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welcome

TAU

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RANGA

administration.

Audrey

advertising,

hardt,

Committee:

magazine

NEW

Maeken,

THE

3294,

Entry Crescent,

tion

September.

Receiving

October

of

Society

“The Trevelyan, Industrial Main

The Hazards The

Thai London

With Raku;

technical

the 11th

Potter

secretary,

ZEALAND

Pottery;

topics;

Wellington.”

editing

news 12th

forms Isobel

12TH

Brodie, Otago

published of Letter;

of

1968,

N.Z.

Secretary

WELLINGTON

Dunedin,

design

reports.

CONTENTS

Juliet NEW

buying; Design day

and

p.1.

Potters

items,

Annual and

Rodie,

are

Potters’

Joan

Doreen

both

Museum, Mrs.

ZEALAND Kenneth

the

POTTER

and

Peter,

is

BOX

production;

twice

obtainable Greig

Nancy

photo in

N.Z.

phone fixed

dates Market;

will

production; Nan

p.40

Exhibition

12—162

Exhibition,

Blumhardt, Roy

New

annually

NORTH. and

Clark,

be

is

Potters

Menzies,

inclusive. from

Martin,

POTTER,

reports,

65-177,

for

Cowan. a

Patrick

held David

Zealand;

Kcverne

from

non John

Thursday p.3.

N.Z.

by

12th

Society, of

p.13. p.6.

in

p.44.

Doreen

Carson-Parker

pro

or

22

reviews the the

Pierce,p.15.

Stackhouse,

the

Trevelyan,

fi

the

Mr.

to

t-making

Belgrave Editorial

Keverne

Exhibi-

Blum-

27th foyer

Noel

26th

NZ.

Box

and INDUSTRIAL

New made At

have ization to

be

not auspicious been presentation

if

this the

must

question

ladies

ember promotion. questions some and Past

itself

It reason

impressive,

towards

the passing an

Events

force

industry. presented the

Vol.10

is

mentioned.

urgent

country Council

survey work,

this

devoted

held

attitudes

issues

must aim

thirteen

Zealand.

and long

inevitable

for

maximum for

of in

1966

of this

that

the a

point

are

the

its

the

then gentlemen

the

the

beginning,

the

one-day

the need

be

and

of of

felt

of has end.

No.1 “state

the

of

first

why

to

That

months

past potters,

point

persuaded

lack

toward

improvement

Industrial

Industrial

higher it

the development

our

where

not DESIGN of

improving it that

should

of NEW

is And campaign.

progress

was

of

18

We

seminar

is

of clear

an is

“Potter”

of

effort exports

yet

who

later,

the

all.

one months

in any standards

saw

the

yet, view does

an

artists

the

influential

achieved

of economy’

at Design

answer Design

be

would

beginning are

sense

on of

the and

opportune

Hardly

IN

if whom

the the

designer’s

that it

that

in

in

the

indicate

The have

established

industrial the

and

this announcement, ZEA

of

go

expenditure

NEW

importance

times

and standards

standard of

of

we

think.

Act names

to

a

members

government and

an

the from

has

will a

designers

design, urgency

is

frequently

great

have-here

not

there

vital

the

in

the that

organ—

of

council

role

ZEALAND

always

potent

design of

been

time

here?

more Sept—

diff.

deal

first

The LAN

and

and real

has the the

for of,

in

of

to

in

in is

promote passing ernment

obvious our

ards initiate iculty

jects.

by

council’s

ment

industrial

trade

must

Action

held

of

in

the facilities

facet It Index for compiling the

at

a begin

suasion designers’ Simultaneous to receive urers

concentrated

is

the a

a

industry. D cementing

entry

opening sooner

M

efforts

to

Design in

high

every

must commissions,

of be

with practical

to as

should

any

be

the of

the should

aimed

POTTER

the

avenues to

at

work the

must

development. considered

to

level

whom

register,

of

hoped

an find

longer those

improvement

this Index

opportunity to

most present,

proceed of

council’s

which

a

‘good

their .

be

It act

with

in use

campaign

designers’ encourage

so to

a KE

first sufficient

be

eventuates

is that

ems"

projects

two designers an

Design View.

favourable

is

for

/ will as of

the

proceed

clear devaluation

association

must

VERNE

reminded not

d/esign’

the

then

with

be

more

alongside integral

to when

work

directions. council

the

achieve that

ensure one

directed .

be And

of Centre

must to

development register, money

most

will

development

positive

and

encouragement

with

the the

are

education

that our

concept.

rigidly April,

of the

results above part) 7’5

TREVEL

must /

it

that better

for and

be tax

likely council nothing.

that these,

better, present

recommended (of establishment

could to

ever? top

the towards

further action,

other grasped

maintained this

Firstly incentives,

embark

enable

all

1968 which

the

conducive manufact-

/<. designers

standard to

priority. and

and govern-

well .- has

of fl

it

design

stand- is

In

YAN

result more

mere

Gov-

at/()1

pro-

will and

per- like

one

the

the

the the

the To

the

all

on be

to of manufacturers to whom designers on the reg- Finally we are looking to the council to take ister will look for their first commission. must responsibility for the selection and presentation be persuaded that good industrial design is a of our best products overseas. It‘ should not LONDON LETTER good investment economically and not an be impossible for design-trained officers of the KENNETH CLARK excursion into airy-fairy artiness. They must council to take over the control of our overseas Since my last news letter, if we can call it that, and at last felt that things were also be shown how to derive the greatest benefit displays so as to ensure that the exhibition really moving. from their relationship with the industrial de- itself is an example of New Zealand’s best the theme has been one of migration. We have After several signer. Too many of our smaller industries design and not as one of our 1967 efforts was moved from beneath the tall Post Office tower years steady progress the Crafts- to Covent Garden, the Craft Centre has also men Potters had outgrown don’t know where to look for designers, can’t called, ‘more suited to a country fair”. their original moved and opened in Covent Garden, a matter premises (practically in Carnaby St.), and were tell good from bad when they find them, or of two streets from us, and the Craftsmen offered if they can, finally fail to give the designer Only the combined result of all these efforts a marvellous new site in a new block Potters the opportunity to work to the full limitations can achieve for New Zealand a reputation tor Shop has occupied an important corner next door to Crank’s the Health Food Shop site in a new building some fifty yards from its which was also of the design project undertaken. good design in the seventies. And now is the expanding. This of course was former home. time to hit hard with vigorous and positive no easy decision with the greatly increased rent action to end the years of procrastination that and other expenses. However they took the Now, a little news about each. Our premises plunge two or The second sector whom the council must have marked the government’s thinking on three months ago and now report were due for demolition so we had to move and that on some influence are the retailers, so that at the point matters concerned with design. As the Finnish days the takings have been as at some stages I despaired of ever finding any- much as of sale the well-designed product will enjoy designer Tapio Wirkkala has succinctly said, ‘A 300% higher than the equivalent thing, with many false starts, crooked agents, period last year. intelligent and positive promotion. We cannot small country cannot make itself felt in the and all the hazards of finding premises suitable hope to build a reputation for exports with world of power politics; its heroes are artists While more people each year are applying for or within one‘s pocket. Eventually and after high design standards if we do not have a and athletes’. Perhaps in the 1970’s New membership they are still unable to get suffic— long drawn out negotiations, applications and discerning demand for the best in our home Zealand’s artists and designers will be able to ient domestic ware to sell in the shop although waiting for permissions and licenses an imagin- market. stand in world class alongside her athletes. the demand is increasing. It seems that many ative and enterprising agent fixed us up with a of the new members are interested in sculptural complete five floored vegetable warehouse for ceramics which of course do not sell as readily which I am entirely responsible. To boot lhave as domestic ware. as subterrant on third and ground floor a garlic merchant to add flavour to the business and we Last newsletter I mentioned Spark’s Gallery occupy the basement, first and materials you can depend on second floors, which is now planning a further pottery exhib- each over a thousand square feet. So we now ition for April when one of the non—English have a lovely big showroom in the basement We’ve enjoyed opening our mail recently because quite a number of people have written potters exhibiting will be Hamada. I also and we do most of saying our products and our advice are really trustworthy. In ceramics, this is important. the work on the first floor. mentioned Wedgwood who this year are starting The cost of errors in technique or the use of unsuitable materials does not show up till two open scholarships valued at £700. The Apart from the Opera House which is about the last — when all your work has been expended. successful candidates will work at Barlaston in 100 yards away, the area is not visited much by studios at present under construction in very the general public. This was We offer a range of prepared clay bodies, glazes, colours, books and odds and ends. one of the diffi- attractive surroundings. These scholarships are While a few of these are scarce because of import licencing and a few are temporarily culties faced by the Craft Centre when it first I gather notjust restricted to English applicants. scarce because of the British shipping strike, we have good stocks of most materials. opened last May. Slowly however people are getting the habit, but with several other kindred Studio clay and WE. clay and CMN body are still extremely popular. A few new colours Meanwhile the debate goes on as regards Art spirits are due to arrive early in 1968. Ask for our camloque. It shows clearly where now in the area quite a colony is form- and Design Education with many professional ing, and is actively encouraged by the Covent delivery costs are included in the price or where they are met by the buyer as in the people contributing much practical wisdom and Garden Planning Authority, responsible case of large consignments or raw materials and bodies. This takes much of the for objectivity to a situation still very much in the replanning the area when the mess-work out of buying. All supplies are forwarded — we do not have a shop. market is moved melting pot. The issue was raised this week out. Pleas order by phone or letter. by Professor Nicholas Pevsner at an after- dinner talk on ‘History and the Artist’. While Only recently the Craft Centre sold £5,000 his main theme was ‘History and Changing worth of articles from ceramics to wall hang— Values together with Art and Permanent Val- LTD ings to ‘Hudson’s’ of Detroit, and today when COMMERCIAL CHEMICALS ues’, and while we should all like to see a I called in the ‘Matsuya’ department store of system which recognised what he termed the Tokyo had just bought at least £1,000 worth Box 15036, Auckland 7. Phone 864-137 ‘oneness of all Art’, he did concede that the of their stock for exhibition or sale in the store. training of a Designer was nearer to that of an Architect than to that of a Painter. Robert Jones, the excellent hard-working secre- tary of the Centre was naturally very pleased, In the discussion that followed he was asked seen Michael Casson’s‘Pottery in how similar or different should be the training this year has by Tiranti. It is profusely or a Designer or a Painter, it one broadly Britain’ published work of England’s estab— accepted the premise that designing was con- illustrated with the shows clearly how much cerned with people. purpose. and production lished potters, and traditions, rather but Art need not be. His answer did not fully more we owe to far Eastern Many professional than to Continental. I am sure that a similar satisfy many present, show people in the audience said they felt rather book published in ten years time would when the work reluctantly that whether they liked it or not a very much changed picture is well two types of training seemed necessary. No of those young people just starting in early matter how much we should like to see it established and the present interest had time to ideally as ‘The Oneness of all Art‘. Whatever industrial techniques and ideas has the system, it was however agreed that the first germinate. were good teachers and without essentials plight of Britain them no system could be really successful. Whether the present economic will affect the pottery scene is uncertain, had made our prices at— As more and more people become involved though devaluation as already indicated. with ceramics so more books are published and tractive to overseas buyers

