NOVEMBER 1969 60c STUDIO KILN

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WE FEATURE KITS FOR ABOVE KILNS

You Can't Improve Upon Perfection!

Kilns so well designed that, 20 years and 6000 kilns later, finished kiln prices. Kits available as follows: we've found no reason to change them. This year's parts Super Commercial Kiln (24" x 24" x 27" deep) .... $195.00 and elements still work in those 1948 models! Studio Kiln (18" x 18" x 18" deep) ...... 99.50 And now--kits for the above kilns are easier to assemble than ever and you save about one-third of the price of the Hobby Kiln (12" x 12" x 13½" deep) ...... 62.50 ORDER FROM THIS AD OR WRITE FOR DETAIL SHEETS

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November 1969 3 an Egyptian cowboy

m "Egyptian Paste glazes itself! Like the once said original composition excavated from tombs in ancient Egypt, this single-fire ceramic clay body is excellent for scar- abs, beads, plaques (such as pictured at left) and small jewelry. As a project dries, the glaze migrates to the surface and crystahzes. When fired to cone 06 (1859°F.), Amaco Egyptian Paste de- velops a gloss and often a crackle finish. Colors available are the true Egyptian turquoise and seven other colors-blue, yel]ow, green, mauve, terra colta, white and black. For detailed infor- mation, send for Circular No. HmHBo~ 57. Place orders through your regular Amaco distributor."

AMERICAN ART CLAY CO., 1NC Indianapolis. Indiana 46222

B&I \ MAKER ] Power Driven Variable Speed $59so F.O.B. less belt, motor

Professional features, versatile enough for advanced crafts- men, yet simple enough for beginners' use. Precision built, compact, portable. Mounts anywhere. New variable speed reducer with adjustable foot controls provides speed range from 38 to 130 r.p.m. Built-ln water container, attached wedging wire, reversible 9-inch throwing head wlth recess for molding plaster bats. Ideal for school or home studios. Also available for pottery maker is a new workbench with a convenient seat to allow operator to control position at all times. $22.50 each, F.O.B. Burlington, Wis. Order by mail now . . . or write for complete literature.

Write for Equipment Literature Burlington, Wisconsin 53105 4 Ceramics Monthly MONTHLY

Volume 17, Number 9 November 1969 7 Letters to the Editor ...... 9 Answers to Questions ...... 11 Itinerary ...... 13 Suggestions from Our Readers ...... The Folding Method for Large Slab Constructions 14 by Ed Chamness ...... 18 Show Time: Craft Dimensions Canada ...... Changing the Base on a Wheel-Thrown Pot 20 by Nancy Baldwin ...... 23 Mary Sharp by Polly Rothenberg ...... Mary Sharp Demonstrates Cloisonne Techniques 24 by Polly Rothenberg ...... 27 Ceramic Drinking Horns by George Hageman 29 Raku Glazes by Richard Behrens ...... 31 Poets, Prophets, and Potters by Darlene Rutherford 32 ulors CeramAetivities ...... 38 Index to Advertisers ...... come from Thompson... On Our Cover pacemaker for the industry for over 70 years Pottery is High-fired platter by the Hansen-Ross Dimensions one of the pieces selected for the exhibition, "Craft sponsored by the Canadian Guild of Crafts (Ontario) with color and shape as Thompson Canada," is 15~ Fire your imagination and the Royal Ontario Museum. The piece, which Color Guide the glaze. sees it in the inspiring new free catalog and inches in diameter, has a slip-carved leaf motif under and Help yourself to the limitless Folmer Hansen apprenticed as a potter in Denmark of 233 most desirable colors. coming to gained experience in studios in Scandinavia before to create new, improved, more exciting deco- Ross studied inspirations Canada in 1957 to work in New Brunswick. David items with the metal enamels that School of Fine Arts and later in rative and utilitarian at the University of Manitoba the industry for nearly three- and England. The two men established the Hansen- have been the standard of Scandinavia Photo: Ross Pottery in 1961 at Fort Qu'Appelle, Saskatchewan. quarters of a century. Museum. Royal Ontario Get up to date with this FREE Catalog and Color Guide featuring many new findings, new kilns and a variety of new pre-formed shapes for conversion to bowls, ash- Editor: THOMAS SELLERS trays, vases . . . hundreds of or[glnal creations. 24 hours after ROBERT L. CREAOBR Most orders are filled by Thompson within Art Director: the receipt. Another service ~dea from Thompson, where Business Manager: SPENCER L. DAVIS BIG IDEA colors come from . . . always have, always will. Circulation Manager: MARY RUSHLEY ...... Editorial Assistants: CONNIE BELCHER, FRANCES SAWVER THOMAS C. THOMPSON COMPANY Advisers and Special Contributors: F. Carlton Ball; Richard John Kenny; Dept. CM-I I Behrens; Kathe Berl; ; Zena Hoist; ; Ken Smith; Don Wood. 1539 Old Deerfield Road Western Advertising Representative: Joseph Mervish Associates, Highland Park, Illinois 6003S California 4721 Laurel Canyon, Suite 211, North Hollywood, 91607. Telephone: TR 7-7556, Area Code 213. Please rush my FREE catalog of complete enamel- Copyright 1969 Pro/essional Publications, Inc. ing craft supplies with Color Guide today. 1969, Vol. 17 -- No. 9. Published monthly Ceramics Monthly November Inc. -- S. L. except July and August by Professional Publications. Sec.: at 1609 Northwest Blvd., Columbus, Ohio Davis, Pres., P. S. Emery, Subscriptions: Second class postage paid at Athens, Ohio, U.S.A. NAME_ 43212. $14. Copyright 1969. All One year $6; Two years $10; Three years rights reserved. are indexed in The The articles in each issue of Ceramics Monthly Literature. Microfilm copies are available Readers' Guide to Periodical St., Ann ADDRESS_ from University Microfilms, 313 N. First to subscribers dealing with ceramic Arbor, Michigan. Manuscripts and illustrations and will be considered for publication. Manu- art activities are welcome 2000 words. be typed double-spaced and range from 500 to scripts should to the Editor, Ceramics STATE ZIP Send manuscripts and correspondence about them i CITY Box 4548, Columbus, Ohio 43212. i Monthly, i November 1969 5 r ....

Cone 6 2194°F. Fire at will.

Ceramichrome takes the worry out o/firing. We've demonstrated this with the hand thrown piece o] noted art potter, Frank Matranga. Finished in our textured glaze, it was fired to Cone 6 along with another original, using the same glaze, fired to Cone 06. Both pieces fired per/ectly. Choose ]rom over 200 ]ully proven glaze and underglaze colors. Each is designed to per]orm per/ectly anywhere within this unique firing range. Ceramichrome means outstanding per- ]ormance, with the built-in margin o] sa]ety. Try them.

Cone 06 1816°F. Ceramichrome Inc. P.O. Box 2086 Gardena, Calif. 90247

MANUFACTURERS OF PREPARED CERAMIC COLORS AND GLAZES

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Made the way the Big Ones are! Teach the Easy Way! Use Reward and Hart FRH Products. Liquid glazes and underglazes laboratory ceramic extruding machines are built go on the same basic, high quality design as further and offer better results and are machines FRH's large universally recognized as the standard of recommended for their high quality. the ceramic industry. Used by all the leading ceramic colleges. FREE LITERATURE. Send for free literature and price lists.

RH Divisionof the REWARD CERAMIC COLOR MFRS., INC. Fate-Root-Heath Company Plymouth, Ohio 44865 314 HarnmondsFerry Rd., Glen Burnle, Md. 21061 FCERAMIC MACHINERY Telephone:(419) 687-4641 6 Ceramics Monthly LETTERS Share your thoughts with other CM read- studio. We think that his Good Matt MONTHLY for the years 1954-1962. Among ers--be they quip, query, comment or ad- Glaze is excellent, too. other things, I learned that many of my vice. All letters must be signed, but names Mrs. K. Danielson "original" ideas had already been tried will be withheld on request. Address: The Lakewood, N.Y. and written about. Mrs. W. O. Powers Editor, Ceramics Monthly, Box 4548, Co- HORIZON WIDENING Grand Rapids, Minn. lumbus, Ohio 43212. • . . I am a hobby ceramist and find helpful A HUNK OF EARTH WASP NESTS, TOO your magazine most interesting, I work as an aide I am a former art education teacher now I would like to add another reference and horizon-widening. art department and recently teaching straight third grade. Just before to your "Letters" correspondence about in a school task of clipping articles Christmas we did something interesting firing a bird's nest. In a May 1959 article had the pleasurable files from CERnMICS 36 in CM on coils, Mr. F. Carlton Ball show- for the department's Continued on Page ed a picture of a mud-dauber's nest that had been bisque fired; he suggested that it probably would withstand glazing and retiring. However, his main reason for showing the wasp's nest was not simply as a work of art, but as an inspiration for coil pottery design. A.M. Barnes Louisville, Ky. PRAVOSLAV RADA "Bless you" for the marvelous article about this wonderful, creative man ("Pravoslav Rada," April 1969 CM). Without a doubt, this is my favorite issue Kiln of all those I've saved for years. How CRESS Model B-23-H High Fire about an issue sometime dealing with whimsy and humor in ceramic ? What fun that would be! ,/-'a 171/2" OCT. X 221/2" DEEP Thank you for introducing us to Mr. Rada. I hope you'll have more about him FIRES TO CONE 6 in future issues. ]an Hut Arlington, Mass. i Let's have more articles such as those t • Mirror Finish Stainless Jacket on "Pravoslav Rada" and "Barbara's Birds," which show how inventive, success- • Power controls for perfect heat ful artists work. In past issues I've found the articles specifically dealing with other uniformity artists are the most helpful. Mrs. L. Hurwitz • Free crating and Stand Arlington, Mass. MORE OF IT MORE OFTEN • Instruction manual I have nothing but praise for CERAMICS MONTHLy. The quality of your magazine has improved immeasurably in the last • Guaranteed few years. My only wish is that there could be more of it more often. Barbara K. Kaplan Clarendon Hills, Ill. $153.50 WANTS MORE ON SHOWS As a ceramics educator I would like to see more articles on the ceramic shows across the country instead of articles on With Automatic 5hut-off Installed slip casting and making piggy banks out of clay. It is of concern to me, as well • as to others, that this, the main journal in $190 SO our field, is beginning to become a hobby magazine. Why not cover the really great potters and their work, such as those featured in " in America"? Please keep the hobby stuff to a minimum. Compare Size, Price and Quality! Go to your nearest dealer or write for F. Breneisen free catalog listing all types and sTzes. West Allis, Wise. CONE SlX GLAZES I tried Richard Behrens Cone 6 glazes (from the March 1969 issue of CM) and they are excellent, I think. The Smooth Stony Glaze kept my 50-50 red clay as close to the original color as possible. We like this very much in my

