POTTERS WHEELS contents VOLUME 13 No. 2 SPRING 1971 Editorial 2 RING-CONE VARIABLE SPEED ELECTRIC WHEEL. The Fourteenth 3 A power wheel 10 Fully enclosed heavy welded steel construction, 10" dia— meter cast iron wheelhead, l8 galv, tray, loam seat, foot control Oriental pottery 12 tom 0—200 revs. Size without tray 30" X 10%” x 18” high. Price $230 Another man’s poison 18 ex Auckland. International success 22 China cabinet ceramics 24 VARIABLE SPEED WHEEL. Not just another sale of work 27 Unique design of foot control regulates pressure of drive belt Yvonne Rust and colleagues 30 to motor to vary speed. Frame of triangular shape of welded Cowan exhibition 34 steel and 18" galv. steel. 10” cast iron wheelhead. Adjustable seat and tootrest. Price $125 complete ex Auckland. Potters materials dissected and examined 37 Teapots galore! 42 KICK WHEEL. What they are doing to our greenstone 47 Frame of triangular shape of welded steel. 10” cast iron Unspoilt Bali 49 wheelhead. Extra heavy accurately cast concrete fly—wheel. NeWS of people, pots and events 53 Left or right foot operation, seat adjustable for height, footrest adjustable, ball bearings sealed for life. NEW ZEALAND POTTER is a non-profit making magazine published twice Price $85 ex Auckland. annually in Autumn and Spring. Subscription rates: Within New Zealand: $2 per annum, post free. Australia: $2.20 Canada, USA. $USZ.4O United Kingdom: 22/- Other countries: $U82.4O

For further information or demon— stration ring: Editor Margaret Harris

Editorial advisers Juliet Peter Roy Cowan PRODUCTS Doreen Blumhardt J.B. Nigel Harris 5229—8 Howick Administration David Carson-Parker_ 899-51l Christchurch Esme M an 5 Advertising Esme Marris PO. Box 14—229 Layout Juliet Peter Panmure, Auckland Editorial/subscription/advertising correspondence Printed by Deslandes Ltd. should be addressed to New Zealand Potter Wellington P.O. Box 12-162 Wellington North New Zealand

1 F'_——Y

editorial The Fourteenth

The National Exhibition of the New sumably were chosen to do just this. REVIEWED BY MICHAEL TRUMIC Zealand Society of Potters has been It would seem then that the Society gets regarded as a showing of the best work the kind of exhibition that it asks for. When the editor of New Zealand Potter, bowls. Plates and bowls are particu- produced each year and a goal for new Two things were plainly apparent. One wrote asking me if I would write an objec- larly suitable to carry enormously thick potters to aim at. —that the exhibition can no longer call tive criticism of the 14th Exhibition of the layers of beautiful glazes or elaborate de- The Fourteenth has now been held. itself ”National" in the sense that it rep- NZ. Society of Potters, my answer corations, screaming for attention and get- After selection, 167 entries were put on resents New Zealand potters as a whole. should have been 'how' instead of 'Yes'. ting it, but on the unseen parts of these display in Christchurch’s C.S.A. Gallery, Nor does it show a representative cross How indeed. there was no skill or attention. We all out of which the first 22 catalogue entries section of work produced in a current Objectivity in any art form is elusive, know how many mistakes a good glaze were those of guest exhibitors. Thus the year (for better or worse!) 80 one must but its elusiveness does not mean its or elaborate decoration can hide and how actual membership of the Society of ask the question—does it serve a pur- non-existence. Wouldn’t it be nice if in- powerful is the glaze appeal to the public Potters supplied an exhibition of 145 pose any longer? deed it didn't exist. What a free game eye, but by doing this one can go only items (or sets). Fifteen years ago when the National ART would be. so far, so often, and no more. This way Such a heavy selection should have Exhibition series began, the situation was Craftsmanship is part of any art form one's skill must come to a full stop and ensured an exhibition of high quality. 80 very different. Potters were few, and and it is often referred to as the technical never develop any further. One must ack- why did it look somewhat thin and dis- exhibition opportunities even fewer. “The aspect or the rational part of it. nowledge this confrontation with one's appointing? Certainly the work on view National exhibition brought potters and own skill. The critical eye can quite easily be ob- had its share of nice pieces. But not public together in an appraisal of what Beside the actual absence of skill, this jective in this area and I will try to look enough to make a memorable display in a had been achieved in the course of the exhibition revealed to me an alarming in- at this exhibition mainly from this angle. large gallery. A long standing problem of year. Today, potters have a wide choice of sensitivity to the three dimensional form. I am fully aware of the fact that in this jury selection, especially one which relies possibilities in the display and marketing We potters begin with a form—form is way I will not be able to encompass upon a voting or point tallying system, is of their wares, without feeling a need to the essence of our work—form IS a pot; the 'whole pot'. the tendency to eliminate the controver- compete for very limited space at large- and before we even consider glazing any Under craftsmanship I understand tech— sial or divergent work along with the less group-organised exhibitions. pet we must make sure that the form nical execution of pets, competent. It is the view of some, that The Society of Potters should be alert their form and is good, so good that it does not need design. The craftsmanship the fourteenth exhibition could have been to these changed circumstances. It is in pottery is any beautifying processes applied to it. easiest more exciting if the selectors had been already committed to holding a 15th to compare with craftsmanship in It is no good to hope that the glaze prepared to allow in pots that they may "National" exhibition (in Wellington in music—IT CANNOT BE BY-PASSED AND will improve it. Glazes and decorations IT not have cared for personally, but which 1972). There is a strong case for making IS NOT INSTANT. can and should only confirm already exist- were different, even if technically not so this the last of its kind — a Grand Finale In this exhibition I had the unusally ing form—that way makes it perhaps more well made. Having said this, which is a done in style to finish an honourable good chance to handle and touch every 'visib!e’ or stronger. To blend a glaze bit condemning of the selectors who said movement on a high note. Few art move- pot several times as I set up the display. and a form successfully is a sensitive that they were given only a mediocre ments last longer than a decade, so the Even before I had gone halfway through, and complex problem and it should not offering anyway, if we cast our memories National exhibition in its original form has it became obvious to me that there was be treated lightly. The natural feeling for back to the Twelfth and Thirteenth, we done well to survive so long. an overwhelming absence of skill. The al- good form is in every one of us recall that the after-exhibition-cry was that For the future the Society could con- most total absence of complex pottery but at the present age more often or the selectors were not setting a high sider what are the present needs of forms proves this observation. There was not this feeling has to be rediscovered, enough standard, particularly in basic potters. Perhaps the promotion of regional only one coffee pot, three teapots, re-stimulated and ‘relearned'. aspects of design such as craftsmanship exhibitions? Overseas exhibitors? Or very few handled pots, hardly any jugs, A potter is a sculptor in the first place

and function. This year's selectors pre- what? but plenty of ashtrays, plates, platters and and if he is not that way inclined, he i0 should take up brush and canvas and Gail Carlson — Auckland had a lovely sizes, well decorated and only one small try again. and lively group of five small pots (mainly mistake in one of them where the decora- To sum it up, the skill and form are oil bottles) sensitive in form, with good tion ran away from the flat area of the the two main weaknesses of this exhibi- glazes and textures. Those had their own dish on to the upright side. tion as a whole. lts strongest points are inner dynamics despite their size and at- One wishes to see some 'standing up’ the quality and variation of glazes and tention had been given to every detail. pots from this potter. the fact that so many potters are working, Mirek Smisek — Te Horo His best I Juliet Peter —— Wellington had three trying and exhibiting. There is a definite thought, were six fluted porcelain goblets exhibits, two slab pots and a large fruit feeling of enthusiasm and hope throughout (141 Cat. No.) and his 'worst' perhaps bowl. These were not sensational in any all pots despite the weaknesses | men- six bowls (138) which were that bit 'top sense but the care and attention were tioned earlier. This is a lot of capital heavy'. obvious to any sensitive onlooker. I would for the future. The continuity of good craftsmanship like to suggest that this care (not fuss- On the individual level there are high— which is not easy to maintain is a thing iness) is the surest way to put oneself lights and lows, but I can mention one must admire in Mirek's work. These into one's work. The big fruit bowl, while only a few. Due to the system of selection, pieces are no exception. basically correct in form, was cut too some potters finished with only One pot abruptly and left without any type of lip, in the exhibition — hardly enough to Jane Smisek — Te Horo exhibited five giving us a feeling that we were looking assess. pieces, all flat, square dishes of various at a half of a giant bowl.