Henry Moore and Barbara Hepworth welcome patronage by a relatively LONDON 1968 exhibitions at the Tate, the opening small Public Body. It is setting an exhibition of Matisse at the new excellent example, which could well While the rest of the economy is Hayward Gallery on London’s South be emulated by many other Institu- of a pre-Budget booming in the wake Bank, and finally the opening of the tions. spending spree, art dealers are exper- new premises of the Institute of iencing the back-wash in the form of Art in Carlton House Contemporary CHARLES E. DISNEY reduced sales. Exhibitions continue Terrace. AU in all this promises THE open to be mounted, some galleries to be a memorable year for exhibi- BEQUEST while others go to the new premises tions. wall. The now defunct Beaux Arts The donor is Mr Charles E. Disney, Gallery which pioneered the work of PE TER‘BIRD who lives at Milford, Auckland. the Kitchen Sink school in the ‘fifties Since 1920 he has been at sea and has , ,1. «.t i'q has received respectable status in a seen a great deal of the world’s -. , ». . . . .istzmi retrospective tribute to its director galleries and museums. He is not An artist today making forms by hand out of fired clay in an age when he can use plastics is immed‘ Helen Lessore at Marlborough Fine PATRONAGE FOR POTTERS him self a collector, but he has devel— iately expressing his concern with the miraculous nature of man's hands and man's gestures, his Art. oped a love of all fine and beautiful involvement with the broad range of texture, with rich material, with the fusion of colour and mat— Patronage for the Arts has a long objects, and his aim in making this erial, and his belief in the continuing relationship of man to the materials of the natural world whet The event of the year so far has been and honoured history. bequest is to enable people who it is impossible to sense this natural world directly in daily life. the Lichtenstein exhibition at the would normally have no contact with Tate Gallery which has been thronged The King, The Church, Princes, Mer- surroundings other than those pro All this follows from his choice of material alone; this choice today is no longer dictated by tradit- with visitors relieved to find that chants and Industrialists have all, at vided by commercial life, to see at ion or physical necessity, and the choice becomes a vote. The contemporary craftsman, for the art can be both figurative, albeit at one time or another, occupied this close hand examples of those things ‘duration of his involvement with his material, votes for a certain human relationship with nature, second-hand, and amusing. The life giving position. which people highly developed artis- for a certain rhythm of growth and fusion. And this vote is evident to those who touch his work same trend is evident in the new tically. have been able to produce. regardless of the configurations into which the medium has been moved. The choice of material work of David Hockney at Kasmin Today, large Business Houses, Insur— His preference is for Oriental material permeates the use of material. The choice of material promotes values the artist feels deeply as with its combination of wry humour ance Companies, Banks and Brewer- but his only provisos are that the he works in the rhythms of his time. and repressed sensuality. More ies often support the Arts However, objects chosen must be specimen exhuberant and frivolous, though to this list we can now add the objects and be valued for their art So the contemporary craftsman, expressing a life ethic in both teacup and statue moves to present lacking effect through sheer prolifer— Ashburton Borough Council. An value r not for scientific or arch- his work, his beliefs, to people living now as a unique condensation of human energy on hand— ation, is the marathon survey exhibit- extension to its Public Library is aeological reasons. worked material made in our time, as the work of an individual, finding his own answer to the ion French Art in the Eighteenth being built, and as a feature in this problem of how to live in a huge mechanized society. ' Century at the Royal Academy. new building and to further interest Half the interest from the fund goes in the community, the Council is to the Auckland Museum and half JEFF SCHLANGER in Craft Horizons Jan/Feb. 1967 new vision gallery ltd. Further ahead the appetite is whetted approaching a number of our estab— to the Dominion Museum. At 8 H.M.ARCADE , QUEEN 5T. in anticipation of the Bauhaus exhi— lished Potters for good examples of today’s values the total funds will AUCKLAND, NEW ZEALAND PHONE GALLERY: 45.440 bition at the Royal Academy, the their work. This is surely most be approaching $200,000. CRAFIS:42505,RES:289092 4 the 11th... EVALUATION JAMES MA CK The overall standard of this exhibition ranged could be required to present at least one from mediocre to poor, and for this reason it pendant, one clasp and a bangle before any The 11th Annual Exhibition of the NZ. Society is necessary once again to state the need for consideration is given to the clay ball knotted NZ. Society of Potters to string things. of Potters, held at the Display Centre, Palm- potters and the re—examine their craft and their reactions to it. erston North, 1967. Photos of the exhibition The blame for the dearth of quality at this Undoubtedly the best pot in the show was by Stan Jenkins, of individual pieces by Roy the 11th Annual Exhibition must be laid Juliet Peter’s ‘Terrace Pot’, No. 305. It was Cowan. With comments by James Mack and fairly and squarely at the door of the NZ. an honest piece of considered clay use which the Selectors. Society of Potters, who, in their enthusiasm had been enhanced by the controlled rigours haven’t been strict enough with their exhibit- of the fire. Unfortunately the high quality ing membership. Too many amateur potters of Juliet Peter’s presentation was lowered by are allowed what they consider the accolade of the inclusion of the ‘Lizard Tile’, No. 306. membership, and then continue to present works at only the level of attainment of their The most uniform group from a single potter initial acceptance pieces. was the six piece entry from ten Castle. All pieces exuded the vitality of Castle’s immers— That some of the best practising potters in the ion in the potter-clay-fire relationship. Here country were either not represented in this clay was being used honestly, unencumbered, exhibition, or are not even members of the simple and shaped by a professional aesthetic. NZ. Society of Potters, is reason enough for Castle’s influence is felt in the work of potters the Society to take a long hard look at itself like Doris Dutch whose ‘Twin Vase’, No. 113, and the way it organises its activities. nearly worked, but as yet this potter is so obviously eclectic that any strength she may As Helen Mason reiterated in ‘10 Years of have is subjugated by her influences. Pottery in New Zealand’, ‘ ...... it is the quality of endeavour that matters. There is no reason The large Cowan mural No. 99, lost most of why a group of straight-thinking, artistically its monumental strength when displayed, it conscious people should not produce, right was set too low and at a bad angle. This was here. work of high value’. * not the rauit of the artist but was caused by the physical capabilities of the exhibition hall And like Helen Mason, I think the time is now. itself.

Considering this exhibition I have no choice No other complete entry by any potter had but to destructively rubbish the terrace cats. complete unity, though Nola Barron’s ‘People One particularly was an abomination to end Pots’, Nos. 19,20 and 21 impressed for their all abominations and should not have been sculptural honesty as did Sally Connolly’s shown, plus the endless strings of beads which ‘Flower Holder’ and ‘Candle Holder’, Nos. 97 as they are now made and presented can be and 98, for the same reason. The heavily considered as nothing more than precious pot- grog impregnated clay used by this potter was, boilers for fashion-following necks. There is a after Castle, the best use of clay ‘au naturel’. place for ceramic jewellery and the NZ. Society of Potters should consider requiring these clay No. 191, a large decorated plate from the ball rollers to present as a basic requirement Crewenna Pottery showed that one-sided vision for entry a wider range of ceramic objects for cannot suffice, for the foot of the plate was personal adornment. Each jewellery maker badly chipped and the damage as equally badly camouflaged. Jack Laird of Waimea Potteries *N.Z.P0tter, Vol.5 — No.1. didn’t impress particularly either, the formal consideration given to his cider jugs was poor, of Hamada, the visit of Michael Cardew, and the protuberance that embraced the spigot was the exhibition of New Zealand pottery to tour over-powered by the girth and weight of the the Pacific are all activities for the betterment pot. One realises the need to get the last of. pottery; but unless the Society develops a remaining liquid from a jar of this nature, but more conscious awareness of its responsibility the design becomes ungainly and cumbersome to the members by being tougher with stand- when the spigot is set so low. Laird’s ards, the national shows will become expanded Teapot, No. 187, was by far the best teapot versions of the regional shows which happen all 'in the show. over the country. This can only be to the detriment of an exhibition which purports to Grant, Chambers. Wilde, Smisek, Stichbury, be of national character. The Society should Helen Mason and Doreen Blumhardt all present- set its sights on presenting an annual exhibition ed works of even standard well finished and limited to works of exceptionally high standard. reasonably well formed but with the exception Any pot, by any potter, which falls below an of the entry by Helen Mason, they were not expertly considered level of attainment should particularly adventurous. be rejected.

There was little ceramic sculpture, and most was either held together by exuding glue, nylon The days .of everybody in, nearly everybody cord, or wooden boxing. None of the ceramic served, must end and only those who approach sculpture appeared to have the immediacy one their craft with a spirit of creation, experiment, would expect from such a vital plastic material technical finesse and professional accomplish- Top left: Doris Holland; Pressed as clay. Ceramic sculpture requires virility of ment should be allowed the recognition of dish, earthenware with majolica decoration. handling to lift it above the level of ‘chi—chi’ inclusion in the Society’s Annual Exhibition. Top rig/It: Stan Jenkins; In this way the exhibition may regain its Pressed decoration. dish, stoneware, with resist pattern national importance and help prevent the gen- and iron sand mottling in the glazes. I realise the good work the NZ. Society of eral level declining any further, and, by doing One dish shows the work ofa potter, Potters has done in trying to educate their so, lift the quality of New Zealand pottery the other of a potter and painter. members towards bettering themselves as pott- back to the level of strength everyone so Centre: Francis Fredric; Casserole. ers. The Society’s association with the visit emotionally refers to it as having. Bottom: Francis Fredric; Cups and saucers, earthenware with single» colour flecked glaze and turned in- scribed decoration. Opposite: Roy Cowan; Mural. allied with a minimal GLAZlNG ation of shape use of decoration and use of subtle Rig/1t: Nola Barron; ‘People colourations of a type possible Pots’. Sonic dullness appeared in Stoneware glaze range. Bottom pieces from failure to consider colour. in this temperature left: Len Castle; Holder texture. and especially, tonal relation- for grass and sedges. Bottom right: SELECTORS' COMMENTS ships of the glazes used. In one SCULPTURE General view. c\amplc. a well-made piece lacked On completion of the selection for distinction through the use of a dark There appear to be unresolved diffi— the llth Exhibition. the potter-select- greenish and a dark brown glaze of culties in the definition of Ceramic ors, Len ('astle and Roy. ('owan. similar tone. leaving insufficient con- Sculpture. It is thought that some made notes on their conclusions. trast to make clear the point of the objects entered as Sculpture would These were drafted as a report to the two—glaze pattern. not be acceptable as such by a sculp- Association by Roy (‘owan and the tor, while the use of the ceramic section of interest to pottcrs is pub- DECORATION medium as one for sculpture is as lished by permission. yet not well defined. and some of There is a prevalent failure to carry the objects showing sculptural quali- TENDENCIES a unified plan of decoration through ties most effectively were entered as the several stages of production of pots. In the field of Domestic Ware, a the piece. The throwing marks general increase in competence was left or turned off. the engraving in GENERAL noted. A larger number of potters the clay, and the subsequent appli» appear to be making practicable ware cation of different glazes are often The selectors noted with regret a of acceptable standard. Leaving not related so that the excessive tendency of some pottcrs to drift aside questions of the suitability of number of effects work against each away from the support of this exhi— clay bodies, the casseroles were gen» other. Of these processes engraving bition. erally designed with appreciation of or sgraffito appeared to be the most They suggest that the Society should their function. The faults which frequently mishandled through fail— form a teaching exhibition of pottery. did most commonly appear were; ure to realise its function as a form possibly with taped commentary, for 1. inadequate provision for lifting of drawing. as contrasted with a more loan to local groups. the hot casserole especially with generalised surface texturing process. in some cases of rejection, there hands muffled by an oven cloth. In the Earthenware field there was was a desire to comment in a way 2. excessive thickness variation, es some distinguished work which succl which might have aided the potter pecially towards thickness in the ceded through very careful consider- concerned. lower wall and foot, 3. over develop- ment_0r excessive overhang of the rebate or gallery holding the lid Selec tors: Roy (‘owam Len Castle and James Munro making the piece difficult to empty or to clean. 4. some specimens were submitted in which a very grainy or porous body, exposed at the rim would allow absorption of liquids It was noted that almost all the casseroles conformed to a certain median of size and shape. The selectors suggest that closer study of the variety of food dishes and of the methods of presentation of food cooked in these vessels would show that a much greater range of sizes and shapes could be made. All tea and coiiee pots were pour tested and few failed badly enough to incur rejection. Another small group were refused for poorly fitted lids, either too slack a fit or. on the other side, for a tendency to jam. THE HAZARDS OF BUYING

NANCY MAR TIN

Lecturer in Music, Victoria University Extension Department

I have been going to pottery exhibitions for years now, in fact ever since pottery was diag— nosed as the new national disease with the beer— coffee mug and cane-handled teapot syndrome. Those were the days when I attended official opening ceremonies until I discovered that I did not have the temperament to cope with the atmosphere of feverish acquisition that put the red seal on all but the N.F.S. within minutes of opening.

The trouble is, I am a contemplative buyer, motivated rather to find a use for what I find aesthetically irresistable than to look for that casserole or other utensil I know I need. Sat- isfying a need as a by-product of acquiring the Fire with desirable is a double pleasure. But I find it takes time to be wooed by line, colour, and design, to imagine a pot in an alternative Shell setting, lived with, used, and handled. Vul— So, I choose quiet morning visits now, hoping nerability never occurs to me. Beauty is not that some gem has escaped the red sea]. There an expendable commodity no matter how is only one disadvantage — the eye of the inexpensive. supervisor! Please do not touch! 1 must Thermal obey even though any worth—while piece screams to be handled.

Over the years I seem to have acquired quite a sampling of NZ. potters’ work. and learnt some of the hazards of assuming that all that looks well is well. I am thinking of those mysterious little water marks as regular as foot— prints that began to appear all over a coffee The top-qua/I'ty 0/'/ table one summer, traced finally to the base of fue/ for max/mum a prized ashtray with an unglazed porous edge, that soaked up dish water like a brick and con trol/ab/e heat released it in the heat of the sun. It took days at /owest cost to dry out. Then there is that handsome coffee pot that tosses out coffee like a geyser if filled beyond half full and an equally handsome teapot that drips.

For advice on burner equipment and fuels write to Shell Heating Division, Box 2091, Wellington One of my most exciting finds, 'a narrow necked vase with a sturdy bulbous base, designed to display a single bloom turned out to be too l3 [f

