of teaching at an electric one of 4% cubic feet cap— glaze. Useful glazes for wax resist information that will be of value to Hastings, he accepted an appointment as acity, heated by Globar rods and con— are, for the first glaze, Primrose, them. If they have been encouraged industrial chemist at N. Z. Insulators trolled by special switch gear designed and made Orange, Beige, Turquoise. And for the to try more and more experiments using Ltd. in Temuka. There, for seven years, in Dunedin. This enabled the second glaze, Chestnut, Green, or Brown intelligently the results gained by he applied the same patient and careful load to be raised in 4 kilowatt steps from O on Primrose or Beige,_Lapis Blue or success and failure then I will feel research that has characterised his app— — 32 without having to use a transformer. Terracotta on Turquoise, Brown on the articles will have been worthwhile. roach to every task before him. Even he is man shows. As might be expected, he was firing for org— Potters Bay, where she was living. Mr. Fulford to By the forties, a Founder Member of the local ‘ Helen Mason , install'ing a lar e l _ such as the University Ex- President. In of Havelock North gave her a lesson in anisations Group and is its current tric McGregor kiln in its place g 8 EC the Roxburgh Health Camp, Visual Arts stoking her first kiln with coal. By tension and 1957 he organised for the potters who 1938 pottery had ousted 5::zabeth has always as well as for individual the first exhibition of New the other work used local clays a Society and was som:nogug and prepared had no kiln. Many a potter owed which has since become just providing a living. In by herself, made Zealand Potters ers to his personal help and 1939—40 Elizabeth Matheson and Olive Shee; own glazes and imported great deal an annual event. oth— knowledge waré a d , as encouragement. His extensive Jones combined with a stall at the Well— always worked in earthen— COlour: I; of glaze chemistry was never withheld ington Centennial Exhibition, taking noied for her very pleasant from the tyro or the expert. month about demonstrating with the wheel . er indness and warm res Stephens E: No record of the work of Oswold and selling what they had made in be— apy plea for help and her readingzgse trod without b p ay her Many distinguished visitors have could end properly, however, tween. In 1940 Elizabeth moved to Sea— part in any project devised practical co- y the younger that garden path to Oswold Stephen's mention of the faithful, toun, Wellington;for family reasons,and potters, have made her a Frey— Ailsa, whose much-loved studio, including Lord and Lady operation of his wife, built an oil fired muffle kiln. In 1954 and res pected me b so often enliv— pottery fraternity. berg and Lady Norrie. Lady Freyberg, feeling for design has she dismantled this and sold the parts m er Of the special husband-and—wife indeed, commissioned several ened the work of this her to the way, goes on pieces which she took back with team, a work which, by can be Stephens' retirement England. Oswold Stephens' work unabated, since Mr. their interest found in Dunedin Public Art Gallery, from teaching, for while and in in earthenware, they Otago Museum, Government House has for long been well as to experiment New Zealand House in London, as have once again started up and down the with marked success. in many private homes in stoneware Olive Jones of Onehunga, Auckland, re— standards of design and technical ex- at country. He is a regular exhibitor T.E. ceived her early art training at Elam cellence have been both a stimulation one— exhibitions and has held several School of Art. It was during a period and a challenge to man ot te s l c of work in Australia that she first be— followed her. Y P r W10 hqve Elizabeth Matheson came interested in pottery. In 1931 Olive Jones she went to England, where she studied pottery and sculpture at the L.C.C Central and Camberwell Schools. A. 1920 when Elizabeth Mathe- lurther StUdV . p e r ' 0d 0 0 we d at Burslem It was about a earn her living as son first began to Her work was pfofessional craftswoman. By 1930, when In 1934 she returned to New Zealand with mainly in metal repousse. "magnumwn~ to England, her enough material and equipment to set up she was given a trip by larger imp— hat own studio at Onehunga. Her elec— livlihood was threatened articles, so tric wheel, with the Speed governed by .mm*p ortations of machine—made craft and cones, is a professional wheel as used she felt she needed another as she in the English potteries. chose "in blissful ignorance" She went to the Cent— puts it, pottery. London, and begged ral School of Art, for a :2; many years she fired her pots in an had no time whdwnm., for lessons as she her in for 13 ago—Cited muffle kiln, but a few years course. They let ”a proper idea ever anged to an electric kiln. How- long enough to get some