Oil bottles, Gail Carlson. Jug, Margaret Higgs. Hazel McCaughern —— Christchurch Photo: G. Christian had six exhibits and one bowl was pur- chased by the Canterbury Museum. Again Photo: G. Christian Wine bottle, Peter Stichbury. there was nothing sensational in her pots but one handled them with care and re- Guy Mountain — presents us with a spect because that is what had gone into large bowl and a beautiful thick glaze but them. almost footless—there was a mini one Peter Stichbury —— Auckland. His only. The foot on a bowl is as important coffee set, particularly his coffee pot, was as the bowl itself. Its size and shape is extremely well designed and executed. dictated by the size and the line of the Every part of it was in balance with the bowl’s shape otherwise these two do not whole. But his wine bottle had a very 'un- fit each other. He is not the only one mak— fortunate’ handle attached to it. Neither in ing this and similar mistakes in bowls, par- shape nor in mass was it belonging to that ticularly large ones, but space limits me particular pot. The platter, while beauti— from mentioning each one. fully glazed was 'solid' clay, totally form- Casseroles are an item for which I would less and only the rim was thinned out. feel guilty if I didn't say something about, Denys Hadfield — Amber‘ley had but there were too many to mention indi- very elaborate decorations more suitable vidually. The basic trouble spots were for the flat areas than to the rounded and handles—which were either too big aes- curved areas of the pots. His 'porcelain’ thetically or too small functionally. There is plate was one of the heaviest plates in the a point where these two aspects meet exhibition and the foot was big enough and the potter's job is to find it. The and strong enough to support a thirty-inch lids were shaped nicely outside but inside tall pot. most of them little attention had been paid to the fact that internal shape must Nola did not attempt to rely on glaze Crewenna — Nelson with eight pots, match the external. In almost all of them, appeal or clay appeal, the trap into which had their usual good level of craftsmanship the rims were very bad, yet the rim is many ceramic sculptors often fall. These with two exceptionally good pots. One the most important part of a casserole—— two forms could be an object lesson to was a small bowl (9) excellent in form it holds the lid and aesthetically can ruin the intending ceramic sculptor. and even better in decoration and a dish the whole shape. (11) with incised delicate decoration. The Estelle Martin — Hastings just to bread crock was less appealing in form, mention one, had two casseroles, very John Fuller somehow cumbersome, but what really nice with in form, reasonable decoration surprised was the wax-resist decoration but very poor rims. over the finger marks. The fingermarks, John Fuller — Feilding had three particularly the heavy ones do create a sculptural forms which he calls pots but decoration on their own and if we apply which were less. Technically they were another decoration on top of them we well executed with good sculptural bal- finish with two decorations fighting each ance and a bit unnecessary touch of glaze other and negating each other. here and there. One was bought by the Photos: G. Christian Canterbury Museum. Brian Gartside — Auckland exhibited two stoneware vessels with strong sculp- tural accent. Those were again technically well executed, robust and warm in form but the glaze which he applied ran in trickles and patches down the pots, com- pletely ignoring and contradicting the form. Sculptural pots demand more uni- form glazes so that nothing distracts us from the form itself.

David Brokenshire — Christchurch Bowl, had two exhibits—Anchor Stone and Len Castle Chasm. In fact, two sculptural forms exe— cuted in clay by coiling. They did radiate inner movements and joy of working in clay without over-indluging in it, well glaz- ed, with matt iron slip so that the form was easily seen. Len Castle — Auckland had six pots, matched by anything in the past. I will Nola Barron — Christchurch exhibited all good ones, but I did not feel them not analyse this bowl as | feel it is fully two plates and two ceramic forms. Both all to be recent ones. No that that matters integrated in all its aspects. ceramic forms were purely sculptural in much, but if the white bowl (1) is a Warren Tippett — Coromandel had concept and every plane and line was recent one and if that is the newest direc- eight exhibits, one being a twenty—piece worked on. One unglazed, the other glazed tion in which Len Castle intends to go, lunch set. There is no question of Warren's with a simple matt glaze so that there then in the future we are going to see skill, he excells in it, but a form of eclec— was no glaze obstruction to the form. many more beautiful pots to come, un- ticism is obvious in his work—the forms and surfaces embodying values upheld by many potters who should rightfully be others. Where does that lead? It is not mentioned, but I had to select those for me to judge. whose work offered me the best chance to say something by either their good or A large blossom jar was bought by weak points. I have tried to stay on the the lVcougall Art Gallery. objective line of good and bad and not to Considering the time and space I had, wander into the subjective; I like or I I think I did my best. I have missed dislike.

General view of exhibi- tion, with pots by Warren Tippett in The magnitude of the problem, as selectors see it. The photo above foreground. shows the 13th Exhibition (at Auckland in 1969) before selection.

Below. Selectors, 1971, at Christchurch. Warren Tippett, Len Castle, and Harry Davis.

Photo: Nola Barron

Photo: G. Christian A POWER WHEEL By Roy Cowan

Most electric wheels built for studio one inch copper or brass drain pipe may potters are made to duplicate the infinit- be soldered in place to take off excess ely variable speed characteristic of the slip to a bucket. treadle wheel. In my experience the avail- The wheel shaft is of three quarter inch ability of three or four set speeds permits shafting with a flat filed at the level en- the making of all classes of ware from gaged by the set screw of the pulley.

small items formed at high speed to ter- The top and bottom, bearings shown are

-,.; r'"‘~' race jars coiled and thrown at traditional Unit Flanged Housings, SKF type FYC 012 slow wheel speed, without inconvenience. A % or % H.P. motor, 1440 r.p.m., is The drawing sets out those parts of the required, and a gearbox. Any light car construction peculiar to the method of box, three or four speed, of the type driving the wheel, in a form suited to which bolts to the flywheel housing, may construction with home workshop tools. be used, provided the shafts are of one The 'furniture’ part of the wheel may inch or lesser diameter. The example has be made in steel or more probably wood, conventional floor change, but some col- in a low format or to bench height, a umn change types which have a single minimum height for the ’engine room' lever are adaptable. The unit should be being sixteen inches or so. The space drained and cleaned, and be refilled with Ll around the wheel head should be sufficient a much lighter grade of oil when installed. to pass the closed fist without jamming A ten-inch pulley is fitted on the input detail suggests a way of running these stalling the motor. side, and a three inch on the other, sleeves on small ball bearings between the wheel head and the body of such as Ransome If the motor pulley is of 2 inch, the being used if necessary to obtain a firm & Marles type the wheel. The sides of the sump should KLNJ & which fit into a gearbox first of 10 inch, and second, fit on the shaft. Framing, possibly of two % inch bore. rise just far enough above the wheel head 3 inch, and the shaft pulley, 6 inch, the inch by 3/16 inch angle steel as suggested to intercept liquid thrown off at speed, The motor is fitted to permit adjustment overall ratio will be 10 to 1, about in the drawing will be required to bolt about one and a half inches, curved down for correct belt tension the drawing is 140 r.p.m. , with a low speed of about the gear box in place. The gear box need to three quarters of an inch on the angles schematic and the motor may be along- 30-40 r.p.m. These are comfortable speeds not be on the centre line but it must marked by the forearms when centring. side the gearbox. The final drive belt is for making small to medium sized wares, be aligned on the wheel shaft. The sump is lined with 24 gauge brass of % inch round hide, obtainable from belt- but for large diameter coiled objects low- sheet. The parts are cut and tacked with To transfer the belt drive through 900 ing suppliers. It is cut to length and joined er ratios may be arranged by changing brass or copper brads, then the seams from gearbox to wheel shaft an adjust- with a special clip or by threading with a pulley. Reverse has its uses, should are soldered. A rounded aluminium mould- able yoke carrying two idler pulleys, which linen. Tension is adjusted by moving the twist appear in a large pot. a fair ing is fixed to the rim with countersunk must lie at an angle to secure yoke up, adjusting the pulley on the wheel The gear shift lever should be reworked screws. The lining should include an up- run for the belt, is fitted. The yoke shown shaft to correspond. Neither belt need be to bring it out of the side, or alternatively stand around the top wheel bearing and is made from one inch by % inch steel. tight. Provided that one may centre a it can be brought through the top behind on the under side of the wheel head an The pulley-s, which must run freely, large block of clay without slipping, ten— the sump in which case a gaiter to prevent overlapping splash guard which can be may come from a boating supplier, or sion should be such that the wheel can be splashes draining downwards should be made from a spun aluminium bowl. A % inch pulleys may be used. The enlarged stopped when firmly grasped, without fitted.

10 Oriental pottery in private collections By Doreen Blumhardt

Collectors of art objects around the 14th Century khmer pottery, each equal world, are a special kind of human being, or better to anything of its kind I often they are philantrhropists who have have seen in museums in and out of done a great service to mankind in many Cambodia. This particular dealer had a ways, but a disservice in other respects. considerable stock of such pots, which By this I mean that many fine artifacts I understand have very recently found have been saved from destruction, be- their way across the border. cause sorneone liked them and recognised Collecting oriental art has become an their worth, the pleasure they could give obsession with some, who do it only to countless people and their importance because it is a fashion, and who have in preserving the heritage of the country little love for or understanding of the of origin. Many museum collections have things they collect. However, on my re— been started by bequests from private cent travels around the world, I had the FROM THE COLLECTION OF DOREEN collectors. priceless opportunity of visiting some out- BLUMHARDT But at the same time, collectors have standing private collections whose owners 1. deprived countries of their own treasures. SUEKI PILGRIM BOTTLE have great knowledge and a sincere love In some ways it is of course a pity Natura/ ash glaze. 28 cms. Japan approx. of the oriental artifacts they have col- that many countries have not valued and 4th Century AD. lected. One of these is Paul Bernat kept the best of their own art, but have 2. SILLA POTTERY, KAYA AREA. in Brooklyn, Mass. who is only in- allowed it to be thieved or sold to collec— Unglazed. 50 cms. Korea. 6th Century cidentally, a patron in the traditional tors or museums in other countries. AD. sense, he is far more likely to collect Collectors in foreign countries have been 3. SILLA POTTERY, KYONGJU. works of art for his own enjoy- prepared to pay very high prices for a Ung/azed. 20 cms. Korea 6th ment, so that his collection reflects as Century Budha head, a Chinese Sung vase or a AD. much of himself as it does of the time Japanese screen which has encouraged and place in which he lives. the poor or unscrupulous to cut the head the way the collection was built up. He buys off a stone image in a temple, or rob One can only say that his collection an object because he likes it, and a tomb of its ceramic treasure. has a luxurious fineness. It is not a large does not acquire it simply because it is rare. In times of war there is often a flow collection but each piece in it is of rare In his Brookline home set in several acres of artifacts out of a country, which turn quality. Paul Bernat himself is a warm of land and surrounded by trees is one up in dealers shops in many parts of friendly person, who loves nothing more of the finest collections of 18th Century the world. Cambodia is a country from than to show his collection and talk about Chinese porcelain in the world. Being which much looting of treasure is going it to anyone showing a genuine interest. closely associated with the Boston Museum on now. As he talked with me telling about each of Fine Arts he says he learned much from In Bangkok I was able to buy from piece, it was quite obvious that he loved it, and his wife is today a trustee. Mr. a dealer, some magnificent specimens of these treasures as friends, and this is Bernat has been generous with his treasures and has donated some 12 13 4. KHMER POTTERY. 5. KHMER POTTERY. Dark brown glaze. 24 cms. Cambodia. Dark brown glaze. 23 cms. Cam- 74th Century bodia. 74th Century.