uts this down to experience to take even ' ose one narrow below eye-inspection level sort of experience that needs THE POTTER AND THE MARKET PA TRICK PIER CE lids and bustullpis not the? a slender rose stern. Badly fitted not touch how can I check readily repeating. lfI must design are no snares. They are myself even when poor these important details for Well-known proprietor of ‘THE AR TOF THE POTTER ’, Auckland But not so the roughly lmrshed puts the detectable. I am aware of them? Clearly, this scratches the furniture. 1 have the buyers base that onus on the potter to ensure young citizens, pottery classes at night schools suspicious of tall lean pieces that of these In Auckland and in most parts of New Zealand become very confidence by a built-in guarantee and in private homes widened the knowledge and handles that look decora- their these days if you throw a stone hard enough seem top heavy. functional aspects. Do potters use and the skills and the enthusiasm. All sorts not well placed for balance in on you’ll break the window of a shop selling tive but are own work? Do they test their desrgns and kinds of people have grown to like it. 1 often wonder how many of my the pottery. handling. themselves first? Or don’t they mind They may not know it but once introduced to presents have been irritants carefully chosen scratches, the drips, and the other functional pottery and given time to get accustomed to rather than joys to my friends. Today in the street where I started my shop limitations? twenty years ago you would break three it they really do like it. That’s the wonderful windows all within fifty yards or less of each thing about pottery! other. It’s the latest thing to do. If you’re feeling bored or lonely ~ start a craft shop. The pottery exhibitions that have become such For Inspection and Comment i Twenty years. What a change! a feature of the New Zealand scene have had a tremendous influence on the potters and the These days people insist on NZ. pottery not public. Standards were set, and maintained only because they are proud of it but also and heightened. A remarkable standard of because they like it for its own sake — and taste has been achieved. As a culmination of rightly so. Twenty years ago it was imported all these influences the buying public is now pottery-Leach, Winchcombe, Crowan, Lucie very well informed. The New Zealand buyer Rie, Bath - that first gave people an insight is very practical but will now accept a whole of what pottery really was, It was a slow range of things he previously would not look at. thing, a very slow thing, the growth of public appreciation. People didn‘t demand pottery Let’s face it, in the year 1968 potters in NZ. in those days, they had to be encouraged to have never had it so good. You could rightly look at it, to feel it, and some of the brave ones call New Zealand a potters’ paradise. actually bought it. But do the new potters and the new art Comments from those looking at my window shopkeepers realise the debt they owe to those used to come floating into the shop 7 ‘Look pioneer potters who through their own hard at that muck!‘ ‘Imagine wasting overseas work and skill and their enthusiasm in the funds on that stuff!’ ‘He‘ll freeze to death try- spreading of the gospel have prepared New ing to sell that!”. Zealand for a real step forward into the world of creative design? Because pottery alone of I did freeze for quite a while though not Well. the crafts has established a firmly based market bear the scars, I unto death! And I still it has enabled other crafts to flourish too. A these years of indifference. Of suppose. of whole host of crafts that blend well with were people to encourage me too. course there pottery are needed in the new craft shop, are like Briar Gardner, Olive Jones, a young Potters needed and are being supplied by people whose man called Leonard Castle. 21 school boy from inborn skill has been sparked into life. Devonport called Brickell. a man in Wellington called Chapman—Taylor. an old woman from Ponsonby who paid off week by painful week And that brings me to the situation in NZ. a Lucie Rie morning set, a young architectural today. People really do like pottery, they student who denied himself a host of ordinary appreciate the finer points of shape and glaze pleasures to buy a porcelain bowl ofsurpassing and feel, they enjoy and they buy it and they beauty. People like these helped to lighten buy the things that go with it. In wood and the dark months in the first bleak years. flax, in copper and glass, in leather and wool, even in silver and stainless steel things of beauty Then the potters’ societies got going, the art and utility have been brought forth to flourish teachers in school influenced thousands of simply because pottery established the market. 15 Where to now? One way perhaps, for the established potter, How many potters are considering making the one who has his market, his reputation, brightly coloured earthenware in the same good By rights we should be exporting pottery. I his fans. to raise his prices. to exhibition levels design and taste they display in making their feel sure it would be accepted overseas. We permanently, Or, to have two levels of stoneware? have potters here now equal to any in the production. Every day useful pieces, money world. perhaps sortie of them better, but very spinners like coffee mugs at a reasonable level Do potters make sure their particular mark is . few potters know the ropes. or have the and special pieces at a more advanced level readable on their pots or provide a label, or facilities for export packing, or have the incent- even up to $100 or $200 a pot. The time write made in NZ. for tourists or the sender ive to export. How could they when shop— is not yet perhaps, but it could be nearer than of gifts overseas? n keepers wear tracks to their doors and beg on was successfully under— we think. If exporting m bended knee for a. small handout of pots. taken and the good pieces became rarer still? Do all potters mark or number their pots so We urgently need more pottery not only for that each one can be easily identified or do our own use in they NZ. but also for export for In general the price of pottery sold here is want that glorious guessing game called .n.i.....m”HI..IIIIHIIIJIII‘IIHIIL N.Z.’s sake. reasonable but the best pieces are probably ‘Pricing the Pots’ to cause more nervous break- underpriced and the very best definitely under- downs amongst their friends the shopkeepers? How do we achieve this with our one man priced. potteries, our craftsmen working alone in their Are statements of account sent Before devaluation one could import pottery out as a matter country retreats or their own back yards? of course and not left to the overtaxed from England. take a clearer mark up and in memory of the shop keeper who may be dealing handcraft many cases undersell the New Zealand pottery with a score ...-...”n...“.u...n....nnunn More full time potters and more again? or more of other accounts! u..n....n....n...nu.u equivalent. That was for everyday pieces. but ... paintings seldom for the good individual pieces. u Do Never forget .. we need better organised potters with also that the shopkeeper who has . apprentices or learner potters or paid hands to to sell your pottery is expected to provide H" by If import restrictions are removed where will u leading do the rough work? something that is the height of originality, the NZ. potter stand? absolutely unique, entirely flawless, of one thousand NZ artists

nxunnrrrrrn-nnnnrr Perhaps more groups like the Leach Potteries and one different shapes, “Hun.” That is probably more than enough of specu— sizes and in Cornwall or Laird’s Waimea Pottery in colours, extremely large for a gratifyingly lation. Here are a few thoughts on how the small ‘ Nelson? price, something that won’t break, chip or person who sells his work. EEEE potter could help the crack when dropped on Or a Government or University sponsored the concrete, hit with a hammer, or thrown on the fire. pottery school with a father figure like Len Make things like mugs in multiples of six Castle or Peter Stichbury devoting half a year matching in size and glaze. For setting out A final cheerful thought. to group activities and teaching and halfa year on display in a shop a set of six is more im- to their own creative activities? pressive and wanted than three or five. Make The shopkeeper who keeps coming round to coffee pots, sugars and creams to match the ask you for more Something somewhere needs to be done. More pottery may only be coming glaze and shape of the coffee mugs. Sounds because he likes potters, pottery is needed in NZ. 7 or less shops. he likes to see people elemental doesn’t it? But I assure you it’s still who are happy in their work. More pottery is needed if we are to export, very difficult to get. as we should. Well, aren’t you? Coffee mugs are tedious and repetitive, but are Somewhere along,the line we should think wanted in their thousands. Make them while about the monetary returns to the potter, the demand is there! Who knows, in a year or because despite the insatiable demand for pots two everyone may be demanding snake juice you don’t see many rich potters. It is a pity goblets which might be even more tedious! that in return for such an output of skill and sheer hard work and a great success in the Be aware of trends in cooking and house marketing of his product the potters are not decoration. Did potters ever consider what more financially secure. Of course like Graham Kerr was cooking with or talking showroom and farming pottery is to many a way of life and a about? Have enough potters ever heard of or gallery of good one i it might be best to leave it just provided for the Ikebana or Bonsai fans? like that, if we can. J W Fisher&Co Ltd Have potters ever thought about the colours If we can’t — what do we do? that are in fashion each year? 274 Oxford Street North, LEVIN

l6 SlflfllNlS’ Wllllll HIIIM lllllllllll

Specimens of the work of pottery students of The display is of special interest in revealing the Central School of Arts and Crafts, London, main sources of conventions totally different have been selected by Kenneth Clark and sent from those ruling here: influences from to the NZ. Society, and the display is now Geometric Art, the tin-glazed Italian or His- touring N.Z. under the management of local pano-Moresque styles, and from modern graph- potters groups or art societies. ic design, are in evidence.

Opposite page, top: Patrick Howlett; Pressed dish with majolica decoration and silver lustre. Opposite page, bottom: Tessa Gavin; Thrown bowl with majolica decoration. Above: John Chipperfield; Liddcd jar and saucer, vitrified coloured body with white and-blue inlay. Below: John Chipperfield; Clay pipe with silk-screen decoration.

"' '.':';'.-'1'A3’.125':

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l9 riff Jar. _ y j ”MOSAIC TECHNIQUES” New Aspects of Fragmented Design by Mary Lou Stribling

This unique book will stimulate the creative curiosity of the beginner, student and professional craftsman alike. Complete instructions for making: COVERED PANELS, WALLS, LAMPS, SCREENS, CLOCKS, ABSTRACTS, TABLES, JEWELLERY, MOBILES, SCULPTURE, and many other creations from all kinds of material.

Published by Allen 84 Unwin Available from your bookseller Price: $6.65

‘».~ : . , Iir- ‘ii't-"t-z’iiinzrer-‘mr. '_ Michael Cardcw’s visit to Wellington, recorded by - W. D. MCGREGOR LTD. Electric Pottery Kiln accessories Top right, coiling demonstration at " - ' Stan Jenkins. Pyrometers, Indicating ('Neuberger’) range 200 to 14000 Centigrade, mounted and the week-end school. Below, kiLn~side conference, checked for accuracy. David (7-P., Doreen Blumhardt, and MC The kiln was that of Lee Thomson, at the home of Bruce Thomson, where the group demonstrations were held. Pyrometers, Indicating& Controlling range 200 to 14000 Centigrade, mounted in a metal cabinet and wired ready to connect to the kiln. This instrument allows automatic control of the kiln temperature to a pre-set figure.

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2] In March we are to have a demon- “The Connoisseur” in George St. on his knowledge. At the moment give you more news of them in a stration and lecture from Michael SCENE IN DUNEDIN to It was noticeable that all the pottery he himself is exploring local mater- THE LOCAL later edition. Cardew, thanks to arrangements with stocked came from outside Dunedin, ials. YL JOWIL‘TT The New Zealand Society of Potters, but encouraging to see now that [315R done in The only formal teaching and this is much looked forward to, Dunedin potters’ work is finding its I feel that this last year has seen a There has been a great upsurge of Meanwhile earthenware still tlourish- Dunedin is at the Otago Polytechnic not only by potters, but also by way into these shops and appears to big step forward in the development day and interest in the Potter's (‘rat‘t in Dun- es and two years ago the Otago where there are full time members of the public and we are be in demand. The Rosslyn Gallery of pottery in this area, and if the edin over the past few years and l’otters‘ Group Inc. started a work— evening classes. There are four delighted that this opportunity is still selling pottery, and has always New Zealand Society of Potters’ Exhi~ F. there is a noticeable swing away shop which will eventually cater for tutors under the direction of Mr. should have come our way” encouraged the local pottery, and bition is held here this year, public from the Earthenware tradition of both the low fire and high fire CW. Staub and the course is intended Rua White, in Princes St., stocks interest in the craftsmanship and the ()tago potters. This came about, enthusiasts. At the moment the to be in three stages each of a year’s In April Doreen Blumhardt is to give pottery from all over New Zealand. design should be even more discrim- 1 think. after a demonstration by members make earthenware. The duration. The teaching of pottery a weekend demonstration and work- The Playhouse in Albany St., has also mating. Barry Brickell tive years-ago and the workshop is equipped with six wheels, is also included in courses at the shop in the premises of the Otago opened a craft shop in their coffee distribution of the plans of his small three electric kilns one of which is on Home Science School and at the Potters’Group. We look forward to bar and potters from all over New And now as a tailpiece 7 a conver— oil drip feed kiln. It was shortly loan from a generous friend, Ina Teachers’ College. Apart from this this with great anticipation because Zealand have been well represented sation between lan Gray—Smith and after this that I arrived in Dunedin. Arthur, and one of which was built local potters give help to those who all who have met Doreen Blumhardt here too. myself. and at that time. to my knowledge, by one of the members, lan Pairman. ask for it, and there are many potters know that she is generous and out- kilns way. there were only two stoneware We have over 100 members, though who have got started in this going with her knowledge and talents. Most of the stoneware potters here lan: Do you always use cones, studio pott- workshop in Dunedin operated by only a small core use the are interested in the local materials Beryl? Dawson who is open 24 hours of the ers 7 that of Helen regularly. It Barry Brickell is to have an exhibition and it was good to have Lawson of stoneware here and members have a key and was the pioneer day Towards the end of last year, exhibi- at Dawsons’ Craft Gallery in Princes Fraser come down here as he had Beryl: Yes, don’t you? Barry Brickell kiln of free to use any of the facilities and a small are tions of pottery were held by Lila St. from April 10th. some solid knowledge of New Zea- Thomson‘s. It did not take offered. an Maria Coker at the Playhouse. This was land materials elsewhere and his stim- Ian : No 7 I put my kettle on top me to build a similar kiln long for exhibition of earthenware and stone- The last twelve months has seen ulating helpfulness has done much to of the kiln when I light it, and satisfactory stoneware There is no regular or fomial teach- and a very ware and concentrated on useful and the opening up of two new craft consolidate the tenuous experiments when it boils I make the tea local mater— ing, though local potters of more body was evolved using functional domestic ware, beautifully shops in Dunedin. Dawsons Ltd., we were making. Many of us have and when I‘ve washed upl put has been experience who feel they have some ials, the recipe for which thrown and with superbly fitting lids have opened a craft gallery in the benefitted from contact with him the kettle back on, and when and used successfully. thing to offer give demonstrations at passed round to casseroles and storage jars. Beryl basement of their shop in George St., and his generosity in giving his time it boils the second time I the monthly meetings and some mem- After this several of these small stone- Jowett had an exhibition of stone- and Mr. and Mrs Throp have opened to help in kiln building and passing know I’ve reached temperature. ware kilns sprang up and worked very bers are prepared to help beginners ware at the Globe Theatre which satisfactorily for the limited amount who are unable to take advantage of created considerable interest in the of pottery which could be produced fomial teaching for one reason or use of local materials in glazes and by busy housewives and people in another. A charge is made for all bodies, and the design of some non— full time jobs. materials supplied, clay, glaze mater- domestic pieces. She also gave two featuring pots by ials, and oxides, and an equitable TV. programmes about her work Then came the exciting discovery charge is made for the firing of pots. and methods. The Art Gallery held that many of the local rocks, grits, The whole system seems to work very an exhibition of work by Doreen Bruce 8r? Estelle Martin sands, etc. could be used with very well and we feel that the workshop Blumhardt, Peter Stichbury, Mirek little alteration to make interesting serves a very useful purpose for Smisek and Carl Vendeboseh, opened and satisfying glazes at 12501300 those interested to work in clay and by Lawson Fraser who gave a very 0f Hastings degC. Lila Coker and Oswald yet who do not want to set up on interesting talk on the potters as Stephens had a good working know- their own. For the last three years people, and about their individual ledge of the local clays in the Otago there has been a selected exhibition work and techniques. and other NZpotters district and this made a good start of the Otago Potters’ Group’s work, for the making up of bodies with in conjunction with the Southland In the coming year there is to be different working properties to suit Potters, at the Otago Savings Bank. an exhibition in the Museum foyer individual tastes. lan Gray-Smith This has proved very popular with of ceramic plaques and decorative had built a salt glaze kiln out at the public and gives everyone a panels by Ian Gray-Smith who is Waitati, and is the only potter using chance to see new and old ideas, and using an interesting combination of display open onThursdays this technique here. as far asl know. the development ofindividual potters. coloured glass and clay. This will Meanwhile some of as found our For the last two years demonstrations be a fairly large exhibition with tech- kilns too small and when Lawson of throwing have been given in the niques new to Dunedin. Beryl Kamalea Pottery Fraser came down here and built his Bank during Exhibition hours There Jowett will be having another exhib kiln 7 20 cu.ft. 7 of very simple are local groups in Alexandra, Ran— ition at the Globe Theatre towards design, and new craft shops began furly (the Maniototo group), Ettrick, the end of the year, and Lawson 806N Karamu Road opening up, my husband and I, at Riverton, and Balclutha, and mem- Fraser is hoping to show some of his least, took the plunge and during the bers from these groups keep contact work in an exhibition with Vera Christmas holiday built a larger kiln and sometimes are able to join our Patterson, who is an embroideress, Hastings and are awaiting the first firing with meetings. They are generally very and Douglas McGregor, a painter, but excitement. enthusiastic and active and I hope details are not yet finalised.