just My“ days, old iiiccaSionally she still fires the and to help once with about the wheel firi Some of the less— fi n ior a stoneware or salt glaze the filling of a kiln. and proved trainffi er pots reflect her thorough were with Dora Billington

ons fihishei. Ihey are well thrown, well -m~.»~n/... 4 most valuable. the tie}. With well-fitting glazes in she spent 1 colours of earthenware. her return to New Zealand, On at ten days with Elizabeth Lissaman about fir— Si:¥:njone: must have been the first New Seddon, learning particularly between work— pure forS: Eer to have introduced ing and glazing. Then in simple, she began to been the foro this country and has thus ing at her other crafts, in Hawkes tem O erunner of much of our con— experiment with local clays p rary work. Her uncompromising

44 45 THE NEW ZEALAND SOCIETY OF POTTERS INC.

When the Society was mooted some may permanent collection at the Inter~ have had doubts as to whether‘it would national Museum of Ceramics at Faenza, be of any use to studio potters. Italy, and we also hope to send an However it is now showing that it is exhibition to that City's International able to assist them a great deal. Exhibition in 1966. Indeed, the rate of growth is so accelerated that demands are coming in Approaches were made to Michael Cardew from many parts of the world for New to visit New Zealand next year, but Zealand pots. unfortunately he has returned to U.K. where he is busy publishing a book. We would like to record our appreciation Later he may be able to make the trip. of the excellent liaison between the In the meantime the Society is giving New Zealand Society and the Government consideration to inviting another world Departments of External Affairs, figure in the potting field and will Internal Affairs, Tourist and Publicity keep you advised of progress. and Industries and Commerce as well as the Queen Elizabeth II Arts Council. All this is very gratifying and shows Without the grand help of the External the potential of the rapidly developing Affairs Department it would not have New Zealand Society but there is no been possible to send two Exhibitions room for complacency. In order to NEW ZEALAND to the U.S.A. — one to Washington to retain and extend his audience the New the Kiln Club's International Exhibit— Zealand potter must be intellectually SOCIETY OF ion and the other to Chautauqua alert, and have an aesthetic awareness University. Industries and Commerce as well as technical skill. POTTERS’ have just sent an Exhibition of New Zealand Crafts to the Council of Muriel Moody EXHIBITION Industrial Design, Haymarket, London, President and included in this display are pots purchased by them at our National Ex- AUCKLAND hibitions. Our thanks go to the Queen WAR MEMORIAL Elizabeth II Arts Council for making U S E U M it possible for so many of our potters M to meet Shoji Hamada, and to enjoy 7th.-20th. stimulation of seeing this great man at work. To many of us it could be des- THIRTY AND UNDER EXHIBITION NOVEMBER cribed as a "punch in the chest".