to the Boston Museum, in particular a The porcelains in the Bernat collection set of rare sepia pieces of which only and in the Taiwan Museum and in the one example now remains in his own Sir Percival David collection at the London collection. He has chosen limits for him- University (I believe the finest collec- self and does not buy anything earlier tions of this kind of pottery) are quite than 1700 or so, consequently he is most different in quality, design and glazing discriminating and does not seek large from those made especially for export, and objects. His shelves are filled with small which have been found in graves and FROM THE COLLECTION OF PAUL BERNAT and exquisite pieces of Ching Dynasty tombs in many countries. porcelains, a century in which Chinese One important collection of Chinese ex— civilisation strengthened its ties with Eu— port ware I visited in Manila, is that of 6. PIERCED BRUSH HOLDER rope after the fall of the Ming Dynasty. Leandro and Cecilia Locsin. He is a very Chinese. 18th Century Ching Dynasty. The finest Ching porcelains came from busy and well-known architect and she 7. WHITE PORCELAIN VASE the Imperial PorcelalnFactory at Ching—Te- is an archaelogist. In the basement of Ching Dynasty. Chen in the province of Kiangsi on the their magnificent modern home in Forbes Chinese. 18th Century trade route from Nanking to Canton, and Park, are several thousand pieces of the 8. PORCELAIN VASE many examples of high quality may also finest of Chinese export ware of the Pre- Chinese. 78th Century Ching Dynasty. be found in the Museum in Taiwan which Spanish period in the Phillipines. This houses the collection from Imperial kilns basement consists of room after room, all taken there when Chang Kai Shek fled airconditioned, whose walls are lined with the mainland. glass fronted cases, filled with pottery

14 15 9. PORCELAIN BOWL Chinese. 18th Century Ching Dynasty.

FROM THE COLLECTION OF LEANDRO AND CECELIA LOCSIN

10. LOCSIN BASEMENT Examples of Chinese ce/adons found in the Philippines.

11. LOCSIN BASEMENT Five cases at far right contain Siamese ceramics. At extreme left early Chinese blue and white, and spotted white wares.

12. LOCSIN COLLECTION Covered boxes. Siamese 14th. to 15th Century.

13. LOCSIN COLLECTION Attributed to Chinese 10th to 13th Tang type glazes still made during Sung dynasty.

14. LOCSIN COLLECTION Globular vessel with wide mouth 18 cms. high. 14th to 15th Century. Black-brown glaze. Body is coarse grey stoneware which fires a dark violet red where exposed.

Photos from: ORIENTAL CERAMICS DISCOVERED IN THE , PHILIPPINES By Special Permission

17 all carefully labelled and excellently lit. small plates, everted and inverted bowls, professional potters in this country use the but some vessels in the form of birds and animals, a proportion of the ware sold in craft The pottery is not only Chinese, high firing technique of stoneware and fire shops originates from low cases contained Annamese and Swank- stemmed cups, miniature bottles, figur- these clays at temperatures ranging frm 1250- firing electric kilns operated holok pieces of rare quality, and excellent ines, gourd shaped vessels, and a host of 1350 deg. C. No lead of any kind or material by enthusiastic amateurs. of any type, that would Most preservation. As well, they have some others. have a toxic effect of these potters obtain their earthen- is used in these glazes. ware fine large funerary urns, and other small My love for things oriental has devel- glazes by mail order from the cata— The guild is especially concerned therefore logues and large unglazed pots made in earlier oped much more deeply during my recent offered by firms who sell ceramic with Mr. Carter's statement that “cottage in- the Phillipines. trip around the world. There is no doubt glazes. Inquiries made by the Potter of times in dustry potters use it (lead) but high firing a leading merchant reveal: To form their collection they did not that oriental ceramics have a quality and temperatures were always used in factories". O nearly wait to buy on the market, or through charm, a subtle sensitivity of form unsur- The guild consists of professional potters who all glazes sold are to handcraft dealers, but they have dug much of it passed by anything in Europe. It is sig- mainly work as individual "artist crafts- potters man potters" and do not parts of the Phil- nificant that Chinese porcelains for hun— operate factories, 0 most of the glazes are known to themselves in different yet they are firing at temperatures generally contain lead lipine Islands. The first recorded excava- dreds of years have influenced Europe far in excess of that used by industry. most especially during the 17th and 18th 0 other glazes are imported from tions of a burial site was in the Santa The main concern in this country would manufacturers who are Ana district of Manila, initiated by the centuries when the fashion for Chinoiserie be with the work of inexperienced amateurs not prepared Locsins in 1961. This site at the back hit that part of the world. and with some low fired imported pottery to divulge the secrets of their glaze of the church of Santa Ana, has been I too have not been able to resist the that has been on the market in this country recipes. Many of these probably con- for some time. The guild was concerned roofed over and kept as a museum with temptation to collect, and am pleased to with tain lead this problem of low-fired lead glazed pottery of the pottery 0 when glazes known to contain lead the skeletons and some have had the opportunity of bringing back from overseas and endeavoured to bring it are sold, no danger warnings left where they were found. In this one to New Zealand Swankhalok, Annamese, to the notice of the Health Department in a are area alone over 200 graves were exca- Chinese Sung and Yuan, several 14th Cen— letter sent to the Medical Officer of Health given. vated, and approximately 1500 pieces of tury Khmer pieces, a magnificent Silla for Wellington in March of this year. The obvious conclusion to be drawn from While it is conceivable that some inex- Chinese Sung Dynasty pottery was dis— dynasty Korean pot on a tall stand, a Silla the comments above, is that some of the perienced amateurs might use low fired low covered. From the discoveries it has been roof tile end, and most treasured of all pottery sold in shops is potentially hazardous solubility lead glazes on domestic ware, no to the health of the consumer. It is from found that Chinese trade pottery reached a Japanese pilgrim bottle of the Sueki professional and certainly no members of the the hobbyist potters of limited experience, the islands in great numbers for a period period. These pieces were acquired in in NZ. Potters' Guild would do so. that most of the potentially hazardous, and of approximately 1,000 years. Bangkok, Manila, Korea, Hong Kong and WILF WRIGHT, furthermore often aesthetically sub-standard Secretary, The Locsin collection contains pouring Japan, where, although they are no longer pots are produced. Those who have encour- N.Z. Potters' Guild. vessels, jars and jarlets (squat, eared and cheap, they an still be found at reasonable aged the enthusiasts to get involved with lobed) kendis, covered jars, large and enough prices. clay, have helped create a consumer demand, The Health Department told the Potter at this stage still largely undiscriminating, for that in view of recent alarm about lead handmade pots. Because a glaze contains lead poisoning from the use of handmade pot- does not necessarily mean it is dangerous. If the total glaze recipe has tery containers, it was their duty to warn been devised to reduce the solubility of the lead Another mans poison the public in the of the risks. It was, however, glaze to the safe levels recommended RISKS FROM LEAD GLAZES By Nigel Harris by various not pursuing an eradication campaign health authorities the pot can be used for since it believed that the answer to the any domestic purpose. ment, Mr. H. W. Carter, warned the public Wilf Wright, Secretary of the New Zea- problem lay with the potters themselves. in an article land Potters' Guild, sent the following in the Dominion about the dangers What is to be done about the health risk? of using pottery for domestic use which has While we agree with the statements letter to the Dominion, published July 6th A first reaction is to ban lead glazes, but been glazed with low solubility lead glazes. in Wilf Wright's letter, just what comfort the use of lead 1971. in low temperature glazes While the NZ. Potters' Guild agrees that is this to even a discriminating buyer is as old as pot making itself and its continued Sir, the public should be warned of the dangers of pottery? With the professional potters use in spite of known health hazards speaks for the special visual and accommodating The superintendent of food standards in of raw lead glazes we feel the public should being unable to fully supply a sellers mar- tech- the public health division nical properties of this most traditional fluxing of the Health Depart- be made equally aware of the fact that most ket for handmade pottery in New Zealand, agent. To ban its use because of cases of 18 19 say potters, abuse would be to deny all potters of its If a joint committee representing McGregor “Super-Burn” virtues. The risks attached to the use of lead glaze merchants, craft shops and the Depart- glazes should be fully explained in every con- ments of Health and Education were formed, for it kilns to 14500 centigrade. signment of such glazes sold by suppliers. it would seem a relatively easy task This makes it essential that suppliers know to devise simple controls to take the hazards Suitable for the firing of the chemical composition of every glaze they out of the current situation. This would then sell—local or imported. mean that the Health Department would not porcelain. Prices on need to make public statements periodically on the risks inherent in lead glazed earthen- Another way of control, is by education, application. ware in order to feel that the Department and it is up to instructors to be informed is doing somthing about it. That these state— and pass on this information to their pupils. ments are ultimately harmful to the livelihood Mr. Barrett of the Department of Education, of all potters, whether they use lead glazes assures us that all supervisors going into art or not, is evidenced by Wilf Wright’s justifi- rooms at intermediate and secondary schools able action in writing to the Dominion, point out the hazards of using lead. We are not convinced that all instructors know enough. Test for lead solubility Accurate quantitative tests for lead solu- Probably the narrowest point across the bility are complicated and expensive, but the river which flows from potter to consumer following test, published in 'Pottery in Austra- is the point of entry into the shop. Craft lia’, will serve as a guide. shops have a responsibility to completely sat- isfy themselves that the pots they are offering Materials: for sale as food containers are entirely 4 025 white vinegar. safe. To expect the consumer to judge the éteaspoon liver of sulphur (from local safety of a glaze before buying would chemist) be unrealistic. To place such reliance on the N clear glasses, same shape and size. consumer could result in refusal to buy any earthenware at all. Procedure: McGREGOR “HI BURN” KILNS (FRONT LOADING) 1. Put 2 023. of vinegar in the test pot and a notice Some craft shops are displaying soak at room temperature for 12 hours. SPECIFICATION MODEL K2 MODEL K3 MODEL K4 saying that none of their were is glazed with 2. Dissolve the liver of sulphur in 2 023. lead. Their action in doing this can be com- hot water. Dimensions Internal 15"w. x 15"h. x 18" deep 15"w. x 15"I1. x 24_” deep 15"w. x 24"h, x 20” deep mended in that it shows they have recognised 3. Place the test vinegar in one glass and Dimensions External 34"w. x 42"h. x 31" deep 34”w. x 42"h. x 37” deep 34"w. x 50h x 33" deep that some responsibility lies with them. How- equal amount of fresh vinegar in the other. Capacity 2 cubic ft. 3 cubic ft. 4 cubic ft, ever if this type of action were to become 4. Put 2 teaspoons of the sulphur solution Max. Operating Temp. 1300 Centigrade 1300 Centigrade 1300 Centigrade general among craft shops, it would be in each glass. Electrical Rating* 230V, single or 3-phase 230 Volt single or 230 Volt 3»phase