22 23 by the THE AUCKLAND STUDlO 96 members attended the weekend North and earlier in the year of POTTERS' YEAR school and 300 attended the Museum successful 2nd Annual Exhibition meeting. the Manawatu Pottery Exhibition. It has been a busy year for the Auck— For many potters it has been a year land Studio Potters, but a very re The Auckland Studio Potters were of sad endings. The Design Centre warding one. Upon the return of asked to exhibit and sell pots per- University, Hokowhitu, the Len Castle from Japan, he gave a taining to the holding and drinking at Massey original Alma Mater of so many very interesting talk with slides to of wine at the Auckland Wine Fest- Manawatu Potters has been demolish- the Association at a meeting in the ival held annually at Swanson. A ed to make room for new buildings War Memorial Museum. Pots he had great deal of interest was shown in acquired on our behalf were on dis- the exhibition and sales were good. for the Teachers’ Training College. play. Jack Laird and later Jim Greig were We acquired 40 new members this the tutors for the classes organised by the Department of Adult Educa- The Art Society, to celebrate the year. opening of their new gallery, invited tion, Victoria University. There were approximately 200 enrolments a year potters to exhibit in a joint exhibi- MARGARET LEIGHTON from 1961. A number of weekend tion with weavers during the Auck- schools were arranged, a notable one land Festival. The display was set up by Jim Palmer and Neil Grant was when Gwyn Hanssen, an Austra— lian potter now living and working at and was a very successful venture. NEW VISION POTTERS La Borne, lirance gave demonstra- CALENDAR, 1968 tions and a lecture at the Centre. During the year the Auckland War Memorial Museum set aside a “Pott— It is good to see the New Vision ers Room” which we now use Now that we no longer have the for Gallery following up their first POTT< committee meetings. in time centre to support a Tutor the contin- this ERS CALENDAR with another for room will house our permanent ually creative energy of the local coll- the current year. Of a similar ection of pets and may be used by potters will undoubtedly surmount format to the first, it extends the student potter members. any temporary difficulties and this coverage to take in three leading is already evident in the increased South Island potters. The other Harry Davis gave us a weekend school number of privately owned pottery eleven belong geographically to Auck- at Ardmore College in June. This wheels and the purchasing of electric land and the northern parts of New was attended by 94 members and kilns and the building of oiled fired Zealand. 88 attended his lecture at the Mus- kilns large and small. eum. The two calendars together form an Late in 1966 a group of enthusiasts interesting documentary on the 1967» Our annual exhibition was held in opened ‘The Craftsman” Shop opp. 68 period, and should in time become the War Memorial Museum from 23rd N.A.C. in Princess Street, Palmerston collectors prizes. Co-existent with November to 3rd December. This North. The shop is governed by ten the calendars, and a by product of was very successful and drew large members made up of the Potters, are the many fine photos . 1 crowds. We had seven TV and the project, Peter Wilde, Zoe Bendall, Peg Jack- taken by Marti Friedlander in the son, Dorothy radio coverages, including a Raku Abraham, Barbara Tay— PHINCTII’A1‘:LA()IS (EIIaES of assembling material. It firing by Neil Grant. Paper publi- course lor, Don Chambers, Stan Jenkins, and regretted that the city was good too. Neil Grant is always to be May Jordan, Weaver, Bridget Smee- processes and was responsible for the display and struggle with printing ton and jewellery maker Ann Red- within reason Mr. Docking, Art Gallery Director the need to keep costs path. to be done opened the exhibition. does not allow fulljustice to those selected. Other craftsmen have been added to Michael Cardew’s visit was the high- J .P. the group on a non governing basis light of our year. He arrived in The partners are all friends and the Wellington’s cable car Auckland a very sick man but after shop is a highly successful venture newest Craftshop, where Quay a few days was able to cope with to all concerned and tremendous Lois Giles invites you to inspect prints, ambton the demanding schedule we had THE MANAWATU SCENE fun. drawn up. This was entirely due to paintings, pottery, weaving,woodware, the care and hospitality of Diane and 1967 saw the excitement and public So we enter 1968 with the cnthus jewellery, etc.. Artists and craftsmen Peter Stichbury. It was here too awareness of handcraft reach a new iasm and determination to improve DU that Michael Cardew made his pots record as evidenced by the attendance our skills, our knowledge and funct- are invited to submit work. Phone 48704 (D Featherston St which were subsequently fired by and interest in the 11th National ion. Peter, catalogued and sent down to Pottery Exhibition held in the New Giles Craftshop, E SW? the Pan Pacific Festival. Zealand Display Centre, Palmerston DOROTH Y A BRAHAM 19 Grey St. Custorflusell’uay

24 25 TE MATA POTTERIES

There are potters everywhere in New Zealand, with new clubs and studios opening in some part of the country every few weeks. Recently, we have read in the ‘New Zealand Potter’ many interesting facts about some of these people who like to express themselves through the medium of clay.

This ancient craft, of which there is a new awareness, was being pursued in llavelock North by the late Mr. John l-‘ulford at his brickyard in the centre of llavelock North from about . ind” 1890 until 1914. and is today carried on by his son Mr. ll_V. l-‘ulford (a Te Mata, when there were only very months ago, and who is now able, third generation potter) at the Te few people in the country who could through the expert tuition of Mr. Mata Potteries. throw a pot on the wheel, so he is l’ult‘ord, to make very large bowls undoubtedly one of our oldest pott- and bird baths, surely a remarkable Mr, ll,V. l’ult‘ord is known to many ers. achievement: between them they people throughout the Dominion. and are producing many pleasing glazed it would be interesting to know how Our picture shows Mr. Fulford on articles and garden ware. Mr. many ot‘ our successful pottcrs today the right with Mr. Bob lluck, surely lluck’s personal designs are modern owe something to his practical ad— our newest potter. Mr. Huck is a and original in style. Much will be vice and encouragement His own young Cornishman who had never heard of this craftsman in the future. pottery was started about 1925 at touched a potter’s wheel until nine

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W. D. McGREGOR LTD, PO. Box 593 Telephone 79-006 Established 1946, Electric Kiln & Furnace Manufacturers, 48a Stoddard Road, Mount Roskill, Auckland 4. Phone 699—619 27 26 GRAEME STORM IN CANADA placed at the front of the room on Japan...... either side in such a way as to enable the audience to alternate their viewing LEN CASTLE'S LECTURE. After Graeme has been working at the between the demonstrator and the working in Japan on the islands of Rozynska Pottery, Ways‘s Mills, Que“ screen with ease as the occasion Honshu and Kyushu, Len Castle was bee. Ile has just completed a teach- demanded. able to give us a first hand description ing tour. and with his wife Jacquie of craft pottery there at the moment. will be leaving Canada in March to As a permanent record the video His enthusiasm for the work of the visit the UK. and liurope before tape is an excellent teaching aid Japanese potters, especially that of returning to NZ. later in the year. which can be re-run at normal speed, Kanjiro Kawai, was apparent and the Of his lecture tour he writes : slow motion or even ‘frozen’ to slides he showed us were excellent. show accurately any hand position. We saw how the Japanese potter The six week tour was sponsored by Coupled with a taped commentary uses his materials and the fire to the Canada Council and the Canadian this can provide a recap of the salient give strength to his pots, how he puts Guild of Potters and consisted of a points of the whole demonstration, function always first and how he series of one or two day workshops. which can then be studied again. in understands subtle, natural and assy— held at various places across the great detail. Could we not do this metrical rhythms showing man’s min- country. These included workshops for future pottery demonstrations in or place in relation to nature’s vast in the provinces of British Columbia, New Zealand, particularly where att— forces. Alberta. Manitoba. Ontario. Quebec endance is large and at least half and Nova Scotia. Attendanccs varied of the audience is always on the from 15 people up to 85 in larger MIRILK SMISICK CLASSES. Three blind side from where the ‘magic‘ is centres. An exhibition of ()0 pots sessions of immense practical value going on? made in Quebec during the summer were given by Mirek Smisek of New was taken on the tour. Zealand, on his way home from A Canadian visitor to NZ. reported Japan. Mr. Sinisek gave demon- The demonstrations consisted of hand attending one of Graeme’slectures strations of wedging, throwing, turn- building and throwing techniques. in which a reading of B. Brickell’s ing, handle making. decorating and combinations of the two. and some ‘The Art of liiring’ (Vol. 9 No.2), glazing. and he frankly answered a aspects of decoration, A talk on the caused a minor sensation, apparently hundred questions on such diverse growth of pottery in NZ. over the for thc way in which it puts across topics as how to eat live snails from past ten years together with slides the element of adventure and satis— the shell to the weighty technical showing the work of a number of N. faction involved in the manipulation problems of pottery. The pots made Z. pottcrs was received with a great of local materials by the most direct by Mr. Smisek during the classes deal of interest. Discussions on methods. were highly functional and of simple differences in kilns and firing meth— and satisfying shape. with the decor- ods also proved informative. for the ation seeming part of the fomiing most part. gas (natural or propane) method. is the predominant fuel in Canada for These two photos from Jeff Scholes' workshop at Henderson, STU DY GROUP near open flame firings. THE CERAMIC The Group continues to grow and Auckland, show hand wedging, and the tendency of New Zealand potters we now have 160 members. mostly to work in groups. Shown above are Peamsook, a UNESCO student from from Margaret (‘rOsby. An interesting feature of the work- from a letter in the Sydney area ...... At the Thailand, Jeff Scholes, and Helen Mason, a founder and former Editor (ir- shop held at lidmonton. was the use Secretary of the (‘eramic Study moment we are running a course of of the 'New Zealand Potter'. of closed-circuit T,V.. both to record oup. Sydney. lectures on Geology for Potters given on video-tape and to provide the by Michael 'I uckson. who is the son large audience with close-up views "l'he outstanding event of the year of Margaret ’I'uckson so of course POTTERY of the demonstrator's hands in for us. so far. has been the visits of understands the pottee angle: this positions otherwise impossible to see Len (‘astle and .\lirek Smisck. who includes some field excursions and at a distance. These closeups were spared us precious time when in is proving a most interesting subject BEGINS relayed to two monitor screens Sydney on their way home from for study! WITH

Those who possess a copy of ‘Ascent’, the new of the New Zealand Society of Potters Travell- CLAY arts publication produced by the Caxton Press, ing Exhibition which was inaugurated at the will have noted the combination of first-class Pan-Pacific Festival at Christchurch, and it is photography and printing in the article on made available by courtesy of the Society and Patricia Perrin. The pictorial supplement on the Caxton Press. the next eight pages is drawn from the catalogue

28 Photo: Dr. Michael Gill DOREEN BLUMHARDT

A stoneware teapot by a potter who is strongly influenced by a working and study period in Japan. She was awarded a travel grant by the Japanese Government in 1962. As head of the Art Department of the Wellington Teachers’ Training College, Doreen Blumhardt has less time than most to spend in her own studio. Never- theless she has an impressive list of exhibitions behind her, and has work in many public and private collections within NZ. and overseas.

Photo: Doreen Blumhardt

Photo: Harry Davis

CREWENNA POTTERY Photo: Marti Friedlander A cider bottle of twelve pints capacity. Harry for New Vision Potters’ Calendar 1967 and May Davis left their Crowan Pottery in Cornwall, England, and came to NZ. to found PETER STICHBURY Crewenna in 1963. Their work is internationally Peter received known, and is keenly sought by collectors and a two-year study grant from the Association of Art Societies, which en- abled'him by those who like good pottery for domestic to work with Bernard Leach at St. Ives and with Michael Cardew at Abuja, in use. The making of this type of pottery is the Nigeria. He'lectures in Arts and Crafts at Ardmore College, Auckland. In his pottery he first aim of Crewenna, and the tradition of spec1alises in fine domestic ware. He exhibits in New Zealand and abroad, and is repre- Crowan. sented in the International Museum of Ceramics, Faenza, ltaly. DAVID BROKENSHIRE with pots and kiln

David Brokenshire is an architect with definite ideas on the relationship of ceramics to architecture and his work has strong sculptural feeling. He has a leading part in the development of modern oil-fired kilns in his home city of Christchurch.

Photo: Marti Friedlander for New Vision Potters' Calendar 1968

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PATRICIA PERRIN Photo: Marti Friedlander among her pots

Photo: Roy Cowan

PATRICIA PERRIN She has in good measure that rare quality, originality. Her individual and very personal pots are sculptural in conception, and glazing, although carefully considered, is of secondary importance to form. Patricia Perrin has exhibited widely in NZ. and overseas, is represented in the International Museum of Ceramics, Faenza, and in many other collections. AT FULL TEMPERATURE

A 120 cubic foot oil fired kiln firing salt-glazed stoneware at 1300-1350 C. It was built and operated by a young N.Z. potter, Paul Melser, and his friends, and produced much fine work.