November 1969 7 ORDER ANY OF THESE SELECT TITLES ON OUR MONEY-BACK GUARANTEE. WE PAY POSTAGE. CLAY AND GLAZES FOR THE POTTER HANDBOOK OF DESIGNS AND DEVICES STEP-BY-STEP CERAMICS by . Two complete books by Clarence Hornung. Over 1800 by Jolyon Hofsted. In this complete in- in one! Fundamental details on both sketches of basic designs and variations troduction to ceramics, the beginner CLAY and GLAZES make this book a including the circle, line. scroll, fret, is led through all of the basic clay "must" for every hobby-craftsman, stu- shield, snow crystals and many more forming and decorating processes. dent, teacher and potter. $7.50 useful symbols. $2.00 There are special sections on the Pot- CERAMICS AND HOW TO DECORATETHEM ter's Wheel, Glazing, Firing a Kiln, DESIGN MOTIFS OF ANCIENT Building Your Own Kiln, by Joan B. Priolo. Mrs. Priolo gives de- Decorating by Jorge Enciso. A compilation of 766 tailed descriptions Techniques and Raku. $1.95 examples and illustrations of divided into geometric, na- dozens of decorating techniques tural and artificial forms. and NATURE AS DESIGNER Includes de- shows how to use them. $6.95 signs based on flowers, birds, fish, hu- by Bertel Bager. This unusual and man figures, etc. 170 pages. $2.25 KILNS: DESIGN, CONSTRUCTION stimulating book presents a treasured & FIRING collection of plant life which demon- ENAMELING ON strates in a unique and very effective METAL by Daniel Rhodes. Everything you need way the by . Step-by-step to know beauty of form in nature. The photos about kilns -- setting up, forms will suggest are used to describe fundamentals firing, various types an infinite number on of kilns -- is de- of shapes and textures through to newly developed experi- scribed and demonstrated in for pottery. An this first outstanding gift selectlon! mental styles. This complete guide is a complete book on kilns. Over 100 $14.50 major contribution to enameling. $7.50 drawings and photographs. An out- MAKING CERAMICS standing text. $I0.00 by Lis and Hans Lundkvist. This text demonstrates TECHNIQUES some of the simplest meth- WE PAY POSTAGE ods of handling and shaping clay. by Mary Lou Con- Stribling. This unique tents include forming pieces by hand book gives a glimpse of the tremendous and with the potter's potential wheel, decorating CREATIVE CLAY DESIGN of as a medium for with glazes recipes for glazes, personal expression, making by Ernst Rottger. A and will stimulate plaster molds, casting, firing, construct- wonderful aid to the curiosity of beginner and profession- those who are learning and ing a wheel, and directions for buildine those who al craftsman alike. $6.95 are teaching others how to explore the a raku kiln in the backyard. $4.95 creative possibilities of clay. $5.50 CERAMIC SCULPTURE SELLING YOUR CRAFTS by Betty Davenport Ford. The author by Norbert N. Nelson. In a concise, CERAMICS leads the reader to a high level of pro- step-by-step presentation, this book by Glenn C. Nelson. A new, revised and fessionalism in the design and technique leads you through the actual stages enlarged edition of a favorite title. An of an ancient craft. Animal, human, necessary to sell successfully what you outstanding handbook for potters and plant and abstract forms. $5.50 produce. Such diverse channels of sales as wholesale, teachers. 331 pages, hardcover. $8.95 POTTERY: FORM retail, mail order and AND EXPRESSION specialty markets are covered. $5.95 by . A truly CERAMIC SCULPTURE beautiful METAL ENAMELING by John book! Magnificent pictures of B. Kenny. Contains over 1000 the author at work and by Polly Rothenberg. The emphasis in photos and sketches of ancient and covering all phases contemporary pottery. An outstanding this book is on new methods of enamel- of the sculptor's art. A valuable aid for gift selection for potters. $9.95 ing and new applications of the age-old all craftsmen. $9.95 techniques. Many of these unusual ex- POTTERY & CERAMIC SCULPTURE perimental projects have never before THE COMPLETE BOOK OF by Herbert M. Sanders. A new, thor- been published. Especially important POTTERY MAKING oughly revised edition of Mr. Sanders' for the beginner are the step-by-step il- best by John B. Kenny. The "best seller" in seller. Ceramics Book. Completely lustrated project instructions. $6.95 up-dated with new the ceramic field! Step-by-step photo material, including BERNARD section on how to build a potter's wheel. LEACH: A POTTER'S WORK lessons cover all of the pottery-making Introduction techniques. Excellent for beginners. $1.95 by J. P. Hodin. This latest Clays, glazes, firing, plaster, book by Mr. Leach covers etc. 242 pages. 55 years of $7.50 MAKING POTTERY WITHOUT l WHEEL his work from 1911 to 1966, showing by F. Carlton CERAMICS FOR THE ARTIST Ball and Janice Lovoos. photographs of his pots and sketches POTTER This comprehensive and richly from his notebook that by F. H. Norton. The illus- he feels are rep- most complete trated book covers every phase of hand- resentative of each period, including book on the subject, from choosing the building and decorating raku, stoneware, proper clay clay pieces. No slipware, salt-glaze to putting the final touches book has covered the subject of texture ware. and enameled . on a piece, all clearly $10.00 explained. Ce- and form more effectively. $9.95 ramics at its best! $8.50 THE WORLD OF JAPANESE CERAMICS A POTTER'S BOOK by Herbert Sanders. This handsome CERAMIC DESIGN by Bernard Leach. Now in its tenth book illustrates the forming and deco- by John B. Kenny. Complete instruc- American edition, this book is a must rating processes and the unique tools tions for methods of forming and dec- for every potter and student of ce- used by the potters of Japan. Includes orating ware are given, with step-by- ramics! It deals with Japanese raku, glaze formulas, glaze color charts, and step photos to guide the designer along English slipware, stoneware, and Ori- American equivalents of Japanese the way. Contains appendix, list of ental porcelain. $8.75 glaze compositions. Has slipcase. $12.50 m m mm m ~ n ~ ~ ~ n ~ mt am an materials, recipes, and glossary. $9.95 ~ ~ m tm n nil am sm ~ mm ~ B m Order Form ~ We Pay Postage STONEWARE AND PORCELAIN BOOK DEPARTMENT Box 4548, Columbus, Ohio 43212 by Daniel Rhodes. Describes techniques and materials used in high-fire pottery. [] Rhodes--Clay & Glazes $7.50 [] Kinney--Glass Craft $7.50 [] Leach--Potter's Book $8.75 Includes sections on clay bodies, glazes, [] EncTso--Dasicjn $2.25 [] Parmelee---Glazes $8.00 [] Hofsted--Ceramlcs $1.95 colors, textures and decoration. $7.50 [] Untracht--Enarnelinq $7.50 [] Hornuncj--Designs $2.00 [] Bacjer--Nature $14.50 [] Rotfcjer--Craativa Clay $5.50 [] PrMIo--Ceramlcs $6.95 [] Lundkvlst GLASS CRAFT [] Nelson--Ceramlcs $8.95 [] Rhodes--Kilns $10.00 ~Makin9 Ceramics $4.95 by Kay Kinney. The complete book on [] Kenny--Sculpture $9.95 [] Stribling--Mosaic $6.95 [] Nelson--Sellin9 Crafts $5.95 fusing, laminating and bending glass. [] Kenny--Pottery $7.50 [] Ford~Sculpture $5.50 [] RothenbercJ Basic techniques, step-by-step projects [] Norton--Artist Potter $8.50 [] Wildenhain--Poftery $9.95 ~EnamellncJ$6.95 and a "Glass Clinic." $7.50 [] Kenny--Desicjn $9.95 [] Sanders--Pottery $1.95 [] Leach--Potter's Work $10.00 [] Rhodes--Stoneware $7.50 [] Ball & Lovoos--Pottery $9.95[] Sanders--Japanese $12.50 CERAMIC GLAZES by Cullen W. Parmelee. This invaluable NAME reference book completely covers glaze ADDRESS making. Includes formulas and batch recipes for glazes. 314 pages of techni- CITY STATE ZIp cal information. $8.00 I enclose [] Check [] Money Order. {Ohio residents: add 4% Sales Tax) 8 Ceramics Monthly Answers to QUESTIONS Conducted by the CM Technical Star/