effectively placing a ban on the use of lead (Tl A white cloudy precipitate will form in 12 KW. (See Local 3-phase 12 KW. 14 KW. in glazes under all circumstances; an ction the fresh vinegar. Power Authority). which the Potter believes to be too sweeping. 6. If the test vinegar precipitate is tinged Temperature Control Sunvic E.R.H. with Sunvic E.R.H. with Sunvic E.R.H. with there are heavy metals pre- Pyrometer or automatic. Pyrometer or automatic. Pyrometer or automatic. tan or brown, Time to reach max. and the glazes deserve more accurate 4} hours 5 hours At this stage it is apparent that the Health sent, Temp. (Empty) 4 hours before using on the inside of any Department and other government agencies analysis Thermo/couple. Platinum Plat-Rhodium Platinum Plat-Rhodium Plat. PlatRhodium concerned wih pottery have adopted a fairly container. Elements Kanthal A1 grade Kanthal AI grade Kanthal A1 grade Element support tiles High grade refractory permissive attitude, in that there are no High grade refractory High grade refractory restrictions placed on the availability of lead It goes without saying that raw lead in glazes from glaze merchants. If a death occur- the studio should be labelled as such, marked W. D. McGREGOR LTD. red, as a result of the freedom from poison, and locked away_ During use the area Est. 1946 controls presently being enjoyed, the pendu- should be well ventialted and hands should Electric Kiln and Furnace Manufacturers lum could easily swing towards more harshly be washed carefully before eating or even restrictive control or a complete ban. smoking. 48a Stoddard Rd., Mount Roskill, Auckland, 4 Phone: 699—61 9

20 21 | vowed I would come back to it, but did Exhibited with N2. Society of Potters, in two- not get the opportunity until 1962 in New man shows with artist husband Ted Dutch, Zealand when I started going to evening class- in World Craft Council Asian exhibition 1970 es. Almost immediately pottery became the and International Concourse of Ceramic Art. most important interest in my life. After two Faenza, Italy, 1970. She has this to say of years of evening class and two summer schools her work. l was lucky to get into Len Castle’s evening ‘Although class. Len gave so much that | feel that it was the wheel that first attrac- ted me I owe any success I have had, to him. He to pottery, now my most satisfying form of gave not only technical information, but a expression is hand—made work. Sources of inspiration new way of seeing things. This does not are varied—from prehistoric pot- tery mean that I ever consciously copied his work, and clay tablets, medieval costume, com- though the tecniques that he taught are bound puter patterns, cell structures, rock forms, details to cause a superficial similarity. I believe that of plant forms and seed pods, in fact when a potter has mastered techniques, the every facet of life, but not consciously copied. Often work he does is a direct expression of his I make the object and then later recog~ nise own personality. I hope this is true of my its derivation. work. Being short sighted I’m more interested in small My aim is only to make better pots. To things observed closely, than in large have time and space to develop the ideas scale projects.’ that come to me, and to perfect my crafts- manship, because there is always a better pot in my mind then the one that comes out of the kiln. Life is a constant and often frustrating climb towards that goal.

I have built two kilns, one from Roy Cowan’s plan, at the school, (Rutherford High), and an adaptation of myself at home. Until then I managed with a small electric kiln and infre- quent firings in the school kiln. My husband helps with the firings, and being an artist is an excellent and stringent critic.’

'Other potters may like to submit work for this exhibition held annually in Florence. There are certain hazards in sending work from as far away as New Zealand, mainly in determin— ing how soon in advance to send by sea to be sure of getting there in time. (Months). Makers of small objects, would International success for Doris Dutch be able to use airfreight and minimise this difficulty. Editor.’ A big entry of high quality works provided Doris Dutch is essentially a New Zealand scope for strict selection, and those who had potter although her introduction to the craft Doris Dutch pots chosen for exhibition could regard it was in Britain in the forties. as a distinction, according to the international 'I had been at Art School in England for Born London. Studied art at S.W. Essex jury of judges for the 1970 international Con- several years before the pottery department Technical Colege School of Art. Commercial course of Ceramic Art in Faenza, ltaly. Doris opened nearly at the end of my training. l artist and teacher of art and craft at evening Dutch had her pots accepted for this exhibi- was enraptured by the sense of creativity class. Came to New Zealand 1951. Started tion. She also had photos of them included when you put a shapeless lump of clay on potting 1962 and 1964 onwards gave evening in the catalogue. the wheel and suddenly you have a pot? classes first in weaving, then in pottery.

22 23 bronwynne cornish and her 'china cabinet ceramics'—

tfif‘vh ~65? :-‘\t\

Mn , l

So Bronwynne Cornish des- cribed her collection of Photos Leon Hamlet witty ceramic creatures. To be enjoyed by those with a sense of fun — and pos- sibly detested by people who like their pottery to come straight.

— at new vision gallery aucHand,hfly1971 25 In Wellington: exhibitions DENYS HADFIELD AT ROTHMANS IN JUNE

"I am always serious about anything I but I realised l was going to have to do," said Denys Hadfield, and the deter- make a change." mination that made him a prominent Miss Rust moved to the West Coast, jockey has now made him a potter. so i set up my own pottery and kiln. Then in 1968 I finally left racing and Denys first became interested in art bought an old property in Amberly. My Not just through John Coley a Christchurch artist, wife and l renovated the old house and and attended his classes for two years. we do all our work there now." His wife, He realised that it would be difficult to Gillian, helps in mixing glazes and with become a recognised artist without experimental work. another starting from the bottom and having the Next year they are hoping to go to necessary training. Indonesia, where Denys has a brother "I became interested in pottery as a who is a missionary. ”We hope to learn a medium to express art with," said Denys. little about Asian culture," he said, ”and sale of work Mauger, and then went about the work their artists are doing "I joined Marion I: to Yvonne Rust. it was a very creative now. environment. l was still riding at that time, From Evening Post review, June, 1971. Yvonne Rust and West Coasters Photo: Ans Westra lkebana pot—Denys Hadfield, exhibition at Rothmans Gallery, Wellington, May, 1971.

By Doreen Blumhardt

Photos Don Montgomery

'I am not a sophisticated person, so the ruggedness of experience, for Yvonne my pots cannot be sophisticated’, is a is rich with creative ideas, which manifest statement Yvonne Rust made to me over themselves directly in what she makes. lunch when she was in Wellington during What struck me immediately as I viewed her recent exhibition. On reflection l rea- the exhibition, was the great variety of lised how absolutely true this is about work, such as long stemmed wine cups, Yvonne and her pottery. Like herself the plates, large lampbases with impressed pots are genuine, without gimmickry, and patterns, in fact small and large pots of have this quality of springing from the many kinds, and her 'spice trees'—a num- earth with some of the soil and rocks ber of corked spice containers all cling- still clinging to them. There is an almost ing together like cones on a pine tree. childlike simplicity in the forms, and yet Other multiples were her planters which

26 27 consisted of a number of small plant pots attached to a central core at various angles and when imaginatively planted, no doubt would look ’mighty' or ‘smash- ing' or what ever the in-word is. Her fountains too were multiple and most ori- ginal in concept showing clearly her love A “spice tree" of water, which she says she enjoys by Yvonne Rust so much, whether it is sea, or river, or

lake, or just a little stream in the garden. I think my greatest pleasure of all was that here was a real exhibition not just another sale of work. She demonstrated this by gathering from the West Coast mosses and plants and many hundreds of small stones, and using them on a black background to set off the very care- fully arranged pots. She had the vision and took the trouble to make the whole thing a design in itself. Yvonne is an educator, and her gen- erous, easy but strong character has had a lasting influence on many of her school pupils, on potters, and on other people with whom she comes in contact on the West Coast and elsewhere. We could do with more Yvonne Rusts, dedicated as she is to helping others to find themselves, and to bringing creative activity into their lives.

29 Yvonne Rustand coHeagues By Jeremy Commons

Photos: Don Montgomery I do not remember when l have seen a more striking exhibition than this. From the moment one stepped into Rothmans' Gallery, one was aware of the visual ex- citement of a forest of pots rising out of an expanse of white pebbles, these pebbles themselves thrown into high re- lief by a background foil of black plastic. And from this immense central two-level table, the same visual excitement con- tinued through a bold series of paintings in dark greens, browns and whites, through two live fountains, to all the side- tables, all linked into a heirarchial unity by the continued motif-like use of white Wine pots, by Hardy Browning quartz pebbles.