Photo: Roy Cowan

Photo: Marti Friedlander

WILFRED WRIGHT As he adjusts the burners which are sending out a flame of from 1400 to 1500 C. tempera— ture, We sense something of the drama and excitement of the conclusion of a firing. Wilf' Wright is a full time potter, who, with the help of his wife, Janet, operates two kilns at: his Reikorangi Pottery at Waikanae, near Wellington. A; Photo: Roy Cowan

LEN CASTLE

A Discoid Vase by Len Castle, perhaps N.Z.'s best-known potter, and certainly one with a formidable background of experience and achievement. He has received two grants for study overseas, the first taking him to work with Bernard Leach, and the second to Japan and other Pacific countries. His work appears in all major N.Z. public and private collections, and in the International Museum of ceramics at Faenza.

Characteristic pieces, before firing. A highly accomplished potter. His style, which stands quite aside ‘Congratulations,’ said Michael Cardew, from that of other N.Z. potters, possibly as a result of a period of study and teaching in Scandinavia, combines simple, monumental forms, impressed decoration and glazes of rich colour and deep tone. He has travelled widely and has after demonstrating on both our kick and power- recently worked and studied in Canada. He is represented in many collections in NZ. and overseas and in the International Museum of Ceramics at Faenza. driven wheels

" ' ‘ GRAEME STORM

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37 1.3;: Photo: Graeme Storm KEVL‘RNE TREVELYAN: Trained at Canterbury School of Art, com- FROM HAWAII pleting a Diploma in Pine Arts with Honours in Design. Teacher training at Auckland Teachers’ College and spent several years art teaching. Re- ceived Arts Council overseas training award to study the work of the UK. Council of Industrial Design and oth- In a recent letter to Terry Barrow, er liuropean design promotion organ- who is resident in Honolulu, and izations. At present teaching, free- Anthropologist on the staff of the lance designing, and assisting with the Bishop Museum, The‘POTTER’ asked advertising. design and production for nCWS of himself and a photo of of the POTTER. his Japanese wife.

He writes: ‘On the 10th September, 1967, one Wellingtonian Dr Terry Barrow marr- ied, in a Zen Buddhist ceremony, Miss Hisako Sato oflwate Prefecture, Japan. The wedding took place in the So—jiji temple, Tsurumi, Kanag— awa, in company of the bride’s family JOHN STACKHOUSE has been assis— and friends. Friends of the bride— ting with correspondence. A painter groom then in Tokyo attended and gallery preparator, he shows in Joan Greig has joined the POTTER (known to N.Z. potters was Atsuya Auckland and Wellington, and has administration in the concealed but I'Iamada, and the N.Z. Ambassador prepared exhibition for S.B. Mac- important function of dcspatch org- to Japan, His Iixcelleney John V. Lennan,T.A.McCormack, l-Idgar Man- aniser. This involves concentrated Scott). The Sojiji temple is the sfield and others. He visited the work, as an addressograph system is headquarters of the SotoZen sect perimeter of the Pacific in 1960 and a fluid thing, which alters week by which is the family religion of the 1964 and will be in Mexico in 1968. week as subscribers pay. or don’t bride. Hisako (Chako for short) Hobby; the Arts Festival of the Oly- pay, change, or forget to change, has an interest in ceramics and her- mpic Games. their addresses, and so on. self practises Ikebana and Cha-noyu. Terry Barrow and Chako have now AUDRl-ZY BRODIE has been a potter settled in Honolulu, Hawaii.~ for seven years. is a member of the N. Z. Society and was its first Since Terry left N.Z. in 1966 his Secretary-Treasurer. She recently work has taken him to Thailand, attended a school in design and Okinawa and Japan, However. he ceramics at the (‘leireau ('raft Centre, has not forgotten his ties with Well- Paris. and is helping with POTTER ington and his early involvement correspondence. with the pottery movement. He was a foundation member of the ‘New Zealand Potter‘ magazine, and recalls that he proposed the name. when titles like ‘Turning Wheels' and Spinning Clay’ were being consid- ered. Terry also says: ‘As one of the Pioneer potters I can claim a number of ‘firsts’ including first N. Z. potter to visit Japan and England (1 mean specifically to search out Places of potting interest, and as you know, exhibitions, talks, and visits 0f potters from overseas resulted oil in an open ‘muffle-less’ kiln. Terry remembers that he is still a ‘Faee Pots’ are June Black's latest idea, inspired by the Victorians from this), As far as I know I was This was in 1947 before I met Helen member of the N.Z. Society of Pott- of the TV. ‘I-‘orsyte Saga‘. ‘ the first Wellington studio potter to Mason or Len Castle, and well before ers and he and Chako send personal fire to stoneware temperatures with Barry appeared on the scene.’ greetings to all his potter friends.

38 39 GLAZES Blue-grey. Note. As a coke fire will go out RA KU FIRING The following kiln plan required 50. are required to lift pots in and Tongs Transparent, 800 - 900 C. Red lead 36 if stoked, at the completion of firing 60 bricks, fire bricks if possible but Because of the ISOBEL RODIE out of the kiln. Borax frit 42 the kiln can be cooled quickly by common bricks will do, and a saggar should have handles Red lead 30 parts, wt. heat the tongs Silica 8 merely stoking and removing the about 9” in diameter Borax frit 10 Although Raku fired pottery is per» and about 9” at least 36” long. Gloves of stout Cobalt Carbonate 2 clinkers and wall bricks. high. An used by bee— Silica 10 ous and care must be taken in using earthenware drain-pipe leather, such as those Manganese dioxide 1 Raku ware for domestic purposes makes an ideal saggar, but a large keepers; will provide additional pro» References. ‘A Potter’s Book’, Ber- flower—pot Transparent, low solubility, 860 C. because of the use of raw lead in or even a large tin will do. tection to the hands. Glazes should be a little thicker than nard Leach, ‘Clays and Glazes’, glazes, Raku firing is fun, is a wond- Lead bisilicate 16 normal transparent earthenware glaz— Daniel Rhodes. erful way to introduce new potters FIRING. A half to three quarter Borax frit 4 es and a siccative such as Gum and interested non-potters to sortie bag of medium coke is required for Feldspar 2 Arabic, 5% solution or cellulose wall- of the mysteries of a glaze firing and each kiln. The fire is started with Kaolin 1 paper paste is necessary to keep the is a means of producing interesting small kindling then larger pieces of the tongs Green or Copper lustre, reduced. glaze in place and prevent and useful pottery. wood or coal are used to form a marking the pots as they are placed base before the coke is added, a Red lead 66 it in the kiln. I used a level teaspoon Raku teabowls which have been little at a time, until the fire is built Borax frit 100 of wall-paper paste to a half pint of produced in Japan by generations of up level with the top of the saggar, Silica 15 cold water, and added about one potters starting from (‘hojiro and his More coke is added to keep the fire Copper carbonate 15 ounce to each pint of glaze. son Jokei, early in the 16th Century 4. up during firing. are highly esteemed in the tea cere- A LETTER FROM HOLLAND pot here being of more value than the working in clay sculpture, making mony and some of the Raku tea The kiln takes from one and a half This is quite a what the stone and bronze sculptors bowls produced by members of this actual utility. to two hours to reach 800C. or Cone Dear New Zealand Potters, different approach compared with did fifty years ago, but much worse, family are among the most valued 014, the maturing temperature of fluence in New as some of the pieces show. pots in Japan. the Japanese in the glazes given. A good orange 7 News from Holland — a land where Zealand. red colour indicates the temperature professional potters working in small One of the outstanding features of Pots for Raku firing may be made on if cones are not used. Glazes groups are making themselves known With the bond of using the same the Dutch potters is their expressive the wheel or by using hand methods mature in 15 to 20 minutes. A internationally. method of glazing and decorating use of colours — blendings of red, such as slab or pinch pots. ll— glimpse inside the kiln will show it is understandable that we (the orange, and purple on a pot are no glazes shiny and fluid in appearance l have been working at the Experi- three girls working here) should work exception; vivid colouring and strong Because of the rapid rise and fall in 00 when the pots are ready for removal. mental Department of the ‘Porcele— more or less as a team, but keeping forms, often built-up. temperature of a Raku Glaze firing, 0 If a crackled effect is required. pots yn Fles’ in Delft (Delft’s blue) # our own individuailty. For the non- the clay used must be open and one El CD may be dunked in water or cold tea experimental in this way, that it was ceramist this is sometimes difficult Understanding on the part of the that will withstand thermal shock. on removal from the kiln. founded by an idealistic director to distinguish, as it is difficult for public is increasing, and to encourage The addition of 20’}? silica and 40C} twelve years ago, on the pattern of the non-Classicist to see style differ this and the improving level of crafts- grog to a plastic red clay will give a lior reduced effects. the pots may Swedish studios, and that it provides ences in the Greek pottery of the red manship, the Government has provid- suitable body. Most stoneware clay be placed in sawdust. This is most studio facilities and a fixed salary to -and-black periods. Using mainly ed a 25% state subsidy on each with the addition of extra grog can effective with the copper glaze given, potters making individual, one-of—a— matt glazes, ranging in temperature piece. Also, young potters, unable also be used. a rich copper lustre being produced. kind pieces. The leader of this from 1000 to 1200 C, the pigments to make a living, can acquire aid activity is a noted Dutch sculptor and or oxides are used direct There is a from an art institution run by the As pots Inade from these clays dry STACKING. Glazed pots are heated ceramisL The methods used are for monochrome, under» Government, for which they will be very rapidly it is possible to make preference on the bricks surrounding the kiln turning, coiling, building up, and standable with the scraffito which judged by a chosen jury of artists. pots one day and fire the next. to drive off moisture from the glaze. engobe and glaze techniques. stands out in black. This aid consists of financial support (I have made and fired pots on the at) before being placed in the kiln. l7rom up to £12 a week, in exchange for same day). Pots should be biscuit 3. four to eight pots are fired at one In particular, the scraffito work made a show of work once a year, to keep fired to at least 11000C As well as pots we make ceramic time, placed one on top of the other here some kind of check. No forms a trademark of the De- sculpture, tiles, and architectural cement is needed as bricks are in the kiln. Spots where the pots partment. The difference between pieces, much in demand to grace If there is no other kiln available merely placed in position as space is The influence of Bernard Leach is touch heal over as the glaze is very this and the brush technique so much for biscuit firing, the Raku kiln may required to allow air walls of modern office buildings. big public and priv- in diring firing. fluid when mature. Batches of pots used small, although be used, in New Zealand as a means of though it is unlikely that Provision has been made for forced with the one type of glaze should be ate collections of oriental ceramics the temperature decoration, is artistically and tech— The Experimental Department is tak- will be quite up to air from a vacuum cleaner to speed fired together for best results. do inspire many. In general the nlcally great. Brushwork can be ing an important part in Dutch cera- the required 11000. llowever Raku up firing if required but this is not Dutch potters keep their individuality used for details, painting ~ like mics. There is a kind of competition pots may be lifted out of the kiln, absolutely necessary. Too well in spite of cries of ‘Swedish much DECORATION. Colouring oxides strokes, shadow applications, using tongs, glazed and dried and wind or draft from perspec— with the Amsterdam school of pott» one direction can such as cobalt. copper. and iron may tive, polychrome design” and ‘Finnish design” although glaze fired in the same cause etc. The scraffito ers, who are mostly self-trained, high- firing. Other the kiln to heat unevenly so it be mixed with water and a little gum they take over much, especially from pots may also technique, applied with any kind of ly individual, and influenced by Eng- be biscuit fired in this is wise to have a piece of iron handy Sweden. for use as under-glaze decoration. sharp point in the slip which tendency to kiln but the kiln should be sealed to protect the kiln from has lish potters. The this. A wash of yellow ochre, preferably been poured over with bricks and allowed over the pot, is limited sculpture animals, expressionistic for- Wishing you a happy potting New to cool applied before biscuit firing, will l0 harsh, rather matter-of—fact ms, and small imaginative pieces is Year. . slowly until the following day. Pots A lid is required for the top of the draw- yield a pink to red colour beneath mgS, Yours smcerely, to be bisqued are packed before sugar. This can be a proper but this limitation is the in. Still 1 think personally that saggar the glaze, the shade depending on strength, firing is started. [id or two bricks the decorative value of a potters will have to be careful in A NNEKE BORREN laid across. the strength of the wash. 41 40 F? '6." r-' .. . ‘ ' m .fit'." ' ~‘ .4. '2'; Wfififigfifi 444444444¥ 4444444444444444444 4444 4