to induce with a children's {~ Is there anything that can be added to a glaze We have been doing some mural projects working on the in- more bubbling during the [iring? I have been group, and have experienced some warping with haven't been The warping appears some "crater" type glaze e[[ects at Cone 04 but dividual [lat slabs that make up the murals. --Mrs. K.L.M. objectionable able to get really large crater pits on the sur[ace. be[ore the pieces are [ired. While the warping isn't some di[[iculties in adhering the [ired craters in some in itsel[, it has presented Sulfur tends to cause bubbles and leave you give us any hints on how we at low tem- clay pieces to the walls. Can glazes, notably lead glazes. Since you're working clay we are using is a red-[iring barium sulphate may avoid the warping? The peratures, you may want to try the addition of and glazing the sur[aces. a glaze local clay; zve are carving, painting to induce larger bubbles. This can be an addition to to rework the --I.I.K. already in use and it should not be necessary as they formula. In general, flat slabs have a tendency to warp or eliminate dry. There are several things you can do to minimize o/ decorating, back side of the slab. 0 I have been enjoying the wax-resist method this. 1. Grooves may be cut into the [rom a 2. Dry the slabs using the water-soluble emulsion that I purchase Notice how this is done on commercial tiles. as has bats that will absorb dealer. Now I would like to experiment with para[[in, slowly, preferably between flat plaster Can you have access to plaster been suggested by some o[ the writers in your magazine. moisture from the clay. 3. If you don't drying in order tell me what to use and how to proceed?--Mrs. I.D. bats, turn the clay slabs occasionally during the warping. If the slabs are placed on layers of and heat it to help prevent You will have to prepare your own paraffin will absorb moisture from the clay. wax and newspapers, the to get it to the liquid stage. Purchase some paraffin and heat on chop it into small lumps. Place these in a pie tin Keep it heated at CM; an electric hot plate until the wax is melted. All subscriber inquiries are given individual attention while you interest are just enough to prevent the wax from solidifying and, out o[ the many received, those o[ general the pan from inquiries to work. When your decorating is done, remove selected [or answer in this column. Direct your harden. In this Ohio 43212. the heat source and set it aside for the wax to the Questions Editor, CM, Box 4548, Columbus, time. way, you will have your supply ready to heat up at any Please enclose a stamped, sell-addressed envelope.

For The Discriminating Ceramist MODEL A-99B

Fire immense loads daily diameter for a full 7 This enormous 10 sided kiln is 27" deep and 23%" in allows you to fire cubic feet of firing capacity. Fast firing and fast cooling own 4-way switches immense loads daily. The three movable sections have their tallest lamps or top and and pilot lights. Use the three sections to fire your 6--2300 °, everything bottom sections for many small pieces. Fires to cone for full 31Y2" depth. from china paints to porcelain. Add a 4'/2" blank collar EXCLUSIVE! INCH OF BLOCK INSULATION IN LID AND BOTTOM

IN STAINLESS STEEL MODEL A-99B ...... $367.50 0 4~" blank collar, $29.50

FREE •. crating., instruction manual DAWSON Automatic Kiln Sitter/ steel stand.• 2 year guarantee.. $42.00 installed at PARAGON\

catalog listing over 30 models to Stop in at your nearest Paragon Dealer or write for your new Dallas, Texas 75207 ~')~laqlNL ~~, g~W... Dept. CM Box 10133,

November 1969 9 F FOR

or STONEWARE FIRING PORTABLE GAS KILN

Operates on natural or LP gas. Excellent Reduction and Salt Glaze results. Separate light weight sections can be moved easily by one person. Kiln can be set up at beach, on balcony, in garage, or class- room in less than five minutes. Four chamber sizes available: 12 x 12, 14 x 14, 18 x 18, 24 x 24. For free brochure write to; W. D. Burt Mfg. Co. P.O. BOX 353 • FAIRFAX, CALIF. 94930

BE ENGROSSED

Maybe we shouldn't admit it, but each "'new ~mmpo-vvesr wnee~ sold isn't new at all! Each and every one is used . • • used in ways you'd never think of . • Be struck with delight too and very much • put through tests of sheer power, precision, informed with our new 1970 Catalogue. balance and speed accuracy far more demanding and Mast everything you need for rigid ceramics is than any you would probably think necessary. You see, when listed within its pages. A lot of things you a wheel leaves our plant, we want to be sure that won't find anywhere else. Send $1.00 (Re- it will perform for you fundable on later purchases of $5.00 or just the way it was meant to. more). Be sure and include your "Zip" Cede. (~ Write today for free literature Westwood Ceramic Supply Co. ~ D [~ [~(~ andthe nameof yournearest Dept. C., 14400 Lomitas Ave. "used" Shlmpo-Wes~r wheel rep- P.O. Box 2315C. La City of Industry, California 91744 Puente. California 91746 resentatlve.

10 Ceramics Monthly ITINERARY Send )'our show announcements early: ward R. Burroughs: $1,000 in purchase juried by a distinguished panel. Each ex- "'Where to Show," three months ahead prizes; Entries due November 1 through hibitor will be permitted to show l0 pieces. o[ entry date: "'Where to Go," at least December 14. For information and entry Work due between November 10 and 13. six weeks be[ore the opening. blanks, write: Butler Institute of Ameri- For information, write: Leonard Belber, can Art, 524 Wick Avenue, Youngstown. Chairman, Cheltenham Art Centre, 439 TO SHOW Ashbourne Road, Cheltenham 19012. WHERE PENNSYLVANIA, CHELTENHAM BOSTON MASSACHUSETTS, November 18-December 20 Annual Craft SPECIAL FOR HOEEYI3TS 16-April 17, 1970 Boston City Art Centre. March Fair sponsored by Cheltenham MICHIGAN, FLINT Hall "Crafts 1970," National Invitational Craftsmen whose work has been accepted 8-9 The Third Annual Ce- Exhibition and Northeast Region Juried in previous years have been invited to November Show, all-media, co-sponsored by ACC participate this )'ear; newcomers will be Continued on Page 12 Northeast Region and Boston Institute of Contemporary Art at the new Boston City Hall Galleries. Competition open to crafts- men in Maine, New Hampshire, Vermont. Massachusetts, Rhode Island, Connecticut New York, New Jersey. Delaware, Penn- syh,ania, D.C.. and Maryland. Entries due February 12: Entry fee. For informa- tion and forms, write: Mrs. Carney Gold- berg. 300 Allandale Road, Chestnut Hill, Mass. 02167. MISSOURI, ST. Louis March 1-28, 1970 "Enamels 1970," na- tional competition-exhibition of enamel work. Juror: Charles Bartley Jeffery; Awards; Entry fee: Slides due January 10, 1970. For entry forms, write Mrs. Nancy Pate, Craft Alliance, 4738 Mc- Pherson Ave., St. Louis 63108. NEW YORK, SCHENECTADY December 7-3l The 2nd Regional Craft Show, sponsored by The Designer Crafts- mens Council. is open to all craftsmen within a 75-mile radius of The Schenec- Nothing does as much for tady Museum. Media: metal arts, fired greenware as those unusual glazes arts, and . Entry fee; Jury,. En- from MAYCO® COLORS. When you tries to be received November 22-23. For use MAYCO glazes, the results are so information, write: The Schenectady Mu- unmistakably different! And all MAYCO seum, Nott Terrace Heights, Schenectady. glazes--as well as Underglazes and One Stroke are homogenized for easier application. YORK, WHITE, PLAINS NEW They fire at Cone 06 and are ideal February 15-March 8, 1970 Annual for all techniques! Send for free Juried Photography, Graphics, and Crafts color chart of "America's Exhibit sponsored by the Westchester Art finest colors." Society. All artists; Fee; Jury; Cash awards. Work due February 1-2. For pro- spectus, write: 35 West Post Rd., White Plains 10606. OHIO, COLUMBUS June 13-July 26, 1970 The Fi~th Bien- nial Beaux Arts Designer/Craftsmen Ex- hibition is open to craftsmen in Illinois, Indiana, Iowa, Michigan, Minnesota, Mis- souri, Nebraska, North Dakota. Ohio, South Dakota, and Wisconsin. Jury: Entry fee. Entry forms will be available late in January, 1970 from Designer/Crafts- men Exhibition, Columbus Gallery of Fine Arts, 480 East Broad Street, Columbus. OHIO, YOUNGSTOWN January 1-February 22, 1970 The 22nd Annual Ohio Ceramic and Sculpture Show, sponsored by the Butler Institute, is open to present and former resident of 20800 Dearborn Street Ohio and includes work in ceramics, glass, jewelry and sculpture in mayc° L Chatsworth, Calif. 91311 enamels, any medium. Jurors: Mr. and Mrs. Ed- colors Dea lerships Available

November 1969 11 SOMETHING FOR EVERYO • +

Kick Wheel and motor kits $35.00, $49.50 Model CX $295.00 Kick Wheel 5'/5.00 Model C $245.00 [with 100 lb. potl Model A Send for our free brochure: ROBERT BRENT POTTER'S WHEELS, 1101 CEDAR ST., SANTA MONICA, CALIF. 90405