The longer one looked, the more one grogs and glazes which, occurring natur— an individuality of his own, particularly realised that this visual impact was ally together, naturally run together'. This in his wine-jars with their unusual hiero- nothing fortuitous or superficial but the exhibition shows the result; strong work, glyphic-like markings. Roger Ewer, with carefully planned result of a consistent bold in form, rough and rich in texture. his lighter-coloured glazes and variety of use of West Coast materials, textures and A friend described it to me—vividly and deliberately cavalier forms, was independ- colours. Take Annette Kerr's paintings. without any thought of being derogatory ent of all influence but still recognisably still a little tentative in technique, they —as ’peasant pottery’; and the design of a Coaster in his use of rough surface-tex- nevertheless caught and conveyed the many of the goblets and candelabra struck tures. sombre bush-colourings, grey-white me as distinctly gothic, apt tableware for Rugged workmanship in the pottery; glacial ice and clear white light of the lusty mediaeval revels. Yvonne herself be- delicate workmanship in the nephrite jade- West Coast, its land-patterns and the lieves that when she leaves the West carving of Bill Matheson and the bone- rapid movement of its rivers. On their own Coast at the end of this year her whole jewellery of Bill Hammond. The contrast they might not have attracted great atten- style of pottery will change, finding new from one art to the other was complete. tion, but like so much in this exhibition forms and textures in a new environment. it would require a review in itself to do they blended into a total impression— Be this as it may, she leaves behind justice to this carving; suffice it to say blended with the deep greens and browns her a school of pottery which is unmis- that in precision of workmanship, grace of the grass-trees with which Yvonne tabably West Coast, as rugged as the of design, and tastefulness of mounting crowned the pyramid of her central table landscape from which it springs. (the nephrite on hand-plaited flax cords, —blended with the sombre but rich salt- Of her colleagues and pupils, those who the bone jewellery on slender Chamois glazes of so much of the pottery. to my mind stood out were Hardy Brown- leather thongs) it achieved a standard One of Yvonne’s objectives in going ing and Roger Ewer. The former, recog- which one can only wish were more wide- to the West Coast was to find ’clays, nisably .her pupil, nevertheless achieved ly emulated by the producers of mass

3O 31 TO POT Our superiority is KNOW-HOW. We have 32 years of technical experience and long association with the art, craft and technol- ogy of pottery. This is the inval- uable element in our supply of potters’ materials and sundries. Wine bottle, John Crawford. Hanging vase, Nan Bunt. commercial jewellery. were manifestly too shallow; and a friend COMMERCIAL CHEMICALS LTD My final word is one of reservation. informs me that she dare not pour her I noticed that one of the most spectacular teapot anywhere but over the kitchen sink. Box 15-036, Auckland, 7. Phone 864-137 of Yvonne's items, a 'Satanic candlestick', This carelessness regarding function is, I did not sell. This was hardly surprising am sure, part and parcel of Yvonne's since it made no provision for catching happy-go-lucky joyousness of disposition the wax which would have dripped from —lovab|e in the person, but irritating in every one of its myriad candles. The what was, after all, an exhibition of prim- sockets on many of the other candelbra arily domestic pottery. Essex This is New Zealand Emporium Those who saw the Expo '70 film, This fiddle to any European country. It should is New Zealand, surely must have come be compulsory viewing for all New Zea- away feeling uplifted. It put me in a happy landers. A hundred and thirty thousand frame of mind for the rest of the clay viewers in Wellington alone suggests that — have the Widest selection of New and the images remained vivid for hours it almost was. Zealand pottery in the world — afterwards. Maybe film making is one of the things No nation with the ingredients of a we can do well. Its comparatively easy strikingly beautiful clear-aired country, a to make a low budget film in black and young and healthy population, and above white on a limited subject and call it at 280 Dominion Road all with the talent to produce such a art. But to do it in colour with appeal Mt. Eden Auckland work of art as this film, need play second to everyone is art indeed. Open Saturdays Phone 606-656 M. M. H.

32 33 WANTED TO BUY Photos: Ans Back copies of New Zealand Potter from Westra Vol. 1 to Vol. 6; also, Hetherington's Chinese Ceramic Glazes, Cambridge 1937; and Essays in Expectation, by B. Leach. Please write direct to: Mrs. V. de Coorebyter, Potter, 18 Maitre Street, 6 g - Caluire, France.

SUBSCRIBERS

In this issue of Potter we have inserted the usual subscription renewal slip for your Porcelain group, and white stoneware bowl, 20 inches in diameter, by early attention. May we say ’thank you', too, Roy Cowan. for the quick response we had from readers in 1970/71. This was a tremendous help to us and for those of you who might feel concern at the time lapse before receiving your first copy, please be re-assured—Potter will arrive (unless it is for reasons quite beyond our control). A small number of copies are available of the following back issues. Vol. 7 No. 1. Vol. 9 No. 2. Vol. 11 No. 1 Vol. 12 Nos. 1 and 2. Vol. 13 No. 1.

Yet another exhibition —

Two POTTER work-horses, Roy and Juliet Cowan, held a joint exhibition in Rothmans Display Centre Gallery, Wel- lington, in September. This, and the On the following two pages illustrate current cover: work. 'lonic pot,’ 36 inches Lantern, 8 feet high, Roy Cowan. high.

34 35 From joint exhibition, Rothmans Gallery. Round branch pot, Tile wall panel, 2 x 2 18 inches high. feet square. Juliet Peter. Juliet Peter.

Fruit bowl, 77 inches in diameter. Juliet Peter.

Potters materials dissected and The second article on the subject examined by J. R. Rooney.

The name is a corruption of the Chinese clay, but after washing the chemical composition ‘Kao-Iiang' meaning high ridge, a local desig- of the clay approximates to that of kaolinite; nation for the area where the white china this mineral does in fact predominate in koa— clay was found. The kaolins or china clays— lins but others are present. the latter name often being reserved for the Many theories have been advanced about Cornish product, are white burning clays, gener- the conversion of feldspar to Kaolin. According ally of low plasticity and high refractoriness to one theory igneous gases originating in (cone 34 to 35) 1750~1770° C.). When mined the centre of the earth and containing super- Photos they are rather siliceous e.g. of the Cornish clay heated steam, boron and fluorine compounds, Ans Westra rock only about 13 percent is extracted as china carbon dioxide etc, are the active agents.

36 37 bodies, underglaze Copper Oxide is rarely used as a body stain This theory accounts for the deep deposits 4. Buff, contaiminated with iron. All three give blues in as it is easily leached out by the glaze. like the world famous ones in Cornwall and A typical analysis: and coloured glazes. Very little is required Chinese red, sang de beouf, rouge flambee West Devon, the depth of which is not known. “/0 (up to 1 percent) and the colour remains are produced in glazes maturing below cone The most famous European deposits are the SlOg 71.10 unchanged over a variety of firing temperatures 8 by the addition of 0.1 to 0.5 percent CuO Cornish ones, followed by those at Zettlitz, A1303 16.82 and conditions so long as the atmosphere is oxidising. in the presence of iron and/or tin oxides, Kemmlitz, Bortewitz and Amberg. In the United F820;; 0.16 the later must not exceed 1 percent and the States the main deposits lie in a band from CaO 1.60 Slightly yellow bodies may be made to kiln atmosphere must be reducing during the Vermont to Georgia and up the Mississippi M90 0.05 appear white by adding about 0.01 percent period after all the deposited carbon has burnt Valley, with a few scattered deposits in K30 6.57 cobalt in the form of its carbonate. Speckling out until the glaze is sealed. the west. Sedimentary deposits occur in South N830 2.29 easily occurs and the raw material should Carolina, Georgia and Florida. first be ground at 10-20 percent strength with CaF-J 0.05 Sodium Aluminium Flouride 3Na;; brought to a fixed specific CRYOLITE, Ignition Loss 1.25 clay and silica, China clay is usually used in glazes espec- gravity and then added to the body in the AlF.-, Composition, Na, 32.8 percent, Al, 12.9 ially where a clear glaze is desired. In glazes In Great Britian Cornish stone is commonly blunger or ball mill. percent, F. 54.3 percent. Molecular weight, containing a great deal of clay a proportion used where feldspar is used in other countries. 209.96, Specific Gravity 2.9, M.P. 1000°C. Hard-- of calcined china clay may be added. This Carolina stone marketed in America is of similar Copper Compounds ness 2.5 Solubility in water at 250C, 0.04g/ prevents excessive shrinkage which might composition. COPPER CARBONATE CuC0:;. Cu(0H)3 100ml. Action of heat, transition from mono— otherwise result from a high percentage of raw or possibly cubic, 565°C. A poisonous green powder derived from clinic to isometric clay. Because of its poor plasticity and high by the ignition of copper carbonate or copper Melting point 1020°C. refractoriness it is difficult to shape into objects, Cobalt Compounds in Greenland and sulphate. Cryolite occurs primarily therefore it is seldom used by itself. It is usual and the Urals. Three grades Cobalt compounds have been used since Molecular weight 221.17. Specific Gravity also Colorado to add other materials to increase workability are marketed, the finest the early ages, being introduced to Chinese 4. of natural cryolite and lower fusion temperature. Some of the of 98 percent sodium ceramics in the T'ang Dynasty, A.D. 618—906. Decomposes at 200°C. Insoluble in water, containing a minimum primary kaolins are much more plastic than fluoride with a maximum of 1.5 The greatest development occurred during the decomposes in hot water and is soluble in aluminium others but tend to be darker burning. The 0.25 percent iron oxide, 1 per- Ming Dynasty A.D. 1368-1644. ammonium hydroxide and most acids. percent silica, English china clay is of unusual purity and is cent lime. The two other grades have 93 used where extreme whiteness is desired in the Cobalt is still the principal blue colourant COPPER OXIDE (Cupric) CuO. to 94 percent cryolite and the iron oxide finished ware. and though today's modern industrial tech- Molecular weight 79.57. Specific gravity 6.4, content not exceeding 0.75 percent. niques have produced ziercon—vanadium blue decomposes at 1026°C. Insoluble in water and Artificial cryolite is made in several European CORNISH STONE, CORNWALL STONE, CHINA which is even more stable at higher tempera- soluble in acids and ammonium chloride. Derived countries. STONE tures though not so intense, it is probable by th ignition of copper carbonate or copper Used as a flux in lead and boron free that cobalt will remain the main metal for nitrate, or oxidation of lower oxides. flazes, in special glazes for crucibles, and A partly kaolinised potash and soda feld- producing blue ceramic stains. as an auxiliary flux in certain pottery bodies, spatic rock containing feldspar, kaolin, mica, The name cobalt is reported by Beckmann CUPROUS OXIDE (Red Copper Oxide) Cu-_;0. producing the characteristic alkaline colours. quartz and a small amount of fluorspar. in the "History of Inventions" to have been Molecular weight 143, Specific Gravity 5, It should be fritted to avoid excessive blistering The main varieties being: derived from the experiences of miners in melts at 1235°C. Insoluble in water, soluble owing to the volatile fluorides produced in 1. Hard Purple. Saxony and Bohemia, who jestingly christened in acids and alkalies. Prepared by the oxidation the reactions. The most valuable with a high felspar the then unwanted mineral with the name of copper, by the addition of bases to cuprous DOLOMITE, Calcium Magnesium Carbonate, content. The purple colour is due to of the ghost Cobalus, the spirit who haunted chloride, or by the action of glucose on cupric 2.8-2.9 Hard- fluorspar. the mines and frustrated the labours of the hydroxide or upon coper scale. CaCO;;, MgCO;;. Specific Gravity and 800- 2. Mild Purple. miners. Later the priests prayed in the churches Copper Oxide ness 2.5-4 Decomposes 500-700 3. Dry White, with very low fluorspar con- for the protection of miners from spirits and 1000°C. tent. kobalts. Copper Carbonate Calcium and magnesium carbonates occur Oxidising conditions. Tur- together in dolomite, in almost equal molecular Oxides quoise to green. Susceptible quantities, CaC03.MgC03 (56 percent CaC03 and Entering Conversion to quantity and nature of 44 percent MgC0;;) and also in dolomitic lime- Formula M.W.* S.G. M.P.,°C. Fusion M.W. Factor alkali and alkaline earth stones which have 25 to 44 percent Mg003 and components and aluminium 5 to 25 percent Cobalt Oxide magnesium limestones with from and boron content. (Black) C030;;.CoO 240.82 6 d.900 C00 75 0.934 MgC03. Reducing conditions reds in primary deposits, hav- Cobalt Oxide Dolomite is found and purples. and also in secon- (Grey) C00 75 C00 75 1 ing been formed in solution, by alteration of limestones. Cobalt Carbonate C0003 118.95 4 C00 75 0.630 * Molecular Weight. S.G., Specific Gravity. dary rocks formed Cobcratt Pottery Equipment KICK WHEELS materials and equipment BENCH WHIRLERS for craft pottery and the new POWER WHEELS Full details available from COBCRAFT Lamb and Son, Engineers 94 King St., Rangiora North Canterbury. Phone 7379