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.3. ;‘ Vm. ., ,-'..5i ‘ Mfl ‘ .1. A??? "‘21.: _ ( ‘5’": : ~ t*tfi***?*ffi*** . inn. . e: MMQWQ » Eh . 1% *.*. *1}; *Ll’l *..*, . fl» efi’ :fifimfifififi W438? 42 43 shapes. One very large pot had just been THAI POTTERY brought in with soil still clinging to it, and was Doreen Blumhardt sitting in a padded basket, obviously treated (“i566 @@0727202'srmr For a long time I had wished to visit South with great care and tenderness. It was only East Asia. I had read about their pottery and partly broken, and all the pieces seemed to be other crafts, met many Colombo Plan and there, so that like many of the others it will SALLY & MICHAEL THROP UNESCO students, and knew something of be carefully pieced together again. It was a the two great Asian epics the Ramayana and pot of unusual shape but simply coiled and the Mahabharata that have inspired the relig- decorated with brown and white slip. Most ious life and so much of the painting and of the pots had been dug about 60 miles north sculpture of India and Asia. Swankhalok and of Bangkok, and it is known that where they Annamese pots held a special fascination for came from there are many more. Money is the J, 5.3.x». E 3 problem, and the archaeologist l 5. an. me, and in the use of ceramics in buildingl in charge of the /. so knew the Thais excelled. In December 1967 digging told me that they can afford to dig I set off for Thailand and Cambodia to have only for 2 months in the year, then the funds a look. run out and they have to stop. This year’s 14th Century the power and glory that had diggings were planned to take place in the belonged to King Rama Kamhaeng faded, and southern At last the south has a When I arrived in Bangkok the crowded city leg of Thailand, where no work had Sukhothai became a province of the powerful was glowing in the sun’s last rays, and its yet been done, but in an area which is thought new kingdom ofIAyudhya, and within the to ornate temples and spires, seemed etched again— be rich in very early shards. space of about fifty years, the famous pottery centre for arts &Crafts. st the evening sky. Although my visit was towns of Sukhothai and Swankhalok became comparatively short I was able to visit quite a The Museum displays of Thai pottery were the battlegrounds over which the armies of the number of the city’s more than 300 temples, frankly disappointing, but some specimens held kingdoms of Ayudhya and Lana Thai (present Here you will find work each with its soft tinkling, tiny bronze or gold in private collections are magnificent. Many day Chieng Mai) waged their famous elephant bells, that swing from the eaves. Bangkok’s of the finest examples of pots from the early mounted battles. Sukhothai and Swankhalok temples give it one of the most romantic, Swankhalok period (14th Cent.) are in the were over—run and as was the custom all the by N.Z.’s leading artists fairy-tale atmospheres of any city in the Thompson collection, and in the Suan Pakard, skilled artisans including the potters were en— Orient. Many of the huge guardian figures at the home of Princess Chumbot. The Thomp- slaved and taken to Chieng Mai. Swankhalok the portals, the walls of the temples, and the son collection has been photographed by Brian and Sukhothai never again produced their 8: craftsmen in all fields. chedis are covered with pottery shards. Thous- Brake, a New Zealand photographer now living splendid stoneware. Old kiln sites have been ands of broken pieces of plates and dishes with in Hong Kong, and a lavishly illustrated cata- found in Swankhalok and in Chieng Sen, the bright coloured glazes have been stuck on all logue, with many colour plates, will soon be products of which are the most numerous of w over, making gay, glistening coloured surfaces. available under the name of “THE HOUSE ON surviving Thai articles. They comprise a rich In the early days I understand the pottery was THE KLONG”. In the collection of the variety of wares in four main groups — celadons, brought from China, but now it is made in latter, there are enormous pots standing out in black glaze, white opaque glaze, and iron Thailand in imitation of the Chinese style, the grounds, some from 4 to 5 feet in height, painting on white ground. The celadons seem especially for use on the temples. with a natural ash glaze, and others dark brown to be the most numerous, and are certainly or black unglazed. Their modern counterpart, the best known. (fine @{Qomoz’rrem As yet little is known of the earliest pottery very similar in size and shape, are a pleasure in Thailand, asarchaeologicaldiggings have only to see all along the klongs in Bangkok, where recently begun. When I visited the Museum they serve as water pots standing outside their in Bangkok, by far the most exciting thing I Wooden houses, and on the many boats which 263 George Street, saw was a special storeroom, not open to the are always busy on these waterways. public, with shelves full of recently excavated pottery from some time BC, and not yet dated The history of Thai pottery is not yet clear, DUNEDIN with any degree of certainty. They are Chinese but it is possible that the development of the in feeling, a light terra cotta colour, with very ceramic art was much later than in China or well preserved white slip decoration, which Annam. The theory generally held is that in closely resembles some of our Maori rafter the 13th Century the well-known Swankhalok patterns. - There are shallow bowls, some on “(are began to be produced after King Rama three spindly legs, large storage and water pots, Ramhaeng had visited China and brought back globular pots with ears, jars and funerary With him Chinese potters to build kilns in articles, and many varied small round pot North West Thailand. At the close of the Drawings by Peamsook 44 45 In the Bangkok museum and in the Suan that, although the old kiln master left him the ege helped her tremendously with Pakard, there are a number of examples of others continued to work happily at the pottery her potting, her English, and in find— vessels fused together, with glaze, and some and he had no further trouble when other ing suitable meals at a Chinese rest- very bent and twisted ones. This I am told is changes were made. aurant. She made very rapid prog— gress, as she is a most gifted and due to the fact that many of the kilns were The glazes are made from a wood ash from sensitive artist. poorly constructed, and often collapsed during special trees which grow in the jungles north firing, damaging the contents beyond repair. of Chieng Mai about 5000 feet above sealevel, The Chang Silpa School of Fine Some of these exhibits are of course extremely and are brought down to the pottery by the Arts in Bangkok, where she is a interesting to potters, especially those who are hill tribes of the area. The wood fired kilns teacher of drawing and painting, has looking for ideas in ceramic sculpturell Some are round and up-draught, with just a small a roll of about 300 students ranging kilns have also been discovered, which were opening for crawling in to stack. The inside in age from 15 to 20 years. This is a unique institution linked with apparently abandoned before the pottery could walls of the kiln into which I crawled, were be removed after firing. the School of Dramatic Art which literally dripping with globules of ash glaze, in has 900 students from 10 years to deep brown, blue and greens. I went to Chieng Mai to see what was being 21 years of age and the only one done now at the well-known Thai Celadon in Thailand, where Traditional Thai All the work is hand thrown and decorated, Dancing. Music, Dramatic and Visual Pottery. The idea of reviving the making of often finely incised similar to the traditional Art are all taught under the same celadons began in 1959, when a company was old celadons to which unfortunately they have roof. Students are drawn from formed largely with overseas capital, and a little resemblance, because of the brilliantly all over the country, and many of New Zealander Alex Walker who has a Thai shiny finish. The temperatures of the kilns are them after their training will become wife and four beautiful children, was appointed teachers. The aim is to have a always controlled to give this effect, with manager. When he went to Chieng Mai he much teacher of traditional Thai Dancing crazing in glassy glazes. I found the kilns and highly skilled potters was disappointed in all schools in Thailand. Many in the results, as the opportunity working there, but with a rather primitive and for making of the students go on from the Chang the more mat celadons is there. One has to Silpa School to the University of inefficiently run set-up. These potters how- ”we, remember Fine Arts, as Peamsook herself did ever, knew some of the secrets of the old always that it is a business, and that ‘Dom inion ’ photo. to obtain her degree. glazes, and Alex Walker told me the story of much of the ware is exported to countries where the demand dictates what is made. It would be easy for Peamsook to ing and challenging one. She is off the beginning of the present Thai Celadon It is intended that The pieces are extremely varied, ranging from when she returns feel discouraged, but I am sure that to a good start having worked with pottery which incidentally you cannot buy in home in May this year that she will with her quiet strength and especially Isobel Rodie in Hawera, Helen Mason domestic ware ~ dinner sets, plates, teapots, teach pottery Chieng Mai as it is all shippedto Bangkok for in her school. Her her charm she will be able to move and Geoff Scholes in Henderson, cups and saucers, to hugh lampbases often problems are sale or export. The kilns with which they many, as there is no things along. Harry and May Davis in Nelson, decorated in bas-relief, and modelled on trad- room for her were working were difficult to bring up to the to set up a workshop, attended workshops and week—end itional patterns, nor is there as yet any equipment required temperature, and the old kiln master tastelessly Westernized to meet We have often talked about the kind school with Michael Cardew in Well the demands of an undiscerning market. This for her to work with. When I of pots she makes, and how much ington, and has been working with and his workers were very suspicious of change, visited the is of course nothing new in the East (I saw school in January her she can work within her own tradit- me all the rest of the time of her and superstitious about the effect such changes the Principal told same thing happening in me that they had no ion. She feels quite strongly that stay. It is all far too short a prep- might have on them and their families. In Japan) or for that money matter at present to set up a work- she wants to develop her own ideas aration for her to undertake the task fact they refused to come and work when Alex in the West, but it is a trap to be guarded shop for her, but that they were in pottery, growing though from her she has been set, and I‘m sure that against for all artist potters who are interested hoping Walker first introduced grates into one of the to have new premises for the traditional background. She has a all New Zealand potters wish her in maintaining high standards of design, whole kilns. He decided that there was only one and the of the visual arts section in responsibility and a tremendous task well. developing of pottery about thing to do, and that was to prove to them as an art rather than as a two years time. before her, but an extremely interest— business. that nothing untoward would happen when he fired the kiln. Although he had little ex- perience with kilns he decided in true kiwi Peamsook Bhundhumasut style to give it a go. He demanded that all POTTERS near Featherston. Here he lives, Another emigre to the Wairarapa is the workers should come and watch for three In August 1967 Peamsook Bhund- totally surrounded by work! There Dorothy Castle, now Mrs Bob Gronn. sundry out- takes this opportunity days while he alone stacked the kiln, and fired humasut came to New Zealand from Mirek Smisek has left Nelson and is an aged farmhouse and The ‘POTTER’ requiring adaptation, and, to thank Dot for all the help she it all by himself. Then again they had to Bangkok with a UNESCO Fellow— gone to live at Manukau, north of buildings Wellington, help from Richard Poore and gave the magazine during the difficult come and see the kiln being unstacked. Noth- , ship, to study pottery. I was able where he is understood with to accept the request to let her to be building a pottery. We hope Frank Light he has already built two change—over period. We wish her ing went wrong, the kiln reached the work required with me at the Teachers College, to hear more of his future plans kilns, one for stoneware, the other all the best and hope that she will temperature with ease, and when the pots as she could be in the workshop in the next issue. for salt glazing. At the same time soon have her fingers back in the came out the potters were amazed to find they potting, and I could look in through large numbers of pots are being clay again. were fired better than they had as yet seen. the day between my lecturing pro- Paul Melser has moved to the Wair- made, and results of first firings Alex Walker said it was beginners luck but gramme. The students at the Coll- arapa to found a country pottery indicate success.

46 47 The description of his travels is delightful, and TO PULL OUR MINDS WORLD CRAFTS COUNCIL NOTES BOOK REVIEWS FOR POTTERS IN the warm contact Milton Moon made with AUSTRALIA. OUT OF THE CLAY The New Zealand Chapter of the many of the big people overseas such as Peter World Crafts Council is at Voulkos in USA. and Artigas in Spain demon- present Vol. 1. Raw materials and clay FOCUS ON MILTON MOON : Dennis Pryor. ‘Yes, there are the happenings, where mounting a major exhibition strates his own bigness. as part bodies. Ivan McMeekin. New University of Queensland Press, St. Lucia, everyone arrives swathed in nothing of the Auckland Festival. Whatever South Wales University Press Limited. Queensland. One of a series “Artists in but white, and the food is somehow questions the potters may have about $4.65 N.Z. In his introduction Queensland”. $5.95A Milton Moon is a potter of stature, he is also all white ~ you drink white wine the point at which the standard the author stresses the need for typical of the type of artist we are beginning to and white thread is wound round should be set for their own exhibi— Australian potters to study their produce in the Antipodes. When I visited him you ...... you become involved, but it’s tions, their problem is simple Milton Moon is a somewhat controversial figure corn- materials intensively as a step to- at Tarragindi on the outskirts of Brisbane l was all terribly contrived — and yes, the pared with that of the other in Australian ceramics. Working on his own crafts wards the founding of their own accent is on sex. but somehow it‘s with the multitude of mediums talent has developed outside intrigued to find that he had replanted his sec— and tradition. Although specifically in Brisbane, his so jolly obvious that it loses some- conventions. Nevertheless, tion or “block” as they call it there, with noting Australian materials are treated, the the main pottery strongholds in Sydney and thing 7 the French win there! the names of the selectors native trees and plants for the situations, and the introductory Melbourne, and his work sometimes receives until you had to look craft exhibition, Mrs M. Buchanan, sections are all applicable to the a hostile reception. It is interesting, therefore, for the kilns through what seemed almost a From a Wellington artist, Susan Sker- Miss Patricia Perrin, and Mr Kees New Zealand position. This book that he should be taken seriously enough in his jungle gloom. His interest in Eastern phil- man, in London. l-los, we can be confident that the is an essential for any N.Z. potter own territory to have a book of this calibre osophy and the intensity of his involvement selection will be backed by experi- who is interested in his local re— with the landscape of his own country re— LONDON 196 8 made about him. ence and discrimination. sources minded me of so many others I know in this To me the book is significant on three counts; part of the world. Milton Moon is working in presentation and makeup; as the record of through to some new expression of the spirit, the growth of art appreciation in a provincial and the vigour of his working is refreshing and AUTHORITATIVE BOOKS ON POTTERY City such as Brisbane; and as a serious appraisal stimulating to all those in his orbit. of the creative development of that modern [EL EN MA SON CLAY AND GLAZES FOR THE POTTER by Daniel Rhodes phenomenon, the artist potter. Covers the origin of clay, blending characteristics, ceramic uses, innumerable recipes for mixing and firing as well as the whole story of glazes. If this is typical of the productions of the University of Queensland Press, then the Press LEACH, Bernard. COMPLETE BOOK OF POTTERY MAKING by John B. Kenny is to be congratulated. The format, binding, This standard, most widely accepted book in the field, covers fundamentals, tools photographs and general layout make the book Kenzan and his tradition. The lives and times needed, techniques. 187 large step—bystep photos, 100 diagrams, 12 four»colour of Koetsu, Sotatsu, Korin photographs. a pleasure to pick up, and shows what can be and Kenzan. London, done with an intelligent use of modern printing Faber, 1966. 173 pages, ll coloured plates CERAMIC DESIGN by John b’. Kenny methods. 96 monochrome plates. Plan and sketches, chronological charts, Here is a “How to Do" book in one. Complete “Pottery notes and reci- instructions for methods of forming pes” and decorating ceramic ware are The author of the book, Dennis Pryor, is a of Kcnzan I, bibliographical footnotes, given With step~by-step photographs to guide the designer along the way. T.V. personality as well as writer and classical index. scholar. He is also a close friend of Milton A BOOK OF POTTERY by Henry Varnum Pool Moon, who was himself involved in radio work Very much Leach’s reactions to the character America’s foremost ceramic artist presents his philosophy of pottery, his methods of for many years. The book was apparently and work of the four great “artist—craftsmen, work, his cherished techniques . for makin g and decorating all kinds of pots and for constructed out of many informal tape-recorded as distinct from artisans’l’. he has chosen to ceramic sculpture. He discusses also the use of slips, glazes and enamels, fire and kilns conversations obviously between people of sim- present. This must have been a laborious and gives fundamental terms, methods and other practical aids. ilar understanding and familiar with the vivid work for the author, who does not read use of words. The background descriptions Japanese script, and had to depend CERAMIC SCULPTURE: METHODS AND PROCESSES on friends by John 8. Kenny Of the environment in which Milton Moon’s reading to him in Japanese and he then writing This book features 393 step-byistep photos, 668 large scale diagrams, 14 magnificent talent developed could be paralleled in many this down in English. The whole is an intense- colour photos. Most comprehensive book A VAILABLE published 0n the subject. New Zealand cities. The small but growing ly personal statement, with rather esoteric FROM ALL ESTA 131.157//:'1) BOOKSELLERS band of enthusiasts who provided support by discussions of tea bowls, as assessed by disting- Published actually buying pots; the encouragement given guished modern critics and connoisseurs such by SIR ISAAC PITMAN & SONS LTD, by one or two stalwart people who opened and as the late Soetsu Yanagi and Kenkichi Tomi- moto, 158 Bouverie kept open galleries; the consequences of the and with whom Leach seems somewhat Street at odds. Carlton, Melbourne lack of really knowledgeable art critics; and the Surprise when an authority recognises the sin- Victoria 3053 Cerity of the potter by awarding him a really He deals more or less briefly with the various Useful travel grant. aspects of Koetsu’s artistic endeavours; e.g.