ITINERARY Craftsmen 19th Annual Members' Show; DeCordova Museum, Lincoln, Nebraska. at the Jacksonville Art Museum. Continued [rom Page 11 ~{ICHIGAN, DETROIT ILLINOIS, CHICAGO ramic Show, sponsored by the Flint Ceram- November 19-Decenlber 28 The 21st November 1-December 14 Ceramics ic Association, will be held at the Knights by Exhibition for Michigan Artist-Craftsmen; and Glass by of Columbus Hall, 705 Garland St. Kent F. at the Detroit Institute of Arts. For Ipsen; at The Art information: write Institute of Chicago. Thelma Laird, 939 ~.IIsSOURI, ST. LOUIS Hughs Ave., Flint 48503. ILLINOIS, CHICAGO November 7-9 Missouri Craftsmen's Con- through November 9 "Mexican Crafts," ference, "The Contribution of the Crafts- WHERE TO GO Traveling Exhibi- man in Contemporary Society," with Dr. Because listings are subject to change, tion; at the Field Museum of Natural Margaret Mead, Janet Kuemmerlein, dates can be verified by writing to the History. Charles Counts, and Donald Wyckoff; at sponsoring groups or galleries. ILLINOIS~ CHICAGO Marillac College. COLORADO, BOULDER through November 13 Pottery by Ken NEBRASKA, LINCOLN November 2.9-30 Pottery by Betty Wood- Vavrek; at the Edward Sherbeyn Gallery, November "Kitchen Keramiks," an ex- man; at the Woodman Studio. 2952 North Clark Street. hibition of ceramic kitchenware; at the November 16-December 14 Pottery by Art Shop, COLORADO, Sheldon Memorial Art Gallery. PUEBLO ; at the Sherbeyn Gallery. Nor'ember 9-16 Ninth Annual "Own NEVADA, LAS VEGAS Your Own" sales and INDIANA~ INDIANAPOLIS purchase exhibition, through November 2 Las Vegas Art presented by Southern Colorado State Col- November 9-23 The Twelfth Annual League's Thirteenth Annual National Art lege and Pueblo Service League; at the "Art for Religion Exhibit"; at the Bethle- Round-up; at the Main Galleries, Lorenzi S. C. S. C. College Center. hem Lutheran Church. Park. CONNECTICUT, MANCHESTER IowA, CEDAR FALLS NEW JERSEY, SOUTH ORANGE November l-2 Eighth Annual Fine Arts through November 14 EnanIels by Gina December 5-6 Craft Fair and Exhibit by Festival, sponsored by the Manchester Winston and jewelry by Bob Winston; at craftsmen members of First Mountain Lions Club and Manchester Fine Arts L'Atelier Galerie. Crafters, Inc.; at the First Presbyterian Association; at the Manchester High and Trinity Church. School. IowA, MASON CITY through Novenlber 23 The All-Iowa NEw JERSEY, *~rESTFIELI) D. C., WASHINGTON Crafts Exhibition and Fall Crafts Festi- November 9-11 Exhibition and sale of through November 16 "Objects: USA"; val; at the MacNider Museum. crafts by more than 130 professional crafts- at the Smithsonian Institution. men, sponsored MASSACHUSETTS, LINCOLN by the Temple Sisterhood; at Temple Enlanu-El. FLORIDA, JACKSONVILLE November 1-23 "Toledo Glass National," November 15-December 30 Florida Smithsonian Traveling Exhibition; at the Continued on Page 37 12 Ceramics Monthly I r rarnir. ,o o,,o ,..tur,n0 tions of significant work by thirty" art..------..my in two of America's outstanding SUGGESTIONS potters. :'These thirty-tWo ax- [rom our readers lTli Hr'l Qamples of Ceramic Art in ABet- 1Am • •vm m%,/C,4,ica must, as much as possible, FOR STRAINING GLAZES speak for themselves. They were selected from a group For mixing glazes in half-gallon quantities, I have fcund a three times as large to represent most of the develop wide-mouthed gallon milk strainer very handy. It fits over I ments and achievements that have marked this post- containers for mayonnaise or pickles. School glass jars, such as as a period of almost explosive usually have an ample supply of such jars. The milk war quarter-century cafeterias for strainer can be bought in a hardware store. Since the mesh growth and change. Each example is significant varies, be sure to get a very fine one. A pestle or scraper helps tomorrow as well as today, since one can predict that strainer the ingredients through. If the rim at the base of the the values which they express will never die, in spite it is quite all right to snip it and join with ad- does not fit, of changing points of view." -Richard B. ~, Editor hesive. Mine has been in constant use for six years and is still giving good service. --Mrs. Bertha Waters, Philippi, W.Va.

SHOCK ABSORBERFOR MOLDS The pieces featured in this exciting portfolio have If you have occasion to make plaster molds for any studio been reproduced in black and white on heavy, quality work, here is a suggestion that I was given and found most paper using a special printing process to provide and the plaster has valuable. After the mold has been poured maximum fidelity and detail. Each of the 32 hand- but is still damp, use a coarse rasp or file to bevel "set up" some reproductions in the portfolio may be framed all outside edges of the mold. This tends to prevent possible in the home, studio or classroom. chipping and breaking after the plaster molds are dry and put or used as a poster into use, since the beveled areas are better able to absorb shock the potters whose work is represented in and punishment than are sharp corners.--C.F.P., Dallas, Texas Here are this im~aortant collection of ceramic art: STACKING AIDS KILN Michael Arntz Henry Varnum Poor For stacking my top-loading kiln, I keep on hand the F. Carlton Ball Antonio Prieto following: a hinged mirror (the compact kind ladies carry in Fred Bauer Ted Randall steel measuring tape, and a roll of asbestos Charles Brown Herbert Sanders their purses), a Scheier paper. Charles Counts Edwin and Mary the kiln, tilt it, and "sight" with I hold the mirror inside Horan Robert Sperry each piece of ware Claude it to check on the position of stilts under Ka-Kwong Hut I am stacking. I use the mirror in much the same way to check on shelf positions and make sure that each shelf safely clears Charles Lakefsky Henry Takemoto all of the ware on the shelf beneath it. Wayne Long Robert Turner measuring tape to check kiln space and the height Warren MacKenzie I use the Helen Watson (and sometimes the width) of pieces to make sure that there Harrison McIntosh pieces I plan to fire. Karl Martz will be room in the kiln for all the Marguerite Wildenhain a roll of this John Mason Wondering about the asbestos paper? I keep Gertrud and William Wyman near the kiln in case a sheet of it is needed to cover a shelf that has some glaze drippings on it, and which I didn't re- Included with the thirty-two large lr" by 14" repro- member to cover with kiln wash. While the paper is good for ductions is a four-page folder containing commentary from this just one firing, this is all one has a right to expect on each potter and his work. The impressive reproduc- Pearson, Edmunds, Wash. wonderful substitute material.--D. tions and the folder are protected by a beautiful em- bossed cover and the complete portfolio is packaged SUPPORT FOR FIRING JEWELRY in a sturdy corrugated mailer. Sold on our usual A small wad of clay can be used as a makeshift support for money-back guarantee. glaze-firing earrings or other small jewelry or narrow pieces that can't be stilted with regular pins or stilts. Roll out a small Price: $6.25 plus a 75c mailing charge. ball of clay, place it directly on the kiln shelf, then press the the clay wad just enough earring firmly onto it. This flattens i ~ to provide a good support for glaze firing. r i i i ~ m --Mrs. C. B. Rennie, Wellington, N.Z. I Ceramics Monthly I DESCRIPTION HELPS I B°°k Department 7 ° When you publish portfolios of an artist's work or photo- Box 4548 I rather than describe a piece as "Plate, stone- graphs of pots, I Columbus. Ohio 43212 I ware," or "Bowl, with sgraffito," etc., it would be infinitely more helpful to describe it in this way: "Plate, approx. 9 inches in ! : ! diameter, stoneware, reduction, fired to Cone 9, magnesia glaze, with sgraffito." Only this kind of description helps the viewer all of us are interested in the manner to visualize the pot. And I Please send me __ _ c pies of the portfolio Ceramic Art In I in which the decoration is achieved. And please, more Carlton I America @ $6.25 each plus a 75c mailing charge. I Ball! --]. ]aeobs, Cupertino, CaIi]. I Name I I DOLLARS FOR YOUR IDEAS I Address /or each item used in this Ceramics Monthly pays up to $5 i City Zip State CM, Box 4548, Columbus, column. Send your suggestions to order I acknowledge or return unused I enclose O check [] money Ohio 43212. Sorry, but we can't __1 items. I______(Ohi__..... --idents--add--25c--Sales__Tax)__ -- --