OFFICIAL We have also been asked by the Queen The New Zealand Society of Potters is OPENING Elizabeth II Arts Council to assemble gathering together an exhibition of a small exhibition of the work of New the work of serious potters thirty 6th.Nov. at 8pm. Zealand potters for the Waratah Arts years of age and under. Mr. Warren Invitation tickets 10/— each.Send t0 the Festival in Sydney. Tippett, of Christchurch, has been appointed organiser. Exhibition Secretary, Mrs Margaret Milne Our appreciation 36 Maungakiekie Ave. Green Lane, Auckland S.E.4. also goes to the Tourist and Publicity Department for If you are eligible and wish your work Complimentary tickets will be sent to their help in making the work of the to be considered, contact the Secretary, Potters whose work is, accepted for exhibition. New Zealand potters known overseas. N.Z. Society of Potters, P.O. Box 3294, Wellington. At the 9th New Zealand Potters Exhibit» ion we hope to purchase a small but This exhibition will tour New Zealand Choice collection of pots for the next year, and will be available, not 46‘ 47 the own account and this year presenting that although it may have some weakness— second only to the larger centres, but also to New Zealand exhibition for the es (and what system hasn't?) the fact towns with a Potters' Group sufficient~ THE AUCKLAND SCENE time. Thirtyfive of its members ineld— that the Auckland Studio Potters is an in- 1y organised to be able to sponsor and Martin Beck entallv earned foundation membership active and cohesive administration repre— display the exhibition. the New Zealand Society. All this would senting pretty fairly all those wide seem to indicate plenty of vitality in potting interests from the dilettante to First some instant history. In 1925 perhaps the While some of the touring expenses will the Auckland Scene. But the full time professional is its great— Briar Gardiner — New Zealand's first continua be covered by a grant, the balance of greatest promise of growth-and eét strength. studio potter. Carrying the flag from the expenses will be paid by the N.Z. ity is the recognition by all concerned the pre—war to the post—war years, R.N. Society of Potters. Display costs will Field and Olive Jones (still an exhibit- be the responsibility of those centres ing member of tne Auckland group). Then participating in this project. Patricia Perrin, Len Castle and Peter Stichbury, the start of the post-war re— Application to display the exhibition naissance. Into the nineteen fifties should be made to the New Zealand NINTH NEW ZEALAND POTTERSEXHIBITION and the movement really began. An Auck- Society of Potters, stating what land group, led by those above and also facilities are available. the late Vernon Brown, Dennis Hanna and the New Zealand Society of Potters, Inc. others made a few faltering steps and P.O. Box 3294, Wellington. died. The North Shore Group, initiated Opening Date: Saturday, 6th November, by Ian Firth, Peter Webb, Nancy and Mar— > 8 p.m., Auckland War tin Beck, Betty Brookes, joined later by Memorial Museum Lecture Exhibition Committeg: The Standing Mary Hardwick-Smith, Barry Brickell and Hall, entrance by the Committee of the AUCkland Studio Potters, which consists of: A Few Suggestions For Packing Exhibits. others, proved more hardy. Finally the Western Door. wisdom of amalgamation became evident. Chairman: Mary Hardwick—Smith Wrap each piece separately in paper and The Auckland Studio Potters Group, Exhibition will be open to the public Vice Chairman: Peter Stichbury if possible wrap around with corrugated formed in 1961 with 61 members has since during Museum Hours from 2 p.m. on Secretary: card, tied in place. When packing in grown to 170 and now speaks with one Sunday November 7 to S p.m. on Saturday Margaret Milne container (box, carton, etc.) pack voice for all potters in the province. November 20. Treasurer: Betty Colson tightly, with tightly rolled balls or Over 50 of its members are regular ex- Members: Olive Jones rolls of newspaper, making sure there hibitors in pottery exhibitions through— Pots may be collected on Sunday Patricia Perrin out is no movement of pots. Wood wool may New Zealand. Avondale College, the November 21 between the hours of 2 u 3 Mavis Robinson be used, but must be packed very tight- original alma mater of so many Auckland p.m. Jean Weir ]y or pots will work their way through potters, has been joined over the past Marjorie Leighton and bump each other with the vibration ten years by 24 further adult night Tickets for Opening Night Ten Shillings Jim Palmer classes, the schools providing