NEW MANAGEMENT

The Potter is delighted to announce the Committee in this capacity. This will per- appointment of a new advertising man- mit expansion, and an all-round dose of ager. Yvonne Rust is to join the Editorial ginger.

ANYBODY WANT A POTTER ? years. Have studied at the University of Califor- nia, and also while in the Peace Corps in Guatemala. And in various workshops. I have To The Editor, built 5 kilns by myself, and with other potters. New Zealand Potter. My experience is primarily in cone 10—11 reduc- Dear Madam, tion. I am hoping to have my papers accepted by I am a potter, 25 years of age, currently living December, and would be ready to come, hope- in California, and planning to emigrate to New fully, by the New Year. Zealand. Sincerely l was wondering if you might know of any LOUIS BOCK MITH & SMITH LIMITED potters who would care to share their studio, 12435 Alba Road, AUCKLAND WELLINGTON CHRISTCHURCH INVERCARGILL or take on an experienced apprentice? Ben Lomond, l have been making a living at my work for 2 California, 95005, U.S.A. Box 709 Box 2196 Box 22496

40 41 A TEAPOT IS A TEAPOT The guild’s first exhibition

Teapots galore ! Some views. First for 'The Potter’ by Trevor Bayliss, Curator of' applied arts. 1. Len Castle, guest exhibitor. 3. Frederika Ernsten Auckland Museum. 2. Jack Laird 4. Jim Grieg The New Zealand Potters Guild held glaze, but not as a teapot. His two other its first exhibition recently at the New teapots were fine pots. Vision Gallery. However, be that as it may, the only in this exhibition they have used a teapots in the exhibition that I had a theme, Teapots. This is no doubt to get yen to possess were those little ‘Darlik' away from the ‘annual show of work' creatures of Helen Mason’s—very vital aspect of provincial and national exhibi- little beasts beautifully glazed. They may. tions. as one eminent critic said, 'spurt cascades into the saucer,’ but I liked them. I suppose it is necessary to hold these Many of the teapots demonstrated all group exhibitions and they do serve the faults I would expect in my own various purposes, but I do not feel that and similar work, but which l do not this exhibition has conferred any particu- think should be seen in that of profes- lar benefits on either the indivrdual or sional potters; clumsy heavy throwing, the group. drooping wearied spouts, lids that don't Let me say at once that I don't consider fit, dreary glazes, and cane handles and a teapot one of the great aesthetic objects fastenings more suitable for garden tools. of the ages. I place it in the same bracket Mirek Smisek shows a group of crafts- as ash trays, toilet bowls and'salt shakers; manlike pots. He makes no mistakes and so that perhaps I'm at a disadvantage delivers a good teapot although for my in commenting on this exhibition. liking, too heavy in the walls. l have no place on my shelves for There are appealing elements of Gerald a 'teapot that is not a teapot is not Greenwood's teapots but the work was a teapot.’ Tea is delicate liquid and so I fairly immature and too closely derivative. expect its container to be either elegant It is better to pass over in silence like a Lucie Rie or cosily appealing; like Brickell’s pots. He gives the impression of an Onda Valley pot; the spout should a 'punch drunk' potter going through the look as though designed to issue forth motions. Barry can be a very good potter .. 72.2. [90am quite clear, amber, liquid, not soup. Function- by any standards and often is. ally, of course the lid should not fall _The guest exhibitor Len Castle knows off at too slight an angle from the hori- how to make a teapot but he was not membe’zs zontal and it should not be an exercise served well by what looked like a hurried in manual dexterity to take off the lid rat round of his past work. in die mew vision Galle’zies, and fill the pot, as it is with Warren All in all it was not a howling success Tippett's very beautiful Tenmoku pot. l 'as an exhibition, and it was a relief to game, “)7! would welcome this pot in the Museum see those handsome, splendidly thrown auclzlanr) collection for its fluting, construction and pots of Jack Laird's. Those were teapots.

42 43 mama Am 185.1%?!) " V ‘ ”1.1;!“

I-W‘M, 4r ‘ “ mmmm‘m 3 iwri M I" I". I l‘v u ..-pw\a.m«whv‘n‘vm ‘! 5. Helen Mason Anneke Borren 9. Car/Vendelbosch 77. 4 Janet Wright I 13 Barry Bricke/l ~75. Gerald Gre enwood 6. Warren Tippett Michael Trumic 10. Adrian Cotter 12. Wi/f Wright 14. Mirek Smisek

44 45 For better or worse the Teapot Exhibition certainly attracted attention. Here are further Carving by Bill Matheson, comments. which was one of a number on display as part of Yvonne Rust's West Coast exhibition T. J. McNamara in New Zealand Herald From Auckland Star 19 June 1971 in Wellington.

There is infinite variety in the human face, The New Vision Gallery's exhibition of tea— though the Deity has only a few elements to pots by the New Zealand Potters' Guild is manipulate—ears, eyes, nose and mouth. A a witty and enjoyable show, provided not potter who, like a minor god, takes common clay too much attention is paid to the possible and makes a vessel from it faces the same sort efficiency of each object as a teapot. of limitations when he makes a teapot. As a collection of attitudes it is rewarding. The teapot is considered a test of the potter's The expressions on the faces of the objects art because it should be severely practical, must exhibited, range from hilarious to sternly insti- look beautiful, and there are few parts on which tutional. to ring the changes. Helen Mason’s three teapots, for instance, lt is because of these strict disciplines that the would hoot with delight as they gushed their Photo: D. Montgomery first exhibition of the New Zealand Potters' contents in a neat ring around the cup they Guild which consists entirely of teapots is of were aimed at. They might even, just for particular interest. The Guild is made up of full- the sake of appearances and for self-protec- time potters and the exhibition opened yesterday tion—like a child's smile at the moment when What are they doing in the New Vision Gallery. It runs the gamut from it senses it has stretched patience a bit too extremely unconventional, to the tidiest of round far—put a little tea into the cup as well. fat pots. The smallest piece is a little green fuss- to our Greenstone? Both Michael Trumic and Warren Tippett pot by Anneke Borren. Barry Brickell has three offer pots which surely had their parentage brawny pots with heavy handles and thick glaze, By Yvonne Rust in the white institutional enamel, wielded by lumpish in contrast to the grace of the ware by a stern tea lady who would never give you Adrian Cotter or Jack Laird. a second biscuit or enough sugar. Greenstone; Jade; they are the same thing. up claims on this stone of so much value The most extreme The scientific name is nephrite. The oriental to the Maori could be interesting history. The pots are by Helen Mason Barry Brickell's three machines are obviously calls it Jade. The Maori calls it greenstone. Maori was after all given sole rights to farm where every spout and handle pokes out like a unhappy to pour tea, they would prefer, per- Each piece is individual and must be treated the rock oysters and mutton birds. Somewhere blast from a bull's horn. Wilf Wright's pots squat haps, to gush steam as part of some engine, so. Man has prized and even worshipped this the European has taken over—and the skuldug- firmly on the table and the clay is heavily marked but in the meantime they will take tea—rail- stone since ancient times, and in fact green— gery that goes on over greenstone claims and and scored. Warren Tippett's handles have more way tea. spring in their line than most. stone brought the Maoris to New Zealand dealings is amazing. So much for the fun that can be extracted from Hawaiki, five hundred years ago. Handles are all grippable, lids stay on, as one from a show of teapots. On a more objective In all my search for clay I have never would expect. Only one What does the human Kiwi do with this potter, Carl Vendelbosch view, the exhibition does not rate highly. found a piece of greenstone. It takes an exper- has considered magnificient stone? In his ignorance he has his work pure ornament since ienced eye to One pot sings out with a gentle honesty ignored or misused it by cutting it up into one recognise it since the talc skin one of his lids is without a handle (by design, its fellows do not seem to have. Len Castle's inch squares or into bookends and selling it to that covers the stone can be any off-white not accident), In the welter of pottery being colour small, brown glazed teapot is unassuming, tourists. Other such ill conceived objects are gilt or even dark brown. Experience teaches made now, this is a display to set standards by. quiet and dedicated to making tea, It might bows, with greenstone attached or driftwood the prospector to see the qualities of gren- ston seem a country cousin, but it‘ offers no doubt with a piece of greenstone glued on. In other through the skin that covers it. 'Coast- ers' about its abilities and because of that has words we are using valuable material unsympa- are quite good at finding it along the beaches and river-beds. a beauty related to its function, not opposed thetica‘lly to make absolute junk. The discerning 'No handcraft can with our art compare, to it. Castle’s second pot has none of these tourist won't buy this rubbish anyway. The water-worn pebbles were most prized For pots are made of what we potters qualities. Its pushed-in face may be. whimsical and quaint and its eggy grey glaze is certainly by the Maoris as they had a beautiful shape are.’ Exploitation beautiful, but like most of the teapots around and polish through the action of nature's tum- unknown Persian poet it, is, in terms of design, a bit of a snob. How the European has been able to take bler over many years.