November 1969 13 The Folding Method for Large Slab Constructions by ED CHAMNESS

STEVEN KEMENYFFY throws the more traditional small away in the firing and thus reduces the final weight. pots on the wheel as part of his work as Assistant Pro- Kemenyffy's pieces may have solid sides when com- fessor in the art department of Edinboro State College, pleted, or they may have a lattice-work pattern in the Edinboro, Pennsylvania; however, he prefers to work with middle. To form the open work, Kemenyffy works in big pieces using a modified slab construction. Kemenyffy either of two ways. He xnay cut out the areas he wishes defines a big ceramic piece as one which approximates open in the finished piece, or the lattice effect may be his own 5-foot, 8-inch size. In order to work effectively obtained by leaving an area on the cardboard pattern in this size range, he has developed a method which without clay and adding strips of clay here to give the incorporates a folding technique that gives the added desired effect. The lattice openings then may be partially flexibility that is necessary. filled with coils of clay which are rolled out and wound Beginning with the principle of constructing a pot into the open areas. or piece of ceramic sculpture inside a cardboard box, When the cardboard pattern has been covered with Kemenyffy has added variations to allow for the size clay, Kemenyffy begins the delicate task of folding the of project he enjoys making. piece into its characteristic wedge form. Using a long Kemenyffy begins his large pieces with a sheet of plank to support the full length of the piece, he first cardboard on which he draws a pattern for the pot he folds one side up to a 90-degree angle and blocks it there will construct. Because he had difficulty in making a while he does the same to the other side. After scoring four-sided structure with the cut-out cardboard, the edges to be joined and applying slip liberally to the Kemenyffy developed a basic three-sided wedge shape edges, he carefully folds the two sides down toward each that affords ease in folding. other. Kemenyffy is then able to reach inside the piece Kemenyffy defines the basic shape of his three-sided from both of the open ends to complete the joint. pots by cutting a large, roughly-triangular pattern from A thick slab of clay, which will serve as the base a sheet of cardboard. Pre-folding of the pattern makes for the finished piece, is pounded out and placed next it simpler to fold the finished piece. The clay is applied to the bottom opening. The long cardboard-wrapped to the cardboard pattern in slabs about one-half inch form is then placed on the base. Because the clay is thick, with slightly thicker slabs at the bottom for extra still quite pliable, care must be taken to finish the lifting support. By working with the cardboard flat on the operation in one swift motion to avoid bending the piece. floor, Kemenyffy eliminates the problem of not being After allowing the piece to stand for approximately able to reach down inside a large box to press the clay 24 hours with the top wrapped in a sheet of plastic, firmly enough against the sides. Kemenyffy removes the cardboard and finishes the The clay is rolled out into slabs on the floor and seamed edge, constructs the top, and adds final decora- the individual slabs are then joined together on the tive touches. The top may be a simple flat piece of clay cardboard pattern. Because he is working on the floor or it may be a built-up capital to add more height to an rather than with a fragile standing object, Kemenyffy is already-tall piece. If Kemenyffy wants the finished piece able to work the individual pieces together firmly to to have a plain flat top and a decorative foot or base, form good joints that will not separate in firing. he simply constructs the piece upside-down, and turns it Kemenyffy mixes his clay with large amounts of completely over when it is finished. sand and sawdust to make the clay strong enough to Details, such as the outline of the coils which were support his unusual ceramic forms. The sawdust burns wound into the open areas, may be defined with a 14 Ceramics Monthly Y ¢ \,

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8, 9, 10 5. Both sides are [olded up to approxi- 6. The sides are then care[,lly /olded mately 90-degree angles and blocked down toward each other and the clay is be[ore the clay is joined. sealed. 8. Alter the long piece has been Ii[ted 9. A pointed tool re-de[ines the coiled onto its clay base, a reach inside insures clay patterns. The entire piece can be that the seam is [irm. used for decorative additions.

16 Ceramics Monthly pointed tool. or other de ..... ~ signs might be added. Be- cause he is able to con- struct a really large piece in this manner much faster than would be possi- hle in a built-up piece of similar size. Kemenvffv finds he is able to decor'- ate an entire piece as a single unit. Because a built- up piece would have dried adds too much at the base to A built-up capital decorative additions allow height to Steven Kern- ee after the top was com- pleted, he finds his method enyffy's slab-constructed pot. is more flexible. Decorative effects in finishing tile pieces are limitless. is Because of the rapid construction, the whole piece available for design. This may be in the form of applied tool clay, or as designs cut into the surface with a pointed b and painted with colored slips. Kemenyffy's wife, Susan, her is a painter and printmaker and often works with husband, drawing on the clay forms. Decorating one of the large pieces actually is begun is by cutting out the cardboard on which the shape a formed. The corrugation of the cardboard becomes part of the overall design, with the ridges being either horizontal or vertical. While the ridges could be smoothed of out with a tool, Kemenyffy usually leaves them as part be the finished piece. Some of the cardboard texture may lost, however, if a particularly heavy glaze is used. In finishing a piece, a slight undercutting at the base emphasizes the traditional pot form in an otherwise rather untraditional piece. The tops of Kemenyffy's works pot, usually have the characteristic lip of the traditional although they generally are closed. When the design is completed, Kemenyffy allows the pot to dry thoroughly before final glazing and firing. in Because of the unusually large size, there is a problem moving the pieces to the kiln. While he has never created a piece too large to fire in his outdoor kiln, Kemenyffy one has made several which were a tight fit; more than pot has been damaged in placing it into the kiln. Firing a piece which is nearly six-feet tall can create problems because of the heat dis- tribution within the kiln, and .Kemenyffy often loses pots m the firing. But be- cause of the relatively of time in 7. With both ends of the pot open at small amount he does this stage, it is simple to reach inside the construction, and join the seam. not find the rate of loss discouraging. 10. Designs may be carved into the clay surface, or applied clay may be used. Colored slips add to the design. Colored slips applied to the completed piece add color to the design. A[ter drying, the piece is moved iiiil,ij~i!~ii~i2¸ii!! ¸ ~ ~ ~ to the kiln.

November 1969 17 Craft Dimensions Canada

CRAFT DIMENSIONS excitement CANADA, the largest and most com- in Canadian crafts. It includes a diversity of prehensive exhibition work ranging of contemporary crafts ever mount- from the best in the 'folk art' tradition to ed in Canada, the opened at Toronto's Royal Ontario Mu- sophisticated manipulation of present day plastics." seum September "Variety 23 and continues through November 2. in approach and surprising strength in "Craft Dimensions nearly all Canada" was sponsored jointly by areas," was the verdict of another juror, artist- the Canadian Guild in-metal of Crafts (Ontario) and the Royal Ronald H. Pearson. He also said that "'Craft Ontario Museum, Dimensions with the assistance of a grant from the Canada' is a superior exhibition--one that Canada Council. should be sent south of the Canadian border." Approximately The 200 objects were selected by an in- third juror, Robert C. Turner, Associate Pro- ternationally-known fessor of Pottery jury for the exhibition. These were and Sculpture, Alfred University, of chosen from New works by 325 professional craftsmen across York, commented that the "exhibition is impressive Canada who and submitted almost 900 entries in categories exciting" and noted that "there are many individual- ranging from textiles, ceramics, leather, wood and metal ly compelling pieces . . ." work to jewelry, Awards glass and furniture. The jury also chose in ceramics went to Betty Coffey, Leopold 22 entries for Foulem, prizes and each juror singled out a favorite John Chalke, Ruth McKinley, and Ed Drahan- chuk. item for an award of excellence. A glass bottle by Robert Held was a prize winner, One juror, as was textile specialist Glen Kaufman, reported an enamel and leather triptych by Oliver Knight. that the A special exhibition ". • • gives an impression of awakening award went to Ruth McKinley for ceramics.

Stoneware Bowl with incised decoration is 17¼ inches in diameter. Dean Maxwell Mullavey, North Harley, Quebec.

)" .f~. ~. P .r Stoneware Vase with brown spot- ted glaze is 10 inches high. Walter Dexter, Nelson, British Columbia.

Triptych, enamel in leather case, is 7 inches high. Oliuer Knight, Ontario. Ottawa, Stoneware Floor ]ar, applied B decoration and white glaze, is 21½ inches high. ]ohn H. Shaw, Fredericton, New Brunswick.

November 1969 19 Changing the Base on a Wheel-Thrown Pot

by NANCY H. BALDWIN

CLAY, one of the most versatile of all materials, has few limitations. It can be poured when liquid, squeezed when wet, and chiseled when dry. It can be thrown, 1. The process of giving a round rolled, pinched, molded, and incised, and handled in pot a square base is started by dozens of other ways. throwing a pitcher and rolling Because the material is so versatile and the ways of out a clay slab. working it are almost endless, the potter can easily fall 2. When the pot can be handled into the habit of going from one unrelated pot to safely, the bottom area is cut another, ending up simply by making things instead of out with a sharp knife. developing ideas. By starting with an idea and exploring it as fully as possible in a given time, he can chart un- known areas and gain deeper appreciation for those pots already in daily use. As an example of this exploration, one of the shapes we might wish to work with could be a vessel suitable for pouring liquids. Notice that I do not use the word "pitcher," because this conjures up in our minds a certain traditional form which very well might limit our thinking on the subject. Perhaps what we want might be de- scribed as a vessel which will hold X amount of liquid, won't drip or dribble (hopefully), and will be pleasant to use, hold, and behold. Sometimes we can find the solution to a particular design problem by considering a form in one of its most 3. A paddle is used to give the bottom walls of the pot a new squared shape. 4. The bottom wall is scored with a fettling knife, then dampened with slip or water.