experi~ of travelling. If you must use wood each from Mrs. Margaret Milne Betty Brown enced tuition wool, put it in paper bags forming cush~ by working potters and Secretary 9th N.Z. Potters' Exhibition Brian Lusk with sufficient facilities provided for ions. A word about cartons _ if you use 36 Maungakiekie Avenue Ted Twiss making pots. The result, an increased these, make sure that the open end is Green Lane Advisers: The Director, War awareness and appreciation of pots by well strapped down. If this is not done Auckland Memorial Museum, many people and the emergence of a few the carton may work, causing it to dis— thereafter No Charge for admission Mr. Turbott more promising potters every year. tort, with dire results to the contents. COmplimentary tickets will be sent to Display artist of the A strip of strong brown paper glued Exhibitors. Museum, Mrs. Betty across the join is usually adequate. And the picture now after virtually Brookes twenty years of post—war growth, slow at Works may be submitted by Exhibiting Len Castle Whatever you use for packing, make sure first but explosive over the past five Members of the New Zealand Society of Martin Beck there can be no movement of the pots, years? In the Auckland province some Potters Inc. or by Candidates for that they six full time professional potters and cannot come in contact with Exhibiting Membership. Selection Committee: one another or touch any hard surface, about fifteen serious semi—professional and that the container will not go out part-timers, as well as the dozens of Number of pots must not exceed six in Chairman: Mr. P.D. Pierce of shape. amateur part—timers who contribute regu— Members: Mr. Gilbert larly to exhibitions. About a dozen any of three categories, with a total of Docking twelve. Director Address clearly, print for preference. galleries and retail outlets who number of the Auckland Mark "POTTERY - FRAGILE". hand made pots among their chief exhib- Art Gallery its. To date, five large scale annual Entry Forms may be obtained from Len Castle Contributed by Ted Twiss. exhibitions by the Auckland Group on its Margaret Milne, or from the Secretary of Juliet Peter Mary Hardwick-Smith 49 of room decoration, the tokonoma. The TWO SCHOOLS 0F THOUGHT easel painting as such has no place in the austere Japanese room ith tatami SEABOARD JOINERY LTD. Helen Mason matting on the floor and plastered walls of earth colour. Decoration is con— fined to the tokonoma alcove graced Was it by accident or design that the with hanging scroll and handmade pot. exhibition of the Decorative Arts of Therefore it is not surprising that the Modern Japan followed so closely on Japanese have taken the art of ceramics that of the master potter Shoji Hamada? to a very high level. And it is also However it came about these two exhibi- not surprising that different approaches tions, representing as they do two very have been developed in the same way that different schools of thought, have given the Western world divides up its the perceptive New Zealander a unique painters into schools. Opportunity to further his artistic education} Professor Koyama, the well known auth— ority on Japanese ceramics, says in a Most of us are familiar with the tenets survey of Contemporary Ceramic Art in of the modern pottery movement as so Japan written as a forword in a cata— ably expounded by Bernard Leach in his logue for an exhibition at the National books and pots. Without that codifica— Museum of Modern Art in Tokyo in 1959: tion, which offers a very sound basis on which to build, we would have found ”It appears that the number of ceramic it difficult to get started as potters. artists ..... exhibiting their works at We would have been looking for something exhibitions is not less than three but not known what it was. The friend— hundred. Among ceramic artists in ship of Shoji Hamada and Bernard Leach today's Japan, some are making such has been the means of starting many traditional ceramics as Shino, Oribe, Westerners along the difficult path of lga, Shigaraki, Raku, Bizen, Hagi,. trying to understand and appreciate Takatori, Karatsu and Satsuma wares, Eastern culture. But because this and some are skilful in imitating such friendship has been so well recorded in old porcelain wares as Kutani, Iro Leach's books it is easy to gain the Nabeshima, Shonzui and Kinrande wares. impression that the pots of Shoji Hamada 0n the other hand, Rosanjin Kitaoji, typify those of all Japanese potters. Munemaro Ishiguro, Toyozo Arakawa and \J Therefore to many the Decorative Arts Kei Fujiwara are making efforts to