46 47 These days greenstone is mined in a number of ways. Up in the Arahura Valley prospectors collect loose stones from the riverbeds or carve selected stones in the valley by a diamond Unspoilt Bali chain-saw. This is flown out by 'Copter'. In some cases miners walk as much as sixteen By Theo Schoon miles through some of the country's most rugged country with a 150 lb. slab on their l have come back from my journey to The shaping of pots to their final shape backs. Sometimes they discover their prized Bali and Hong Kong, in a state of emotion- looks pretty rough and they seem, at load is useless. Greenstone does not reveal its carving qualities until it is cut. al and mental turmoil. It is not merely the near final stages, close to falling apart catching up on art in Bali and Hong Kong, Like the skill of a good thrower, this both places which are going through technique is wonderful and fascinating to Proper use severe economic and political upheavals, watch. Although the Balinese have been but it also offers a veiw of New Zealand At long last there are four men who are familiar with Chinese pottery for more art from another perspective. working greenstone as it should be worked. than five centuries, its presence and use With love, care and reverence. Peter Hughson I found this land Bali particularly disturb- as ornaments cemented into temple walls and Theo Schoon have worked on projects ing because even at this time in its history has had no effect on the local pottery together before, and quite independently they it remains a place which reminds any have both come to work with greenstone tradition. Western artist of the price he had to at the same time. Peter carves very little, An accumulation of five centuries of but his best work can be seen in the Canter- pay for this thing called 'progress'. l was Chinese pottery makes the island Bali the bury Museum—a fitting place for such works at first astonished to find Bali full of richest source of antique Chinese pottery of art. He has taught Cliff Dalziel and Bill Hippies, but after a closer look, it is really in the world. Fine Chinese stoneware and Matheson how to cut the greenstone from not so very strange. Cliff's claim and these men make their own porcelain can be purchased at ridiculous Balinese life is a psychedellic dream, refined carved jewellery that hangs from a prices in many small villages all over Bali. delicate fibre chain. anyway, and the Hippies call them 'the l have seen such pottery more than thirty most turned on people in the world.’ l Theo on the other hand with his background have little doubt that the message, which years ago when the collecting of Chinese of Japanese and Maori Culture approaches pottery was still the specialty of a few greenstone with a boldness that suits the failed to come through in my generation, antique dealers in Europe, but today col- material. Maoris today give their orders to Theo will come through loud and clear for this lectors from anywhere in the world come because they respect his love of greenstone. one. Since this is the first invasion of the He has been given a grant by the Queen Eliza- to buy young, the impressions of Bali have plenty whatever they can. Since no pot- beth ll Arts Council so that he can go to tery of time to simmer in as yet receptive of this kind is made in lndonesia, Hong Kong to study advanced techniques used there is as yet no such things as a market in the cutting of jade. minds, and minds which already question Carved greenstone by Theo Schoon for fakes. It is however likely that when Western values anyway. It is marvellous that at long last the green- Bali becomes The domestic pottery of Bali is still famous as a source of an- stone is being used as it should be. What tique Chinese pottery, Hong Kong will of the future? There are unworked claims in a healthy state because in Balinese step in to provide its own antique shops, and I believe that a good claim should be cooking and ceremony, as well as Temple set aside, so that artists in the future can In a letter from Hokitika, Theo writes: decoration, pottery and cermaics still play stocked with fakes. I saw such fakes quite independently work in this media. There a vital part. Virtually all of it is earthen- being examined by experts at the Museum should also be provided a workshop and a “Working greenstone I had to lay the first ware. There is no wheel: pots are made by in Hong Kong. These wonderful speci- Museum in Hokitika for showing all the facets foundations for an approach which would be mens would certainly have fooled me. of working with coiling on a disk of wood which is slowly greenstone. The custodian fertile, valid and artistically to my own stand— should be able to handle the machinery. Then turned by hand. The final shaping of the The Balinese have produced, and still ards, being very conscious of the fact that my nephrite lovers the world over could pay hom- pot is done by‘ slapping it with a paddle do, a wide range of interesting decorative age to greenstone in its rightful environment choice and approach will have to stand the on the outside and a stone held in the ware which is mainly of a religious nature. Hokitika, West Coast. judgement of time.” left hand supports it on the inside. Decorative roof tiles and ceremonial ves- 48 49 a sculpture. The days when fine paintings and iconoclasm. To see Balinese live with- incense burners and us Easterners a feeling that we are looking sels such as chalises, could be purchased for $20 are gone. out inhibitions, guilt or conflicts, and yet embellished with coiled at a fabrication, an idyllic dream, rather bowls. These are If the situation there defies analysis it with a strong ethical code, is rather dis- a very attractive quality than a reality. decorations of is because of the pragmatic approach to concerting to people whose freedom of ancient Peruvian and Mexi— One of the major diseases of our world reminiscent art of the Balinese. expresses itself in obscenity, for its lack is already in operation, and that is the can pottery. There is, for instance, no accounting of aesthetic form. The Balinese are sex— mass production of bad souvenir art. Its Bali has an embarrassing richness of for European taste. The phenomena of a ually frank and even bawdy, but it is done appalling prevalence by the millions in art because everybody is an artist of some new kind of tourist; the International Hip- with the matter of fact grace, which never Bali, and exported by the shiploau to any kind. The main value of Bali's existence pies. flaunts itself. It is the fate of the liberated port in the far East, may easily lead to is, as a living proof, that everybody is It does surprise Balinese artists who Puritan to be grotesque, obscene, and the opinion that Balinese art is dead. But an artist. It is a powerful indictment of have progressed from a purely formal re- painful to watch. Bali has large number of artists of calibre our own civilisation which manages to ligious art toward European concepts of The liaison between Balinese and the and integrity who create work of a very snuff out or pervert the aesthetic faculties illustrative and narrative art—that the Hippies to however a very good one. The high standard. It is unfortunate that they of millions. Hippies buy almost exclusively the work macabre appearance of many of them are not protected from the ravages of The culture of Bali puts the lie to so of the older and conservative artists, does not disturb the Balinese at all. They crass commercialism, plagiarism, and vile many of our lies and excuses, perpetrated because it illustrates the stories from the love anything odd, strange or grotesque, exploitation by a host of parasites. in the academic world, which basically Ramayana and has that psychedellic look. and their great sense of courtesy com- accepts a disease as a fact of life. Bali Where the new generation of Indonesia The art of Bali provides plenty of para- mands that they should not stare. The Hip- is an extremely interesting island which complains about corruption in high places, phenalia suitable to serve as the para- pie is a better mixer than his elders, safely was ’discovered' by the Western world there is no hope of the Government of phenalia of Hippie culture. Pot is cheap, protected and isolated in their luxurious in comparatively recent times—about fifty Indonesia protecting one of their major of high quality and readily available; but hotels and who see Bali only from their years ago. cultural assets. It means that the art of the Balinese decline to try it or use it. rented cars. Its doom as an island paradise has been Bali will see the emergence of artists who Everyday life is so richly endowed with I believe that the influence of Balinese predicted as early as forty years ago. will be concerned with the legacy of their beauty, mystery, and a sense of belonging art and culture would be infinitely greater It as said already at that time that tourism heritage and its transition in a new and that pot could not serve any useful service if they could remove the language barrier. would destory this culture in a very different world. It is a sad and ominous in their lives. They don't have to get The culture of India is more accessable short time. fact that the best of Bali's present day away from anthing. to them because many Indians speak Eng— The wonder of it is that is has so art goes abroad. It is obvious that Bali has a great impact lish. far survived these dark predictions so The two small museums Bali has, do on these Hippies. Being the product of an It is a pity that the language barrier well. Instead of being destroyed, Bali not serve the purpose they were intended extremely puritanical culture, they take makes these young people revert to their shows promising signs of adapting itself to serve, as the depositories of a nation’s their enunciation of the values of their own society and their own cults on an gracefully to a changing world. Its art has excellence and heritage. society as an act of defiance, rebellion, island so full of beauty and interest. changed considerably in the last thirty Firstly, there is not the money available years, from a purely religious art, into art to purchase outstanding works of art for arts sake. Being essentially of a de- since they fetch a higher price on the corative nature, it has become infused market then the museums can offer. with a new realism which is basically a But it is also a sad fact that the care- celebration and affirmation of life. Not too takers of these collections sell the trea- difficult, in an environment as yet beauti— sures in their care, or they just 'dis- Pottery in Australia ful as a stage set fit for Gods to live in, appear’. and still free from the blight of ugliness The fame of some Balinese artists has Published by the Potters’ Society of Australia, twice yearly in spring and autumn. The yearly subscription is $A2, and the and unmasked evil, as one industrial world given some, reputations abroad, which magazine may be obtained from the Editor 'Pottery in Australia’, dares as to inflict on man. makes them able to command prices 30 Turramurra Avenue, Turramurra, N.S.W. 2074. Australia. Bali can portray itself as it is and give high as $1000 (U.S.) for a painting or

50 Whether potting for a livelihood or occupational therapy, our wheels respond to your every need NEWS OF PEOPLE, POTS & EVENTS

skills, and these, though no doubt irksome to the conservative, were satisfying and stimu- lating to the many who seek new trends and experiences, manners of expression and encouragement in the ceramic arts. Paul Soldner liked to prepare and talk as he went, branching off as the spirit or a question moved him. Nothing was regarded as wasted. Rather disaster or unexpected ef- fect was cherished for its worth, or developed to provide fresh detail or interest to those listening. To the question ’Did you set out to make that shape?’ came the answer. ‘No. It developed that way.’ This was pure joy to the beginner.