5. The dampened, scored surface is placed downward on the clay slab to attach them firmly. 6. The knife is used to cut most of the excess clay from around the base of the pot. 20 Ceramics Monthly k~

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November 1969 21 exaggerated shapes. If a particularly spirited idea occurs to short, straight sided to rounded, and small neck to to me, I will make concessions in regard to some of the none. With one group of ten pots I varied the shapes accepted rules governing design and use. That is, I at the bottom by making them square, as illustrated in might make a shape that is too large for easy pouring the how-it-was-done photos. I selected another shape when full, too wide or tall for easy storage, too narrow for the base treatment of the other set of ten pots. for stability, or too small to hold enough liquid. Basically the technique of giving a pot a new It is a good idea for the potter personally to use bottom consists of rolling out a piece of clay to the those pots which he considers successful, in order to thickness desired for the new base. This clay slab is discover if they are good to llve with. Some potters give made to a slightly larger dimension than needed for the such pieces to friends, asking in return simply a report base. After this, the clay is allowed to stiffen slightly. on the pot. The piece is altered when the clay has stiffened just In a few words, what I am suggesting here in this enough so the pot can be handled safely, but still is soft article is that we select a problem, set criteria for purpose, enough to be paddled without cracking. The base of the impose time limits for study, and then use the pots. pot is cut out, then the bottom wall area is paddled to As an example of the above thoughts, I would like give it a square shape. to explain one of my small discoveries--one that may The bottom of the wall area is scored and dampened, not be as new to others as it was to me. In charting my then the pot is placed on the rolled-out clay and twisted own study in relation to the pouring pots mentioned slightly to make a secure bond. The excess clay is cut earlier, it occurred to me that I had never varied the from the pot, leaving a small amount (about ¼ inch) base of a pot. I wondered how such a piece would look as allowance for welding new clay to body clay. Welding with a base different from the usual round one--perhaps is done by drawing up the excess clay with a fettling a square, rectangular, oval, triangular, or polysided one. knife, then cutting away any excess. The inside seam is I also wondered how such a pot would function if it had welded on the inside of the pot by using a long-handled this kind of base. As a result of my work with this partic- tool to press together clay from side and bottom. (I used ular problem, I found that not all pots lend themselves a chopstick for this step.) to these changes, but that the experiments and com- If the fresh clay of the bottom adheres to the work- parisons provide an exciting activity. ing surface, the pot can be released by cutting it with a I would suggest starting the project by throwing twisted wire. The clay is allowed to stiffen a bit more, about 20 pieces, using the same amount of clay for then the seam can be smoothed with the fingers and each piece. I used about 1~ pounds of clay for each a handle can be pulled or applied. Finally, the pot is of my pouring pots. I made two each of ten different inverted in order that the bottom may dry safely.--Photos shapes; these shapes varied from wide to narrow, tall by Leon Lewis.

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7. Excess clay at the base is 8. 1[ the base won't release 9. When the pitcher can be drawn upward with the kni[e [rom the working surface, it handled safely, the bottom and incorporated into can be cut loose with a twisted seam is smoothed with the the walls. wire. fingers.

22 Ceramics Monthly Mary Sharp by POLLY ROTHENBERG

2

Mary Sharp packs and ships her finely-crafted enamels to shops .... ~: throughout the country......

WHEN MARY SHARP FIRST SAW the glowing qualities and improvement in creative work, she does not consider and colors of enamels, she the appeal of a medium it to be a secondary activity. which could combine with the flexibility and beauty A frequent attribute of artists of talent and stature of metals to achieve unique and vibrant color interac- is their continual need to give something of themselves in tions. With typical direct thoroughness, she left her suc- service to others. This service becomes a well-spring which cessful business career in the field of graphic arts and regenerates its own idealism, drive, and ability to cre- began preparing herself for a career as an enamel crafts- ate. Besides teaching classes in her own studio, one of man. Mary Sharp's missions is her teaching work with the Mary studied first in the wherever Parks and Recreation Department of Los Angeles. Al- she could find expert instruction. Then she went to though she teaches enameling to both adults and children Europe to the great classical enameling centers and in beginning and advanced classes, it is the work with studied art and enameling processes in , Germany, children that is of special interest to her. Their imagina- and Britain. She researched and worked with each clas- tion and color sense, and the determination of each child sical technique such as cloisonn6, champlev6, grisaille, to do his "thing" is a source of continual delight. Mary' and portraiture, conquering each one individually before encourages these students to display their work on Sun- progressing to the next. It was only after years of study days at the "Art Mart," which is a kind of street area or and work that she felt competent and properly prepared fair where work in all media is shown and sold. The fair to call herself a teacher and to accept her first students. is popular and sales are good. Mary Sharp started with one kiln in a modest studio Commissioned work by Ma R , Sharp appears in housed in an old sail loft in Los Angeles. The growth of churches, public and private institutions, and private col- her studio classes and the public acceptance of her own lections. Her enameled bowls, trays, boxes, and panels fine enamels required constant expansion of her quarters are sold in fine stores throughout the country. A fond- to the present 11,000 square feet which house 5 kilns, a ness for abstract realism is evident in many of her pieces. compressor for spraying liquid flux, buffing wheels, work and these are executed with artistic sophistication areas, classroom tables, and storage cupboards. NIary and fine craftsmanship. Some of her designs are intricate maintains diversification in her enameling activities. She and refined; others are open and free in movement. believes that giving professional quality instruction to her A self-supporting and successful art-enamel business students and producing individual commission pieces as requires a combination of many abilities in the craftsman- well as straight line items to maintain and support the owner. Talent alone is not enough. Mary Sharp's skill studio, are all interrelated activities; each draws from, and understanding of her medium, her keen business and yet sustains the whole structure of her work. The acumen, that nebulous but important intangible called production of enameled pieces, she believes, encourages "sense of timing," the ability to feel the pulse of public and updates better teaching methods. To be continually taste, and her warmth toward people combine with a renewed through the urgency of producing and competing special talent to give "Mary Sharp Enamels" the position in the field widens her own horizons and those of her of high esteem they enjoy with both craftsmen and col- students. Since she feels that teaching stimulates research lectors.

November 1969 23 Mary Sharp demonstrates Cloisonne Techniques by POLLY ROTHENBERG

DURINO ANY BAY OF THE WEEK, Mary Sharp's studio- dried and the panel is fired at 1475°F, just until the workshop is a busy center for class activity or the serious enamel is shiny. It is removed from the kiln and cooled. production of finely-wrought enamels. The visitor is at The cloisons may require a second filling to achieve the once impressed by the highly professional nature of this desired effect. operation. On these pages Mary Sharp demonstrates The next step is to stone wires and enamel under two of her special cloisonn~ techniques for CERAMICS water until all are level. This may be done under running MONTHLY readers. water (preferably), or it can be done in a deep pan The box lid panel is a cloisonn~ design on silver- filled with water, if the water is changed frequently to coated textured steel. The silver plating on the panel's remove grindings so they are not ground back into the surface and edges must not be filed or stoned because enamel. Mary finds a fine grit carborundum "ax stone" the thin silver coating would be scratched or even re- works easily and beautifully on her cloisonn~ pieces. moved. Mary gives both sides of the cleaned panel two When wires and enamel have been stoned smooth, coats of special "flux-for-silver-coated-steel" and fires the surface is thoroughly washed and scrubbed quite clean these. Because the top surface of the metal is textured, of all traces of grindings. The panel is dried and retired two coats of the fired flux will give good adhesion to quickly at 1475 ° just to restore gloss. Mary suggests a the cloisonn~ wires. For the design area, a rectangular change for cloisonn~ enamels is occasionally to leave plastic template marks off the space for the cloisons. The them with the matt finish by omitting the final gloss template is securely taped down to hold it in place. firing. She believes that in certain instances they have an Mary forms the cloisons by winding clean, flat, Old World charm of their own. fine-silver cloisonn~ wire around the slender tapered handle of a small watercolor brush to form a silver coil "spring." She carefully slides the spring off the handle, MANY OF MARY SHARP'S metal shapes have been de- then uses small sharp scissors to cut through the entire signed by her and are custom spun or stamped to her length of the silver spring in one straight line to form specifications. The second cloisonnfi project demonstrates tiny rings. Each silver circlet is gently closed with tweezers. a simple method for creating a one-color cloisonn6 design. To fill in the open space in the rectangular template It makes use of one of Mary's specially designed trays with the small silver circles, Mary drops a number of which has a preformed champlev6 rim. (Photos for this them into the space and shakes the panel gently to level technique continue on page 26.) them; then she adds more circles individually to com- Black opaque enamel is dusted over the gum-sprayed pletely fill the area defined by the template. She sprays clean top surface of the counter-enameled copper tray. the positioned cloisons with gum and lets the panel dry. The champlevfi rim is wiped free of enamel and then The taped template is removed and the panel is fired the piece is dried and fired. When it has cooled, firescale quickly at 1475°F, just long enough to adhere the silver is cleaned from the edge and rim. A design is formed on circles, but not long enough to allow them to sink into the black enameled surface with fine silver cloisonnfi the base flux coat. wires dipped in gum. The tray is dried and fired at The panel is removed from the kiln and cooled. 1475°F just until wires are adhered. Rim and edge are With a spatula or small brush, the cloisons are filled to again cleaned of firescale. tile height of the wires with moist transparent enamels Gum is sprayed over the surface and more black that have been washed in distilled water. Regular tap enamel is filled to the height of the fused wires. The water might contain minerals or chemicals which could copper rim is wiped free of enamel and the piece is dried contaminate the enamels and possibly impair the colors. and fired. When the piece has been taken from the kiln To wash enamel, a moderate amount of a color is put into and cooled, it will be noticed that some of the wires are a small glass jar, then water is poured into the jar and covered with fired enamel and concealed. This enamel is stirred. When it has settled for about ten seconds, the removed from the tops of the wires by stoning the piece cloudy water is poured off. This is repeated several times under water until wires and enamel are level and smooth. to clear the water. The moist enamel may be used at The piece is given a final quick firing at 1475°F to re- once or it can be dried and stored for future use. store gloss, and all copper of the rim and edge is cleaned When all cloisons are filled, the enamel is thoroughly of firescale and then polished. 24 Ceramics Monthly Above: A rectangular plastic template is ~.~.~ positioned over a silver-coated steel panel.

Silver circlets are positioned within the template, which is securely positioned with plastic tape.