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(n p of New Zealand Mr. Hamada selected 'CR Whee‘ ' potters have looked at it with blinkers following such traditional ceramics as on> not even trying to see what it is Oribe, Shino, Bizen wares and Sung all about. porcelain wares. If we call the former group the classical school, the Authorised Japan is a country with a long tradition the latter may be called the neo- manufacturers of of pottery making, for clay is one of classical school. Those who are most ”Leach” the few indigenous raw materials. numerous are ceramic artists belonging Potters' Wheels Since early times the craftsman potter to the Nitten Exhibition. They are has fulfilled the needs of the community making it their motto to violate tradi- with his pots. but as well there have tion and create new ceramics. With been ceramic artists, whose names and the same intention, the Shinsho—kai SEABOARD JOINERY LTD. pots are still remembered, since the Association was organised by those who Momoyama period (1574 - lélé). The are under the leadership of Kenkichi traditional Japanese way of life needs Tomimoto.‘ Ceramic artists of the a great deal of pottery, not only in Kokugakai Association are under the the many dishes used during the course leadership of Soetsu Yanagi, Shoji

H1 (3 Hamada a meal: but also in the accepted form and Kanjiro Kawai and belong to

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O UI can hope LU The large exhibition the scnool of folk art. Those who and probably no Westerner, pot is the logical pattern. Add outcome of the way of working of have the most fresh styles are vanguard understand its complete the very little is ceramic artists belonging to the Sodei» to which the fact that individual potter living in a highly sha and Shiko-kai Associations. They written in English about modern potters industrialised community. It is a are showing young and vivid activities. apart from the Mingei group, and you will challenge to the potter, provides an As mentioned above, the ceramic art in understand that for the foreigner the interesting exhibition for the public, today's Japan may be divided into six situation is very complex. and performs a useful function in the main schools, namely the classical decoration of buildings and public school, the nan-classical school, the The decorative arts school represented places. We can see this same type of Nitten school, the Shinsho-kai school, in the recent exhibition approach pots pot beginning to develop in our own the school of folk art and the vanguard from their own viewpoint. To quote New Zealand Potters' Exhibition. They school." from the catalogue: ”It is not that in stand quite happily alongside the teapot modern Japanese decorative art, handi— and the bowl, giving stature and dimen- From this it can be seen that the school work is highly appreciated for itself sion to the exhibition. If we can keep of folk art (or Mingei) of which Shoji alone, or that it is maintained only this tolerance and continue to accept Hanmda is now the leader, is dedicated for racially nostalgic reasons. The different points of view we are all the to the preservation and appreciation of decorative arts have the same artistic richer and our exhibitions will be all the traditional in the West as well as aim as painting and engraving, and the stronger. Surely the artistic the East. Early in the nineteen their traditional techniques are now integrity of the pot itself, whether twenties as young men and friends with recognised as plastic means of reproduc large or small, decorative or functional, similar ideals, Leach and Ramada decided ing modern beauty. Thus, the works should be the sole criterion. This to to spend their lives working for these should represent the individual person— ideals. Bernard Leach felt the need ality of the craftsman.” anyone with an open mind and a fair to find his own roots and came back to degree of perception is immediately England and set up the famous pottery Quite a number of these individual evident. at St. Ives. Shoji Ramada found the potters live in the famous old town of village of Mashiko and set up his kiln Seto, city of 2000 kilns. Some of among the traditional potters whose them are the more gifted members of families had been working there for pottery families such as the Kate centuries. He adopted the rich warm family, with a history stretching back worked their way into the top bracket earthy glazes and shapes of the area to the 12th Century when the first after years of hard work, much training, and developed them himself. The film kilns were built there. Using the and a high degree of natural he brought with him and which many of traditional local clays and glazes they talent. In a nation like us saw gives an excellent idea of the accept the idea that the pots should Japan, with a well— developed Nashiko methods as they were when he reflect their own personal artistic artistic awareness, to get to first went there. When one walks down development, and concentrate on this, the tOp you have to be good. Very few the village street at Mashiko peering with one or two "disciples”-as they of them have travelled outside their into the many pottery shops, to the term them, to help. These boys turn Own country, except possibly to China, untutored eye all the pots look as if out plates and dishes and cups to the so they are not directly influenced by they had come from Hamada's workshop. master's design which are ordered by the West. Being men of their time, It is only as one's perception grows the Japanese Inns, or sold through such however, they are naturally affected that one can begin to distinguish the outlets as Craft Centre= Japan, in. by the changing ideas of the world in hand of the master, for master potter Tokyo. This particular organisation which they live. he undoubtedly is. But to understand will only accept for sale work by something of the man and his pots it is approved craftsmen and the standard is The pots in this Exhibition were stimu— important to fit them into context. master lends a hand very high. The lating and exciting, even though to us, It is also wise to remember that those with the orders when necessary, or gets with a different visual background, the dedicated to the preservation of the on with his own work which is in con— idiom was sometimes strange. It is traditional in Japan or any other bLq demand For a steady round of ex; Unfortunate if some vague pottery country are not particularly enthusias- hibitions. mystique prevented anyone tic about the emancipation of women. from enjoying them to the full. The opportunity Most of the potters represented in the to study the products of two such The ramifications of the Japanese pottery Japan Decorative Arts Exhibition are different schools of Japanese industry are sc great that few Japanese men of fity years or more who have thought within a short Space of time would be a rare privilege even in Europe or America. Modern Japanese Decorative Art

53 We solicit orders against the arrival of these goods. Our new and up-to—date catalogue C.C.G. INDUSTRIES LTD. incorporating the Podmore range of materials should be available for distribution at the beginning of August.

Please include if sufficient room the cone numbers we have in stock as previously advised. Are pleased to announce that:— They have taken over the well—known Podmore products Agency and distribution for New Zealand. We are expecting the following supplies to arrive in New Zealand towards the end of October and these should be available in C.C.G. INDUSTRIES LTD. November: P.0. BOX 3724. AUCKLAND. Corner Kent & Crowhurst Streets, NEWMARKET. (Upstairs, Kent Street entrance Exide Battery Building)

Prepared clay for modelling and throwing:

(a) Red Terracotta Plastic, Temperature 1020:C — 10402C B33/l NOTES ON OUR ADVERTISERS .The brickwork described in foregoing (b) Buff Clay Plastic (with 10% grog) " llOOOC — llSOOC B34/l articles on kilns is of the traditional (c) Stoneware Plastic " 1250 C - 1300 C B32/l type, — massive, moderate in insulation Mavis Jack has had great difficulty for value and low in cost. With modern The pack will be minimum 56 lbs. where the colour is indicated it means the fixed several years in obtaining more than materials a lighter and more insulated colour. We will be pleased to quote for orders of one ton and over on an Indent basis token licences for Podmore materials type of kiln can be constructed, and and has finally decided to give up the casting processes can be used to cut Our well-known Multi—Purpose Clay will still be available in dry powder form. agency. This has now been taken over on building operations. The outer red by C.C.G. Industries Ltd., Auckland. brick skin can be largely replaced She retains her Agency for Bricesco with panels of heat—resisting insulat- Kilns, though at present these can only ing concrete composed of Ciment Fondu be obtained on a No Remittance Licence. and Vermiculite, a very light expanded She has in stock, however, elements and mica—like mineral, with ordinary brick- Podmore glazes to fit their Clays will be available, that is transparent low solubiliq shelves for these kilns. We are grate— work or a denser concrete made from and leadless, opaquewhite leadless and low solubility/tin, Matt white and in the case ful to Mavis for all the battling she Ciment Fondu and firebrick aggregate of B34 Vellum Matt in white and cream. Other particular Glazes will be procured has done on behalf of potters for many at points of high loading. against firm orders. years and hope that the time now saved will enable her to spend more energies Care must be taken to avoid water loss on her own work. from the porus concrete while setting is continuing, so it is best to form