4‘? tea bowls, iron tea—kettles, sand pictures, lac- included in the illustrations. He states fully INDUSTRIAL DESIGN AND THE POTTER quer, and not least caligraphy. and fairly the reasons and research on which he Article supplied by The Design Institute bases his decision, and even if other potters enthusiastic support of Sotatsu is treated as a mystery man, of whose cannot agree with his Opened in November 1967, the New Zealand and are convinced that the craftsman-influenced life and activities almost nothing is known, for their authenticity, it makes the claims Industrial Design Council’s function is to im— object produced by industry is necessarily less skills appear to stem directly from reading. but whose intensely interesting prove the quality, efficiency and appearance good than that produced directly by the crafts- in fan and screen painting. it is not his basic training of New Zealand-made goods by practically man himself. While this may be true, Numbers of his paintings, for which there is 7 the meaning— One wonders if this might go some way toward encouraging manufacturers to produce, and relevant criterion for judgment are no longer extant. product documentary evidence convincing the Japanese of the undesirability consumers to demand, better designed products. ful test is whether or not the industrial have been. of indiscriminate copying, from which incident- One method of doing this will be the introduct— is better than it would otherwise Korin and Kenzan, the brothers, are discussed by quantity ally Leach himself has suffered. ion of a design index i a list of well-designed In a modern society supported at greater length, and their influence on each products of New Zealand manufacture that production the over-riding need is to raise other and the general artistic climate of the The plates are gathered in sections, and though will serve as a shoppers’ guide as well as a industrial standards. This is the importance times is stressed. the relevant text is carefully matched with manufacturers” reference. Products listed will of the craftsman’s influence. of the numbered plate, this entails a great deal display Good Design tags at selling point. A lengthy later chapter appears to be an page turning. Iavishly illustrated with full The function of the potter in industry must be attempt at vindication of his acceptance of the should not be page plates on heavy art paper, as well as the All types of products will be contained in the carefully examined; his purpose highly controversial Kenzan pots, found at in the mechanical production of fake sketches incorporated in the text, and excel— guide, including, of course, pottery and craft— to assist Sano, where Kenzan lived for a time in his work in a design research lently reproduced, this is nevertheless an ex— work where it reaches required standards. The studio pottery, but to later years, as genuine, if one is to judge by of facilities and freedom to pensive book, at the New Zealand price evaluation of articles will be carried out by capacity. With numerous examples of this material he has can design—by-making $16.40. committees of technical experts in various experiment, the potter FREDA ANDERSON fields which will include representative potters within the framework ofla‘rge-scale production. is a valuable addition to the BOOKS and craftsmen. Understandably, only reason— In this way he to industry. ably-sized production runs will be appropriate: design abilities already available of such an HANDBUILT POTTERY. the one—off design will miss the point of the A notable example of the benefits Mollie Winterborn, & Boon _School of Arts and Crafts, London, it is a study of the relations of Fin- Mills a index. association is the internationally successful Ltd., London, 30/—. By an exper- in THE TECHNIQUE OF POTTERY, potter’s attitude to his life and his nish company Arabia, which gives complete ienced teacher of children, well ill— Batsford, $4.00, now in the third work and of the development of In the context of industrial design, craftsman- freedom to its designers and potters to develop ustrated with examples of their work. edition, does go beyond techniques creative sensibility. Series of photo— their individual talents with the backing of the An aid to the introduction of pottery alone. Suitable for more advanced graphs are widely used to develop ship, and hence pottery, is simply one of a factory’s advanced technical resources. teaching where there are limited re students. and illustrate the themes. Something number of possible ways of making things. sources, similar is explored, in a quite There is no intrinsic merit in making an article of ideas be- POTTERY MATERIALS AND different way, in the book. either by machine or by hand. The fitness To some extent the interchange THE BEGINNER’S BOOK TECHNIQUES. craftsman potters and industry is limited 56/-, and A POTTER’S WORK of the article for the job and our pleasure in tween OF POTTERY. UNDERSTANDING by Bernard Leach, Evelyn, different téchniques involved. POTTERY Adams 8; using it 7 its quality ,.. is the relevant factor. by the completely Harold Powell, Blandford Press, Lon- GLAZES, 30/-. McKay Ltd. London. 63/: This don, Part I, Coil and Slab. Part 2, both by David Green. Faber and book. which has an introduction There is wide scope, however, for a raising of Throwing, Casting, Decoration. 8/6d. Faber, are written for those seeking and autobiographical note by JP. The Design Council recognises both the validity design standards by their inter-relationship. each. In the same series, FURTHER an introduction to the science and Hodin. is the only one by Bernard of quantity productions and the value of hand— The vitality and artistic value that typify studio STEPS IN POTTERY, lO/6d. practice of ceramics, but who are Leach in which he is concerned with craft. While a mutual and apparently funda— pottery could happily combine with the uni- POTTERY AND MOSAICS, 12/6d. ready for more advanced studies and his own work solely. There are mental antipathy seems inevitable between the formity of quality and standards of finish The division into stages enables the wish to understand more fully the illustrations covering over fifty years two i the craftsman considered a crank and characteristic of commercially manufactured student to acquire a simple manual nature of the reactions of the mater- of his work. with his comments. the industrialist a moneygrabber — the Council ware. at least cost and could be an advan- ials. The book on glazes would be sees room for the exploration of a useful tage where groups of students ‘seek particularly useful for potters exper- KATACI—II relationship. It isn’t suggested that association Industrial design is concerned primarily with reference to several different process- imenting with glaze recipes or with Japanese pattern and design in wood. to industry sudden must do the job it’s es. local materials. paper and clay. by Takcji Iwamiya with craftsmen will bring efficiency — an article With these and numerous other cle- and Donald Richie. Weidenfeld and increased sales, or that the relationship will be made for. Good design also implies economy mentary books, and also with some Nicholson. is primarily a visual work. easily organised. The basis for such an assoc— and pleasing appearance. While the best New more comprehensive works the teach- POTTERY FORM AND evincing the highest level of response iation must be in the fundamental concern Zealand pottery embodies all these qualities, ing of varieties of methods and pro EXPRESSION. to the qualities of the materials. 0f the manufacturer with the quality and too often too great a concern for exhibition cesses needs to be paralleled by Marguerite Wildenhain, Reinhold, well matched by the photography Character of his products — a concern that the pottery overshadows the basic function of the some approach to questions of values, $8.50. Marguerite Wildenhajn was and production of the book. I’or Design Council is setting out to develop. craft. Now that New Zealand potters have which tend to lose out amidst all the educated and later taught at the potters, craftsmen and designers. in- reached good technical standards, it would be techniques. Dora Billington, for Bauhaus during the most vital years. cluding exhibition designers and dis- with appropriate time to concentrate on efficiency many years a teacher at the Central This is not a book of techniques, play artists. Many craftsmen will see a connection 1ndUStry or design as deadening and damaging, in design and increased rates of production. 50 ,’__J Useful, well designed and well made things will not caused by its scarcity value, but by its always be in demand, even in times of national intrinsic merit. A stepping up of production economy squeezes. The widespread appre- rates will only serve to allow still wider ciation of the worth of our studio pottery is appreciation both here and abroad.

In order to give background to the preceeding article the following questions were put to Mr. Geoffrey Nees, Executive Officer of the Design Council.

Q. WHAT IS THE STRUCTURE OF THE DESIGN COUNCIL? LETTER TO THE EDITOR A. It consists of 9 people; 6 nominated by the Minister of Industries and Commerce, and Sir 2 appointed by the Governor General; and 3 Heads of Government Departments. First, the price, or quality of some essential pottery materials has be WHO ARE THE MEMBERS? come so unreasonable that the N.Z. Society of Potters should make a Chairman:— Mr. Philip Proctor, Chairman of strong protest to the importers. Even Directors, Phillips Electrical Industries. before the introduction of decimal currency and devaluation pyrometric Deputy Chaimianz-— J.N.C. Doig, Managing cones cost from 6d. to 8d. each, Director of U.E.B. Industries, Auckland. compared with the English price, W. G. Caughey of Smith and Caughey, 2.4d. (when bought in boxes of 100). Auckland. Even allowing for freight cost and charges needed to cover small - quan- J.K. Dobson, Manager, Crown-Crystal Glass, tity supply, the markup appears to Christchurch. be far too high. Patricia Coleman, Dean of Faculty of Home Also, the only silicon carbide shelves Science, Otago University. available to us at the moment seem James Coe, (Industrial Design Member) Head to be excessively expensive when of School of Design, Wellington Polytechnic. their poor quality is taken into acc- and also : ount. Since these must be imported, why can‘t the importers obtain the The Secretary of the Department of Industries English-made shelves which are very and Commerce. much better than the Australian pro- duct? The Director General of the D.S.I.R. The Director of Education. Secondly, the crippling shortage of the above two items seems to be due NOT A POT IN SIGHT... HAS THE DESIGN COUNCIL ANY MEANS to stringent import controls. At OF ASSERTING ITS AUTHORITY? least four months delay for shelving and the chronic shortage ofcones are Many who live in an increasingly man—made environment must It will set out to persuade rather than ridiculous and unnecessary. The sense a loss of contact with the natural world. The potter whose adjudicate. Three sub. committees are already NZ. Society of Potters is the only work, apparently allowing the process to speak for itself, gives us considering plans for setting up body in this country that can speak thought are completely a Design Index for all the potters. It would have Objects in which natural forces and human Design Incentive for Industry. the full support of its members if it interwoven, does something to restore the lost unity. a Register presented to the Minister of Cust— of Designers oms a case for some relaxation of The latter will be a means import controls on these essential of putting designers 1. Warren Tippett gathering mussels, Coromandel. in touch with Industry, and will be widely items. advertised to encourage membership. Yours etc, Ultimately, Design Centres are also envisaged. S TA N JENKINS 53' teaching 2. In his studio near Henderson, Jeff Scholes pauses from throwing to answer the query of a student. Few teaching systems could match the effectiveness of the ’unofficial university' of the potters and their close followers. production

3. Barry Brickell fitting a lid, Coromandel.

4. Sumptuous pot forms and rich textures, fresh from the kiln, left out for rain to wash away any traces of salt. Behind the antique table and the flax, the centre of energy.

54 more production confusion apparent 5. Another salt glaze kiln. The process 7. “Will it ever make an exhibi- converts the whole kiln interior and contents tion?” At the Display Centre, into one glittering textured mass. Paul Wellington, the blue carpet vanishes l\/le|ser unpacks his l

transport 6. A railway wagon load of pots, bedded down in straw, is opened at Wellington station. order, just in time Richard Poore began his pottery career by last pieces are emplaced, organising an exhibition of the work of 8. As the guest arrives.

professional potters. the first '

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57 56 An art magazine must first A DISCUSSION BETWEEN aim for basic ‘ASCENT’, circulation in an orbit of active enthusiasts but JIM MUNRO & JOHN STACKHOUSE. it is likely to build up strength from occasional supporters and a wider public. A few count- J.S. I expect, Jim, that one of the first ries which try to keep the Arts in perspective things you look for in a New Zealand art have an art magazine as a cherished product of publication is, how it reflects the current the tourist department. Some of our visitors scene. How do you find ‘Ascent’ on this would value this journal to guide them during point? their visit and to serve as a souvenir afterwards.