1 \(JE!) "'

Photos: Neil Grant

Reflections on Paul Soldner's Visit Kick Wheels Power Wheels Banding Wheels Paul and Virginia Soldner walked from the doorway at Auckland’s international Airport on 25th August 1971, to captivate, in moments, those who met them. Thereafter potters from near and far were electrified, entranced, shock» ed or bewildered, each according to his view, by the artistry, ability, calm philosophy and [ABOARD IDINEBY ll'll provocative originality of one who has for many years been a forceful teacher and crafts— ”Authorised Manufacturers of ”LEACH" Potters' wheels" man in the United States. There was something for everyone, delivered always with winning charm and wit and in a friendly and unhurried manner to potters 151 Marua Road in Auckland, at Coromandel, guests at recep~ Phones P.O. Box 11-035 tion or students in school. It was certainly 594-264 Ellerslie an experience. His exhibition pots, platters and 599-571 Auckland, 5 dishes showed the wide range of his technical

52 lncised design, applied paper ’cutouts' with Mr. Guthrie of Crown Lynn Potteries held husband Bruce. Their Annual Exhibition held Doreen Blumhardt has very generously given overpainted engobe or glaze, impressed pat- a discussion on gas kilns and then there last year drew favourable comment from the several very interesting showings from slides terned platters, an almost instant kiln, its firing, were films of Micheal Casson and Japanese guest selector, Doreen Blumhardt, especially taken during her recent travels. and raku method are some of the memories pottery. as far as the work of John Fuller and the The Wellington potters went on a most on the surface at this time. The shattering layout and design as effected by Laurie Lord, The highlight of the year was of course successful Kiln Krawl to Hawkes Bay, visiting sound and the eerie fascination of his film were concerned. the visit by Paul Soldner and his wife, about all the potters in their studios. This event and slide showings shook us to the very Schools have been which there is more later. held for potters, at all was warmly appreciated by the potters who marrow. levels Peter Wilde has tutored at three begin- went, and it could become a worthwhile annual Over 200 pots from members were con- ners' classes. Under It is difficult with words to describe Paul the auspices of the event. A weekend school conducted by Harry tributed for the stall that the Society ran Massey University Soldner's visit but there are photographs in Extension Department Davis will wind up the year. in the Creative Arts Festival in aid of the Stan plenty and copies of his stoneware and reku Jenkins has conducted a series of the Food Bank of New Zealand. Muriel Moody formulae available for distribution and record. classes for intermediate potters, and Royce McGlasshen Fortunately Auckland Studio Potters have been of Nelson held a weekend school for advanced potters. All schools able to buy one of the fine exhibition pots. Christchurch Potters Notes— were de— cidedly beneficial, and taken in conjunction It is with real regret that we saw the Our A.G.M. was held on May 5th just prior with the night classes conducted in Palmerston Soldners on their way. to the commencement of the Warren Tippett North and Feilding, potters of the area are Dr. W. B. Lusk ten day school at Risingholme, which was well catered for. Instruction is also available one of the best schools we have ever had, for students at the Teachers College, Pal-- and incidently, the longest. It was a pleasure merston North. Auckland Potters News to have Warren with us again, and several Doreen Blumhardt again visited us this older potters attended the school not only Auckland Studio Potters started the year year and spoke and showed slides taken on with a kiln building and firing session at Car» to take a refresher course, but also to meet her recent tour. rick Oliver's farm at Drury. A primitive beehive again this now well known and professional Zoe Bendall kiln based on a Daniel Rhodes design was potter. successfully built and wood-fired to tempera- While Warren was in town, the occasion tures reaching 900-1000"_ To open and inspect was used to organise a National Executive News from Wellington the results meant demolishing the kiln down Meeting here, over the first weekend of the to waist height! As might be expected, the The Wellington potters and the Wellington school, and this was a timely opportunity results were unpredictable and varying in qual- and Hutt weavers held their annual to discuss problems of the 14th National Exhi- exhibition ity, but as with all fun things of this type, at Rothman's gallery. Patricia Perrin guest exhi— bition, as well as domestic affairs of the the joy was in the experience gained and bitor showed wine jars onion pots and Society. Excellent hospitality for our visitors sculp- in the pleasure of doing it. tured vases. Although this was not the most was offered by Mrs. Wyn Reed (who housed spectacular of exhibitions, it nevertheless gave Carrick Oliver has generously offered the Warren), Mrs. Nola Barron (who housed the a deep feeling of satisfaction. The pots glowed use of an area of his farm suitable for kiln meeting and subsequent party) and Mrs. Rose- with a warm friendliness and the gallery was building and firing. A stockpile of materials mary Perry, who put on a super dinner party busting with people. Judging from the red is building up for exploratory kiln-building tech- after the Saturday afternoon meeting. spots that soon appeared on the pots people niques and firings. Practical activities such Since then, we have all been geared towards had difficultury in selecting favourites to buy. as these are very popular with members wish- the preparations for the National Exhibition. It was also encouraging to see so much pro- ing to further their experience. Another kiln mise among the younger generation of potters. build is planned for later this year to help Doris Holland Patti Meads teaset in particular had a high members overcome problems with their first degree of sensitivity in form and colour com— kiln building efforts. From Manawatu bined with technical efficiency. A weekend school was held in July for The Manawatu Pottery Society is enjoying Our congratualtions to Rona Morton who non-members and senior day and evening class a busy year. It recently affiliated with the made the grade for membership of the New students at Glenfield College. Neil Grant dem- New Lease of Life for Alexandra Pottery Group National Society. Most members are aiming Zealand Society of Potters. onstrated wheel-thrown techniques. to exhibit at their 6th Annual Exhibition in Mavis Jack (Mrs. Erridge), is off to Taupo In May this year misfortune struck the Alex- At a film evening Dr. Denis Hanna gave a the Manawatu Art Gallery October 3 - 22nd. to live where she hopes to set up her pottery andra Pottery Group. Their kiln collapsed talk on his recent visit to South America Estelle Martin, of Havelock North is to be again. Anneke Borren now Mrs. Owen Mapp and at the same time they were forced to with the emphasis on Peru. On another evening guest selector, and guest exhibitor with her is still working in Paraparaumu. vacate the shed which had been their work-

54 55 shop for five years. There were fourteen women in this group and their assets were a wheel and all the paraphernalia that goes with making and applying glazes, and a bit of cash.

In early June the group were told of a hay loft over old stables. It turned out to be full of possibilities and most centrally sit— uated. The most recent tenants had been hens, which was very obvious, and although there was no door and a huge hole in one wall the floor was sound as were the remaining walls which were about eighteen inches thick and made of local rock and mud. The owner was sufficiently startled to say that the group could have the loft rent free. Two months later, after a lot of work the building was transformed. So much for a home but a kiln was still essential. The members of the group decided they were better able to raise money than lay bricks and so a local bricklayer was engaged to build the kiln to their chosen plan. So with the winter over and the pottery season on its way again this small group has a charming home, over one hundred years old and a beautiful two chamber oil burning kiln and are once more turning out stoneware pottery.

(The Secretary of the group, Mrs. Marjorie Campbell, 61 Ventry Street, supplied this news “n item, with the object of making the group known to potters. She says that they feel rather isolated in that part of the country RECOGNISE A GOOD THING and any contacts with visiting potters would be warmly appreciated. WHEN YOU SEE IT? ._ ’I Editor) - t [/4 . This man did. He's been using Humes modelling TO: HUME INDUSTRIES (NZ) LIMITED

a» clay for years. For good reasons. It’s equally well COLLINS AVENUE, LINDEN. suited for modelling coiled pots, slab pots or I enclose cheque/money order to the value of Australian Potters coming pinch pots. Mixed with fire clay and/or china $ ...... clay, it produces a good, plastic, throwable Two weeks spent visiting potteries in Please send me— stoneware clay. And it takes a good earthenware 14 lbs. Humes Modelling Clay $0.80} Postage New Zealand is planned for April next year glaze. 28 lbs. Humes Modelling Clay $1.47 paid by some Sydney based Australians belonging For the best results, use Humes modelling clay 56 lbs. Humes Modelling Clay $1.78 F.O.R. to Ceramic Study Group (Box 5239 Sydney ...A specially prepared, finely-ground potter's 112 lbs. Humes Modelling Clay $3.50 Nearest 2001.) There should be opportunities for dio~ clay. For your convenience, Humes modelling Rail Head* logue and exchange of views between the clay is prepacked in heavy durable plastic bags *Please state your nearest rail-head. in four varying weights and can be delivered visitors and our own potters at gatherings Name ...... Date...... throughout the country at dates aproximately “Mirror, Mirror on the wall, who is the direct to you on receipt of the completed order coupon. between 4-20th April. leadingest potter of us all?" Address......

56 708I.FP