- o panels in water tight moulds. In situ Tenmoku Glaze for 1230/1300 c A range of the David Leach Stoneware Glazes including The Leach Type pottery wheels made by casting is possible if any adjacent Green Celadon Glaze for 1260 c, Trans— mottled off white matt Glaze for 12800c, Blue Seaboard Joinery Ltd., have become known brickwork can be soaked first and kept Pale Blue Green Porcelain or parent Porcelain or Stoneware Glaze l2800c — 13OOOc, throughout New Zealand for fine crafts- WEt- To place sections SUCh as a Brown Stoneware Glaze Stoneware Glaze 128000 — l30000 and Variegated Matt Greeny manship and durability. When Bernard crown capping, a plastic film tank 1280°c — l3OOOc. Leach was in this country he examined C°U1d be employed. the wheels and said they compare very favourably with the ones made to this’ Vermiculite refractory concrete has pattern in England. Mr. L.D. Cohen, slightly elastic qualities rather like proprietor of the joinery company in expanded plastic insulation material, which they are made, is an enthusiast but with heat resistance to 1000 C., A range of Waterground Lead and Leadless Frits. - who believes in his products. He has and it can be readily cut or sawn. gone to endless trouble to provide A range of Glaze Stains, Body Stains, Underglaze colour earthenware and stoneware as wheels for various demonstrations and well as underglazes Crayons and on Glaze Enamels. has a genuine interest in pots and Vermiculite insulating Concrete may be potters. obtained from J.H.M. Carpenter Ltd. 54 55 POTTERS ter, although not self-employed, and so he does already in a certain Courtney Archer, of Southbrook, North sense Canterbury, well—known for his knowledge belong to the class which we are aiming to inoculate and his collection of Chinese pottery, into this society. His has been travelling again. He says; pots have ”breadth” and convey the very "Last year I was fortunate to examine definite and direct appeal of efficiency and commonsense.” the most interesting collection of When George finish— Chinese pottery discovered in Sarawak ed the course at Kampala he went to by Tom Harrison and his workers at the Nigeria and worked with Michael Cardew and Peter Sarawak Museum, as well as examining Bruce—Dick at Abuja for a year. mostly Ming dishes and jars kept by the On his return to Uganda he was Ibans in their long houses up country given a loan to set up a new pottery. in Borneo. There is a wonderful This has been established for over a collection of Chinese pottery in the year and things are going well. He is museum at Djakarta, going back to the an enthusiastic reader of our magazine. Han dynasty, and I feel certain that sometime we may discover Chinese pottery Michael Cardew, who finally retired in New Zealand, brought by a junk blown from his famous pottery at Abuja, off its course to South East Asia.”. Nigeria, last June, is at present unable to accept the invitation of the New P.D.J. Leach, English potter who is Zealand Society of Potters sent through working his way round the Middle East Peter Stichbury, to visit this country, at present in search of pottery in Asia, He says: ”It is reallylyery kind of all is now in Beirut, working in a studio New Zealand potters to invite me like there and preparing for an exhibition this, but, immediately, there is no prospect of my being free to come: of pottery. Ann Verdcourt No place like home, and I want to be Barry Brickell recently Spent a short back at Wenford for a bit to see what's period working in Nelson with Mirek going on there. And I am not going to John Lawrence Smisek and Michael Trumic. He was propose any world tours until I have at written up in the Nelson NewSpaper as last succeeded in finishing my book the owner of the only railway in the (Pioneer Pottery — Faber and Faber) of John and Ann Lawrence, potter and In the meantime they are working their country that makes its own crockery ~ which only about two chapters remain to sculptor respectively, have set up their two small electric kilns overtime be written: the Driving Creek Pottery and Railway but lots of work on the studio at Pahiatua, where John teaches making mugs, eggcups, small vases, Company, Unlimited. illustrations, diagrams and drawings art at Tararua College and Ann takes spice jars and hand modelled flower and revision will take at least six night classes for adult education. arrangement pieces. George Sempagala of Kampala, Uganda, months "I m sure.” He also has a date They are experimenting with New Zealand was one of Michael Gill’s original the 20th July in London to have the Clays and gradually getting acclimatis— pupils mien he started training Inlour last issue, Vol. 7 No. 2, this potters a E.E. pinned on. This is an official ed. During the May holidays they at the Kampala Technical institute in Nigerian casserole No. 7 on Page 38 was wrongly recognition of the significance Visited Nelson and met their potter 1957. The aim of the Uganda Develop— of Abuja Pottery, which ascribed to Marjorie Leighton. It was pleases him compatriots established there. Ann ment Corporation in employing Michael much for this reason. Ladi in fact made by Lila Coker of Dunedin, Kwali was holds a National Diploma of Design in Gill was to produce an artisan-crafts- awarded the same decoration in 1962. to whom we apologise. Sculpture and John the same degree in man class of workers to bridge the gap Michael Cardww concludes: ”Ivan Industrial Pottery. John was Head of between the peasant farmers and the new McMeekin wants me to go to Australia the Pottery Department of the Luton Art industrialist-terhnicians. Of his too, on a Visit. But I don't want to School at Luton in England and Ann was students Michael Cill said: ”They are do anything until the book is published a member of the National Society of not cursed with English inhibitions, and we see whether it succeeds. I feel Portrait Sculptors. At their studio nor are they preoccupied by problems of I've left it rather too long and too in Luton they undertook commissions for artist status, so that from the start late. But if it's the will of Allah, their pots are themselves translated I do look forward to some day being able architectural ceramics, individual pots directly into clay. George Sempagala, to visit you all and accept your awfully and tiles. In due course they hope to for example, is solid, hard—working and kind offer, and make pots with you (if Set up a similar studio here.