J.M. : It gives a good coverage of the things ‘Ascent’ carries an imposing line-up of contri- that are going on at present. As well as illus— butors; Douglas MacDiarmid, Bruce Mason, trations of prints by John Drawbridge, paintings Charles Brasch, Gordon Brown, Beverley Sim— by Pat l-lanly and bronzes by Greer Twiss, there mons; specialists in Painting, Writing, Publish- are reviews of a wide range of exhibitions and ing, Architecture, and Criticism. I wonder if some publications. I find Douglas Mac- this standard will be difficult to maintain? Diarmid’s comments about communications in New Zealand apply in my own experience; and J.M. : It will be very exacting if the publica- there is a most sensible plea by Charles Brasch tion is to be quarterly. There are only a few for coordination in the buying by Art Galleries. informed people who can also achieve the re- quired standard ofjournalism. This copy does I have wondered if there is enough interest for not tell us, but perhaps half yearly would be a the casual reader. There may be a much wider more realistic target. public, besides the converted, that a magazine like this might reach? J.S. This field of publication is very competitive and the look and feel of a magazine .I.S. : There could be a brief summary to is an important factor in circulation; what is introduce the contributors e many journals, your reaction to this one, Jim? including ‘Landfall’ adopt this method. Some even use editorial space to underline the auth- J.M. : It is a pleasure to pick it up. The NOTA POT IN SIGHT Ority of their sources. I believe the next issue pictures are interesting and the articles are by 0f ‘Ascent’ will carry more detailed information people who know what they are talking about. 9. ”Will someone else buy it before I can catch the seller’s eye?" about illustrated works v who owns them 7 I notice that after a lot of handling, my copy Where they can be seen w as well as credits for is still in good condition. A special feature the photographs. that appeals to me is the use Photos: 1, Marti Friedlander; 2, Michael Gill; 3 & 4, Roy Cowan; of a different 5 — 9, Jeff Scholes. IRENE O'NEILL. WAITAO ESTUARY. ,U FORM 1N CLAY Tauranga Harbour Series. Oil. The second lecture illustrated the structural principles to form. An first, by means of a series of magm- overall difference to the work shown, DA VID BROKENSHIRE ficent slides. These were largely of in the first h'alf of the lecture was work of our own century and clearly apparent, possibly explained by our showed the relation between form different country. Mr. Tom Taylor of the School of and material. Art, Canterbury University, gave a Generally, these lectures were well series of 3 lectures to members of The third lecture, illustrated by slides attended, and were tremendously val- the Canterbury Potters" Association of Mr. Taylor’s recent tour, showed uable from the potter’s view point in June 1967. work firstly by sculptors in Australia They sketched the basis of the world These illustrated the effect of envir- of sculpture, and increased our vocab The first lecture explained the basis onment and landscape on sculpture. ulary of form by showing the work of sculpture, its relation to materials, Secondly, work by students at Cant» of sculptors of our own century and the form consciousness of various erbury University was shown. These generally, and particularly, by the peoples in different ages. showed various exercises relating work of men in Australia. from ‘ASCENT’ 58 before starting to build a kiln, was whether paper for reproducing four prints by Barry J.M. : It has its own special problems. All Limited and very often were collected a bag than Cleavin. This is a touch of variety and en- the arts are not equally suited to magazine as a woman I was showing more courage of one thing at a time so that cement and fire- hances the prints. The illustrations as a whole treatment. I remember in ‘The Arts Year sense to build one at all. ‘Would it not be a clay were not stored too long. After the are very varied, ranging from artists we know Book’ that Drama sometimes suffered because good idea to supplement my small electric first big load of firebricks arrived with a percen- well like a friendly Rita Angus and Toss Woollaston, to the reviews had to be illustrated with amateur kiln by installing a much larger one’, tage of chipped edges, I collected all further such late comers and I realized he was think- as Irene O’Neill and Quentin photographs of amateur groupings, against potter murmured, requirements from the yard, transporting them MacFarlane. ama— For me the four mezzotints by teur sets — only technical shortcomings, but ing of my over sixty years tackling a job of in the boot of my car. The cost of building John Drawbridge'are particularly valid, perhaps standing in the way of constructive reporting. bricks and mortar. materials for the kiln has been approximately because a printed medium is more suited to a In ‘Ascent’ the various fields covered are welded $250. The blower was given to us and this magazme. together and the problems that must have been Not only do I love reduction glazes, but the amount does not cover the concrete floor on there are not apparent. One supposes that whole process of kiln management appealed which the kiln is built or kiln furniture. later issues will carry more advertising. to me. J.S. : In your work at Napier you have an In this issue the 72 pages are packed with Our group seldom worked in full force, usually amalgam of the arts under one roof e are there interest 7 now when can we look forward to Up till 1967, there had been the oil—fired kiln one or two would offer to come and build. difficulties in this kind of composite coverage? Number Two? at the Design Centre, only when I knew its So this was how it was done, quite often days were numbered did I realize how much I several courses would be built by two women would miss this rather difficult old kiln with in short sessions of several hours, enough for its three pot burners. What did it matter if our strength. ‘It all helps’, we said, as we ones hair was sticky with oil fumes, and singed stretched our backs after the work on the by the flames leaping from the spy-hole. A lower courses, washed THE YEAR WE BUILT THE our tools, swept the KILN. kiln I must have and so the decision was made. mortar from the floor and covered the kiln I need not be alone in the venture and so this walls with damp sacks. DOROTHY A BRAHAM was the way of it. A group was formed of four women and one man. The feel and use of tools that one has never given a second glance, gave me immense satis- An area which was once vegetable garden gave faction. Trowel float, bolster, level and way to a smooth area of concrete 12 ft. by leather-headed hammer all came into use. I 18 ft. and 5 inches deep. The kiln area of happily talked about the Scotch hammer until approximately 4 ft. x 61/2 ft. was marked out I discovered that this useful tool was a Scutch and the first bricks laid. After several courses hammer. had been built, a workshop was erected over the floor with a bench for glazing, the full There were weeks when little was accomplished Width of the shed, and along the wall opposite but at last we were ready for the skewbacks the wickets, a window and a set of movable to be laid. I had mastered the knack of shelves. cutting bricks to the required size either across or lengthwise by placing the wet brick on a Through the winter we worked on the kiln sack and scoring round the brick with bolster in the shelter of this workshop. and metal-headed hammer. A sharp tap and Photo Stan Jenkins the pieces fell neatly apart. But what about The kiln was from the design by Roy Cowan as angle cutting for skewbacks? Here again set out in the “Potter” Volume 7, No. 2. kindness helped us when a stonemason cut The glost chamber measures 20 cubic feet and them as neatly as a piece of cake. Then we 1n presenting this account of the building of the biscuit chamber, 15 cubic feet. came to the setting of the archbricks. The an oil-fired kiln, the first thing I must do is man of the group really came into his own at to acknowledge and extend my gratitude to Stan Jenkins had completed a kiln to this this point and a friendly potter added his the numerous potters whose help with plans, design and he was very helpful in supplying efforts and the arch bricks slid into place illustrations, building instructions and the loan all his plans, the wooden arch frames and without mortar of any kind. Above this the of tools and time and help in discussing prob- Supports, indeed a mass of material, and he red bricks were set in a mixture of four lems made this undertaking possible, also to Was always ready to show us what he had done parts grog, three parts cement fondu and one my husband who gave up his winter vegetable in the building of his own kiln which is a part fireclay. To keep any part of this from garden for the kiln site. model of neat workmanship. penetrating the archbricks, we painted melted Tex Wax and kerosene over the cracks and it I discovered the first question to be answered Building materials were obtained from Winstone worked perfectly.

60 bl a

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The top was insulated with Vermiculite and ‘ a With the last brick in place, the kiln is l

drying. Jr little cement-fondu in a wet mix topped by .\

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We plan to have two biscuit-firings y in order A.\J‘r‘ pumice treated the same way. that the kiln may not be too hastily subjected Iv“

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to .,r— the fiercest heat. 4— ”or“. It was suggested to me that grinding down .\

J the edges of the wicket base would save my Building a kiln is a wonderful experience and i knees while packing the kiln. So this was not to be missed in the .1251” life of a Potter. \ done and I also rounded the edges of the l“'i BISCUIT

\r‘ wicket as this would lessen the risk of chipping. For many reasons there were interruptions l to ~v,;~r

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_ steady progress, so potters, do not be ,, deterred u

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, The blower, electric motor and fuel tank are that our building took a full year. I will .g ready to be set up. The pot burner and jet a. 3) )r certainly remember with special happiness the . burners were made by Mr. B. Campbell, 214 ‘year we built the kiln’. SHELVES Botanical Road, Palmerston North, and the automatic cut—off is ready.

KILN BLEED

Vol. 7 No.2 is now out of print and as there are still many enquiries BURNER SHAFT for the kiln design we have added ~91“. ‘~‘(‘ Lf’r 3-:,'~.'<_\;“.\ {iv-21V? further' drawings to the plan supplied P 1*" ‘ by Dorothy Abraham, with some notes on modifications and operating methods, the results of experience with this design. Intending kiln builders are advised to look also at the Ardmore kiln, designed by Peter ALTERNATIVE Stichbury, a simple design of about CHIMNEY the same capacity, which has been POSITION widely adopted. It is shown in Vol. be more than shown in the drawing. so much the chance of fire occurring 8 No. 2. Control of the draft can be exercised during firing, but the sustained hot by air bleeds at the points shown radiation afterwards may be too THE KILN, The biscuit chamber in the biscuit chamber and in the much for many of the very inflamm- is given the same capacity as the base of the stack. In general it is able synthetic and plastic materials glost and the floor level is made the best to build a stack of excess cap— at present in use. same in both. In place of a second acity and control by air bleeding. layer of bricks and loose fill on the THE POT BURNER. To replace crown, the kiln may be capped with Build the kiln well clear of inflam— the round type, there is a rectangular vermiculite concréte. As this mater- mable materials and if the chimney form which is simpler to make, fits ial needs water—tight shuttering passes some through a roof allow at least the kiln brickwork more closely, and proofing such as a plastic 12” sheet tank clearance from woodwork or has a much higher output when should be formed on top of anything the kiln. that can burn. It is not blown at higher pressure. It is

The chambers, each of about 18 cu. ft. capacity, are connected by two mfi} passages each 4V2" x 6”. The hori- FIREBRICK WK?- zontal flue, if short, and the chimney <1”. POT BURNER are 6” x 9” internally. The horizon- COMMON BRICK tal flue may be lengthened to pass ”r”. outside a building, in which case the internal size should be 7%” x 9”. if)“ M Firebrick is recommended for the H‘. snow.“ lower chimney courses. Height may made from 3” and 2” angle steel, type cut-off valve should be included. 3/16” thickness, 4” x 2” channel, This should be of the manual reset and some plate. type so that the potter can re—estab- lish firing under his own control. HEATING ON THE POT BURNER. To deal with fire arising from a at Hamilton The kiln chimney draft increases as broken fuel line, the quick-action the gases become hotter, reaching gate valve, fitted with a weight or maximum at about 250—300 C., that spring adequate to close it, and held is, very soon after the start of heat- open by a fusible or combustible main contributing potters: ing. The pot burner may thus set line or cord running beside the fuel up enough draft to combat its own lines or firemouths, provides insur— heat output. As the pot burner can ance. 1 Warren Tippett provide all the combustion air it needs, the chimney draft is not need- Finally, there is the possibility that ed and the damper may be closed the air blast may fail though the Len Castle almost completely. A hot lake of power remains on. With pot burners, gas will form in the kiln, and an this may be met by provision for WEIGHT even red heat is more readily achiev- the draw»off of fuel if the level Barry ed. rises, or a float type cut off, as used Brickell in motor carburettors may be used. SAFE OPERATION. Kilns are not A simple solution covering all burn- in the same class as the multitudes er types is a bellows which holds Adrian Cotter of heater and boiler installations whi— the 0A. gate valve open only while that the pressure must be picked up ch must operate without an attend- air pressure is maintained. A one in the air trunk in the manner sket- ant, but fail-safe devices appropriate pound weight is adequate to close ched. Once again, a manual re—set Mirek Smisek to their conditions should be fitted. the valve, and, if the lower is giving is preferable and this can be fitted Some have already been mentioned. 3" water gauge, an area of more by a simple pawl which prevents Where complications would follow than 20 inches square in the bellows the bellows re—inflating on restorat— Waimea failure of power supply, a solenoid leaf will deliver 21b. effort. Note tion of power. Crewenna about 1500 C. For natural gas, the Any but the smallest of kilns will NATURAL GAS figure is about 1900 C, which indi- require a larger gas supply pipe and cates the possibilities which will be meter than the usual domestic sizes, The British Thermal Unit (B.T.U. opened up in the firing of porcelains and this change will in most cases be for short), is a standard unit for and refractories, but there may also made by the gas supplier free of measuring heating power. A gallon be some problems. Many kilns can cost. The rates for natural gas Copper work of oil fuel, burnt in 1800 to 2000 be fired on at full temperature as are not yet announced but they are cubic feet of air, produces about they will normally level off at about to be competitive with other fuels. Weaving 160,000 B.T.U’s. In doing so, the Cone 10, but with gas, control will oil forms an additional volume of gas. have to be exercised. Temperatures may be expected to rise more readily Some enterprising New Zealand fire- Jewellery One cubic foot of natural gas will with gas than they will with oil even brick manufacturer should now make produce about 1050 B.T.U’s when when the atmosphere is toward either lightweight expanded versions of their Wooden things burnt in 10-11 cu. ft. of air, and, the oxydising or reducing side, so high-alumina bricks for use in gas to produce 160,000 B.T.U’s, 157 cu. that maintenance of the correct at- fired kilns and central heating units. Leather & Suede ft. of gas would be burnt in about mosphere for the desired ceramic And while we are about it, as we 1650 cu. ft. of air. The total flow result will be more important. have plenty of silica sand, salt, saw— for gas would then be 157 plus dust, coke and cheap electric power, 1650 cu. ft. In other words, In most applications it will not be what about Silicon Carbide for abra- kilns dimensioned for oil will work necessary to blow air, and the kilns sives and refractories? on gas with a slight margin of gas- will be essentially natural draft with flow capacity. a slight push from the gas jets. The We are indebted to Mr H.A. Ferry controls become; the gas valves and of the Wellington Gas Co. Ltd., for DEVON ART The maximum flame temperature for air shutters at the burners, and a technical information on natural gas. 567 VICTORIA STREET HAMILTON oil in correct mixture with air is damper or baffle at the chimney. also direct importers of high quality tableware, cutlery and

Printed by John Milne Ltd. glassware from the wond’s leading manufacturers 64 L