Right: Alter the cloisons are adhered by they are [using them to a [lux base coat, 7 1 [illed with enamels.

Below: Completed panel is stoned under water in order to level the wires and enamel. iiill i~i :ii ~

The completed cloisonne panel is set into box lid to complete the project.

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November 1969 25 I. Mar), Sharp uses a large sifter to dust enamel 2. The tray's rim is wiped free ,,f e,a,zcl. Whe, over the gummed sur/ace o/ the tray. the' piece 1~ dry. it i¢ fired.

3. CloisomA wires arc dipped in gum, the. 4. Black enamel is .~ij:, d ,,;, ~.I] :,, :/~, i' ~'~'l o/ placed in a design on the [ired enamel surIace. the wires; the tray is now ready/or/iring. • ~@ I

5. Wires and enamel arc stoned under water until 6. Finished cloisonn~ tlay ~,, :d~,l~ , /t~, ~"I all are o[ the same level. quick [iring to restore the gloss.

26 Ceramics Monthly Ceramic Drinking Horns by GEORGE HAGEMAN

Drinking horns by the author were decorated by incising, carving, modeling, and slip painting.

INGENIOUS CREATURE THAT HE IS, man has used animal for drinking horns, but the horn shape was copied in horns for holding such diverse objects as gunpowder, other materials that included sih,er, gold, copper, bronze, snuff, matches, and spoons. In addition, he has utilized ivory, wood, shell, glass, and clay. Sometimes the material them for drinking horns, hunting horns, and musical used--and combinations of materials--indicated a per- instruments. Of these, the drinking horn seems the most son's rank or status. interesting object. Size of the drinking horns varied, dictated in many Drinking horns have been popular with man until cases by the material used. Some horns were just a few fairly recent times. Horned animals were plentiful in inches long; others were over three feet in length. It is many areas, and the horns provided natural forms for interesting to note the ingenuity with which different ready-made drinking and storage vessels. In addition, the craftsmen met the problem of supporting the horn shape. symbolism associated with horned animals was important, Sometimes these were suspended from a hook or sling on for man believed that the strength and power of such the wall; sometimes they were made with attached an animal would be transferred to him and thus provide "feet." Some were supported on animal-form bases, and a potent ally in warfare and in the fight for survival. some were even equipped with wheels. Many myths and rituals were centered around the Rich, varied forms were given to drinking horns by drinking horn but, unfortunately, many of these have ancients in the Middle East. Animal forms such as winged not survived. Early Scandinavian and Middle East cul- lions, griffins, and ibexes appeared as bases for the horn is tures seem to have spawned the most of those, and it and these rhytons, as they were called, were made from here that most of the horn remnants have been found. precious metals as well as from clav. Important tribal days, weddings, and funerals were oc- The earliest clay drinking horn that I have been casions for using the drinking horns. During the winter, able to find a record of was from Teleilat, Jordan, and for the Vikings indulged in drinking bouts that lasted this was made about 3400 B.C. Other notable early several days. And upon the return of the men from late examples are the Nysa ivory rhytons (second centur i, spring and summer looting raids, the Viking women's B.C.), Parthian art; the Golden Horns of Gallehus full. most important task was to keep the drinking horns (400-500 A.D.), Denmark; and the Pusey Horn (eleventh in both For some unknown reason, it was the custom century A.D.), England. Though drinking horns have drink- Viking and Middle East cultures to bury pairs of not played a part in man's recent history, it is very likely ing horns with the dead. that they were the predecessors of our long glasses, mul- There were many interesting customs associated with lers, beakers, and tumblers. the horn other than as a drinking vessel. In some ancient Both slab forming and wheel throwing can be used Middle East cultures the drinking horn was presented to quite successfully to make ceramic drinking horns. a conqueror as a token of submission. In Sumeria, the For the first technique, a paper cone is prepared to in- number of horns in the miters of deities and kings act as a pattern and as a core. Then a slab of clay is dicated their relative status. In eleventh century England, rolled out, to a size large enough to encircle the cone horns were used as actual charters by which landed and a thickness great enough to withstand slumping and property was conveyed from one person to another. This cracking when the core is removed. The clay is formed was the equivalent of our legal documents. around the paper cone and the edges overlapped or Horn itself was the primary and most-used material butted to close the side. The small end is securely closed November 1969 27 l. A slab is rolled out to prov'ide the 2. A thrown horn zs startea oy arau'mg up shape needed to handbuild a horn. a cylinder on the potter's wheel. 3. The cylinder is then collared at the top 4. A rib may be used on the outside to to makc a closed cone shape. refine the profile. also. excess clay The core is removed from the large open end while can be trimmed off at the lip end of the horn, the clay and finishing is still semi-soft, so that it may be bent to the can be accomplished by the use of the desired'horn fingers and shape. When the shape has stiffened a bit a damp sponge. Of course, the lip can be more, but thrown separately before it is leather hard, the open rim is and luted onto the main form, if this finished. At this stage, too, any extra clay for decorative technique is of any advantage to the potter. One or utilitarian purposes may be added. last suggestion I would like to offer is that this is a good Wheel-thrown horns are of course thrown inverted project for "throwing off the lump," if the --a potter cone shape with the base cut from the wheelhead at wants to make several of these drinking horns. He the end will find of the forming process. Any decorative deforming that by making a series of these shapes, a of the rhythm and closed end can be done quite easily as soon as the consistency will develop that cannot help throwing but add is completed. When the clay has stiffened, any to the character of the work. 28 Ceramics Monthly Raku Glazes by RICHARD BEHRENS

RAKU, which originated in Japan matures at Cone 016, may be pre- GREENS during the 16th century, has become pared from the following: Add: 4.0% Copper Carbonate an important creative technique of CONE 016 GLAZE 2.0% Green Chromium Oxide art potter. the American Frit P 25 (Pemco) ...... 43.6% 2.5% Red Iron Oxide + in his "A Potter's Bernard Leach Frit 3134 (Ferro) ...... 26.3 1.0% Green Chromium raku in all of Book" has discussed Lithium Carbonate ...... 9.9 Oxide aspects. its aesthetic and technological China Clay ...... 6.2 0.5% Cobalt Carbonate + indicates that the His formulary Flint ...... 14.0 1.0% Green Chromium original raku glazes were largely based 100.0% Oxide on a high lead content. Leach and 0.7% Nickel Oxide + 1.0% others have suggested the use of alka- This glaze will not liberate lead Chromium Oxide line borate minerals or borate frits as vapors and it may serve as a raku 3.0% Copper Carbonate + additions to such glazes. These form glaze on the pot without subsequent 1.0% Green Chromium the main flux in the glaze. reduction. When the firing is carried Oxide In addition to changes in the to temperatures above Cone 016 in original raku glaze composition, some reduction, the tendency for forma- BLUE other modifications to the raku pro- tion of copper luster is increased. This Add: 1.0% Cobalt Carbonate cedure are commonly employed. A appears in small areas, along with 2.0% Copper Carbonate + supplementary reduction is often copper reds. As the glaze liquefies 0.5% Cobalt Carbonate carried on by introducing the hot- under increasing temperature, larger 1.0% Cobalt Carbonate + glazed pot into a bed of carbonaceous areas are involved in the copper re- 3.0% Titanium Oxide combustible material, such as dried duction. The results are most often 3.0% Copper Carbonate + leaves, grasses, needles, grain hulls, or very pleasing and the various com- 1.0% Yellow Vanadium sawdust. The hot pot causes destruc- binations of copper reds and luster Stain tive changes in the combustible against a background of other glaze 3.0% Copper Carbonate + material, during which much smoke colorants permit of considerable vari- 4.0% Tin Oxide and reducing gases are released in im- ation of effects. mediate contact with the pot or its Of some 75 color combinations RED ROSE glaze. The smoke, carrying micro- used, the following were very pleas- Add: 1.0% Gold Chloride + 1 gm scopic particles of black carbon, finds ing: Soda Ash its way into the pores of the pot body LUSTERS and deposits in the body and on its YELLOWS AND ORANGE SILVER a stable black pigment. Add: 2.0% Silver Nitrate + 1 gm surface Add : 7.5% Praseodymium Yellow in the When metals are present Stain Soda Ash which change color in 2.0% Silver Nitrate + 1 gm glaze, metals 3.0% Naples Yellow Stain the carbon monoxide Ash + 1.0% kiln reduction, 7.5% Uranium Oxide Soda about the pot may act as a reducing Green Chrome Oxide agent. Copper may be expected to 2.0% Silver Nitrate + 1 gm produce reds and iron may give green Soda Ash + 1.0% Co- to black. When the pot is at fairly balt Carbonate elevated temperatures, copper may produce a luster, usually in limited Note: Silver and gold will stain the areas. Silver, when present, forms a skin when in their soluble form. Stains luster. are not dangerous but require some When the pot is removed from time to remove. Hands should be pro- the sawdust, it may be cooled in the tected when these compounds are air or plunged into cold water. The present in the glaze. rapid cooling in water may cause the All colorant combinations contain- formation of interesting crackle ef- This small test pot by the author has ing copper will develop reds and fects, and they are usually outlined silver glaze, sawdust reduced. Areas luster at optimum temperatures. The with carbon deposits. and flecks o[ silver luster can be seen other colorants present form a back- A stable leadless glaze, one which on the sur[ace. ground hue.