dependable. His father was a carpen— I haven't forgotten how by then!)“

UI 57 o, Peggy Dickinson, potter from the U.S.A., spent some months in New Zealand with Claire Bunby, young Auckland potter, Diploma in Ceramics. This should give her husband who was on a Field Scholar— has been working full—time since him a comprehensive knowledge of all ship. She writes: ”While travelling friends built her a kiln in her back— classes of pottery, pottery chemistry in New Zealand, enjoying the hospital— yard last September. After a year and and physics. On his return he intends ity of many New Zealand potters, I a half at Elam Art School in 1962—63 to pass on the knowledge gained by mean: found two natural glaze materials which she did a course in pottery at Kelston of teaching. would be of use to potters. Both occur High School. She makes many utility in sufficient quantity for use by studio pots, but as well enjoys making large, John Kingston had a very busy year team potters and are easily obtained. Mirek bold shapes with free sculptured lines. ing at the Cleveland Institute of Arts, Smisek tested them in his reduction kiln Ohio, U.S.A.. He has been asked to go at stoneware temperature. I hope that Cecily Gibson, Australian potter who back for another year as Assistant to you can publish the information so that worked in Japan for three years, rec— Toshiko Takaeza, whose place he filled I may return in some small way the many ently held an exhibition in Canberra. while she had a year's Sabbatical to kindnesses and pleasant hours J enjoyed David Thomas comments: ”Cecily Gibson, carry on her own work. with New Zealand potters. in her first exhibition since her re- turn, shows to the fullest extent the Warren Tippett consigned a case of pots ”At Karitane Pa, just north of Dunedin, influence that Japanese traditions, to Hamilton but it never arrived. Five I found an extremely plastic red iron skills and teaching can have on a months later it turned up in Califor— bearing clay of the kind used for house creative and talented artist. In look— nia, U.S.A. having been mixed up with decoration by the Maoris. From the ing at her work, all preconceived someone's household goods being shipped end of the road adjacent to the beach, notions of pottery as a craft should be from New Zealand to U.S.A.. Can one walk north around the headland and con— dismissed in the enjoyment of an art make a claim for loss of profit? Such tinue along the beach until sighting a which, in the hands of this potter, is a mixup could make serious financial young sea—stack forming a natural arch. The Maxwell Gimblett, the Auckland potter bursting forth into the full richness difficulties for a struggling of a mature clay appears in the cliff on the left, and painter, who has been studying and style." potter. just beyond this stack. It also out— working in Canada is now moving on for Shell , who live at crops further up the beach behind some further study in the U.S.A.. His John and Elizabeth Jack and Peggy Laird are now well Old Manor, Littlehempston, Totnes, )pen caves, and on the other side of Canadian wife, Barbara, goes to Graduate The established in their Waimea Pottery at England, hold pottery courses :he Karitane headland itself. This School at University of California, Devon, clay fired Richmond, Nelson. Caroline Webber of during the summer and it is possible to a rich dark brown, quite Berkeley, to work towards a M.A. and Nelson joined them last March and Rachel live with them in the Manor. During natallic when thick and very matt in Ph.D. in English Literature, while Graham from England arrived in May. the winter John Shelly makes his own surface texture. I suggest it also Maxwell has been accepted for Painting for Carl Vendelbosch of Geraldine, with his pottery but will give advice and help underglaze decoration. and Ceramics at the San Francisco Art wife Elly and three children, has re- to those who wish to share the studio Institute. As he has to earn enough "In the head of the Matukituki Valley cently moved up to Nelson and joined the and make pots on their own. near Lake Wanaka are several miles of in the vacations by working in factories team. Jack and Peggy have been working rock flour mounds. and as a labourer to keep them going for hard since they Driving up the started and have had The Ceramic Study Group, Sydney, ralley, past the academic term, he leads a busy life. the gate, and continuing continues to flourish. It was formed :owards Rob Roy Glacier, They have plans for living in New Zeal— the flour little more than a half day each month in November, 1963, its main objects vccurs in and after the present period of studies grey mounds along the creeks off but Carl's help should ease the being to continue the training commenced in California. The first potter 1nd ditches. The powder is extremely burden of keeping up with demands. A in the Ceramics Department at East Maxwell 7ine, but can be picked up in chunks. worked with in Toronto was Roman recent commission has been a 30 square Sydney Technical College and to enquire Bartkin, who once worked .n Mirek's stoneware firing it produced with Harry feet mural for the new offices of the into all matters concerned with Studio { fine rich brown semimatt glaze, Davis in Cornwall. Roman is settling Nelson City Council, fastened to a local Potting. Membership is restricted to into Elecked with black and slightly metallic a great old grist mill in Markdale, stone walling. those with a reasonable standard of Ihere thickly applied. Perhaps with a Ontario, and intends to run his wheels work. Meetings are held on the fourth Little iron added it would give a ten— and clay mixer by water power. Val Hunt, who worked as a partner with Wednesday of each month at the Royal noku.” Jim Nelson at Hanmer for three years, Art Society building, 25 Walker Street. Wanda Garnsey, editor of Pottery in and before that studied pottery at Lavender Bay, and lectures and projects )eggy and her husband are now working in Australia, has recently returned from a Ashburton Technical School, left for are part of a well-planned programme. Fiji before returning to California. visit to China where among other things England at the beginning of June. He New Zealand potters would be welcomed )eggy hopes to do some research into she enjoyed the Museums of Peking and has enrolled at the North Staffordshire at the meetings. The Secretary is Local potting methods. the pottery at Chin—te—Chen. College of Technology at Stoke-on-Trent Mrs Marjorie Wood, 31 Eaton Avenue, for two years and hopes to gain a Normanshurst, Sydney. 58 59 NEWZEALAND POTTER

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