November 1969 29 he el

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The newest title in a series of quality Handbooks on Ceramics All material for POTTER'S WHEEL PROJECTS has been selected COPPER ENAMELING by Jo Rebert and Jean O'Hara from feature articles which appeared originally Recognized as the best in basic instruction, this elaborate handbook in CERAMICS has over 200 photographs. Invaluable MONTHLY magazine. The to teachers and student alike. projects selected have been ar- 64 pages $2.00 ranged in book form to provide step-by-step instruction on a wide variety of special throwing techniques, with each BRUSH DECORATION FOR CERAMICS by Marc Bellaire project demonstrated by an accomplished craftsman. A fascinating book with easy-to-follow instruction on the use and care of brushes. Excellent for beginners. 64 pages $3.00 Bells, bird houses and feeders, musical instruments, tea- pots, and animals are just a few of the items you'll find rE--~-E~'~l Order any of these handbooks today on a presented in this useful text. Every project is generously ~ ~ money-back guarantee. We pay postage. illustrated and carefully described. Only $2 per copy, I- postpaid. CERAMICS MONTHLY BOOK DEPARTMENT CHECK THESE OTHER GREAT HANOBOOK BARGAINS: ~ Box 4548, Columbus, Ohio 43212 Please send DECORATING POTTERYWITH CLAY,SLIP & GLAZE by F. Carlton Ball r~ me the following: The techniques for decorating pottery presented in this handbook [] POTTER'S WHEEL PROJECTS @ $2 are intended for use by those potters, either beginning or advanced, [] DECORATING POTTERY @ $3 who want to explore the possibilities of surface enrichment but lack [] POTTER'S WHEEL @ $4 skill or confidence in drawing and painting. 64 pages $3.00 [] CERAMIC PROJECTS @ $2 [] UNDERGLAZE DECORATION @ $3 THROWING ON THE POTTER'S WHEEL bY Thomas Sellers i~ [] COPPER ENAMELING @ Here's a complete manual $2 on how to use the potter's wheel. Covers J ~ ~n [] BRUSH DECORATION @ $3 all basic steps from wedging clay to making specific shapes. 80 pages $4.00 Name CERAMIC PROJECTS edited by Thomas Sellers Outstanding group of projects for the classroom, home and studio. Address Fountains, planters, jewelry, bottles, and bowls are included, rt~3] 64 pages $2.00 City_ _State .... Zip__-- UNDERGLAZE DECORATION by Marc Bellaire I enclose [] Check [] Money Order This complete handbook has all the answers on materials, tools and (Ohio Residents add 4% sales tax.) technique. Step-by-step projects are profusely illustrated. Dealer Inquiries Invited 64 pages $3.00 !t-.--N

30 Ceramics Monthly Poets, Prophets, and Potters

by DARLENE RUTItERDORD

FROM THE EARLIEST "vVRITTEN RECORDS After a momentary silence spake Ye weeping friends let me advise, the art of the potter has inspired great Some Vessel of a more ungainly Abate your tears and dry your eyes, men to remark on the similarity of the make; For what avails a flood of tears, all of potter's craft to the craft of living. 'They sneer at me for leaning Who knows but in a course awry; years Next time you sit down in front of What! did the Hand then of the In some tall pitcher or brown pan the wheel, look closely at what you Potter shake?'5 She in her shop may be again? are doing. Just making a vase, you When we center clay on the wheel, say? A bowl, nothing more? Creating What of our accidents, our flaws we are performing a symbolic action: in clay, perhaps? Perhaps we are un- and breaks? Shall the Potter mend we are becoming a Creator, and we derestimating ourselves. them? Out of the Kasidah, translated are creating an Entity. Compare this What we do to that lifeless mound by Sir Richard Burton, this analogy line by John Dryden, "This is the of clay is of great importance. In our was drawn to bowls and men: porcelain clay of human kind, and hands is the ability to make ceramic The shattered bowl shall know therefore cast into these noble work of the very highest character. repair; the moulds, ''6 with Nathanie! Hawthorn's Far back in time the Biblical riven lute shall sound once are earthen jugs with prophet Isaiah said, "Shall the clay "Mankind more ; in them. ''7 say to him that fashioneth it, 'What spirits But who shall mend the clay of makest thou?' -1 So, as the bowl grows under your man, the man restore? 12 And what indeed are we making? hands and the spin of the wheel be- stolen breath to a Does creation strike the clay, or does comes hypnotic, "All this of Pot and If Omar Khayyam found only unhappy it strike the potter? Out of the New Potter--Tell me then, Who is the dry sound of despair and wheel, Testament we hear the same question, Potter, pray, and who the Pot? ''8 certainity in the whirl of the America, "Hath not the potter power over the If we are clay, and fashioned by a hundreds of years later, in time- clay, of the same lump to make one Divine Potter, and thrown on an Longfellow had a vision of the he said, vessel into honour, and another into eternal Wheel, is our purpose and less order of things when some dishonour?"2 fate the same as the vessels we make? "For some must follow, and made of In Rome of the first century B.C., James B. Kenyon, in The Potter's command, Though all are clay!"l~ Horace, bending over his Ars Poetica, Clay, remarks: as be- wondered, "A vase is begun; why, Upon the potter's flying wheel the The timeless art of ceramics the wheel goes round, does it turn clay comes a philosophy as well; an actual out a pitcher? ''3 Knows not the purpose of its lesson of the role we play on earth, a These men were not just talking plasmic day: very poignant reminder of the rise about the potter's craft. They were So we upon tile blindly-whirling and fall of Man and his Civilizations. also referring to life as they saw it, sphere We are practicing a symbolic craft, to ends which do not so all of these quotations take Are shaped one which moved poets and prophets and yet appear. 9 on new meaning. to draw analogies of the whirling And our friend Omar Khayyam adds: We know that every time we start potter's wheel to the whirling wheel not in with a lump of clay we can make Said one of them--'Surely of Life. We are more than just work- vain something of great worth, or we can ers of clay to people who can see of the common Earth forget what we know and My substance beyond surface appearances: "Time's momentarily was taken tossed wheel runs back or stops: Potter and turn out something that is best moulded, to be And to this Figure clay endure. 'q4 back on the wedging table. Omar broke, refer- Khayyam, from his numerous Or trampled back to shapeless ences to potters, must have watched Earth again. '10 Bibliography: 1. Old Testament; Isaiah, them intently: And Shakespeare says, "What hope, 14,9. 2. New Testament; Romans, 9, 21. For I remember stopping by the what stay, when this was now a king, 3. Horace, Ars Poetica, 1, 21. 4. Omar way and now is clay?"n Khayyam, Rubaiyat, Stanza 37. 5. Omar John a Potter thumbing his Khayyam, Rubaiyat, Stanza 86. 6. To watch From a church yard in Chester, 1, scene 1. wet Clay; Dryden, Don Sebastian, Act England comes an epitaph that must American Note- its all-obliterated Tongue 7. Nathaniel Hawthorne, And with have special appeal for potters: Books, 1842. 8. Omar Khayyam, Rubaiyat, It murmured -- 'Gently, Brother, B. Kenyon, The Pot- this stone lies Catherine Stanza 87. 9. James gently, pray!'4 Beneath 10. Omar Khayyam, Rubaiyat, Gray, ter's Clay. He noted the good potter and the Stanza 84. 11. William Shakespeare, Changed to a lifeless lump of Clay. Burton, The good bowl, and the failures that Richard II. 12. Sir Richard By earth and clay she got her pelf, Pt. 9, Stanza 40. 13. Henry W. our craft and in our- Kasidah, plague us in And now she's turned to earth Longfellow, Keramos. 14. Robert Brown- selves : herself. ing, Rabbi Ben Ezra, Stanza 14.

November 1969 31 CERAMACTIVITIES people, places and things

STUDENT DESIGN CONTEST was continued by his son, N.A. White, NEW YORK FAIR WINNERS ANNOUNCED The Pfaltzgraff Co., manufacturer of and later by his grandson, C.N. White. Prizes in the Crafts Competition spon- stoneware table serving pieces and gift During its 72 years of operation, the firm sored by the New York State Fair included items, is sponsoring a Student Stoneware produced a variety of products. Although work in both handbuilt and wheelthrown Design Competition, the purpose of which decorated jugs and crocks were their ceramics. First and second awards in the is to encourage student activity in the most important product, the White family handbuilding category went to Stephen development of new design directions and also specialized in unique bird and flower Kemeny[[y, West Seneca. Third place went original concepts of stoneware products. decorations done in a brilliant blue color- to Carl Shanahan, Geneseo. Arthur Sen- Entrants will be asked to design five ing which they manufactured themselves. nett, Potsdam, was awarded honorable related stoneware tableware shapes, which In the 1880s the firm began making more mention. Marvin Bjurlin, Fredonia, was the would be submitted in drawing form. elaborate molded wares. They employed a top winner in the wheelthrown class. Judging will be based on aesthetic quali- German artist, Hugo Billhardt, who design- Second place went to Cli[[ord Gilbert, ties, functional qualities, and originality. ed molds for mugs, steins, pitchers, and Adams Center; third went to Mrs. Janet Names of judges will be announced later. other special items. Pictured is one of the Matthews, Syracuse; and honorable men- Five cash awards (with the First Place salt-glaze pieces made in 1886. tion to Nancy S. May, Ithaca. winner receiving $500.00) and five Awards in the Home Crafts division, CERAMICS, SCULPTURE Honorable Mention Certificates will be ON VIEW ceramics class, went to Elizabeth Work in pottery, MacRae, presented to winning entrants. Deadline ceramic sculpture and Syracuse; Ella lsham, Jamesville; prints by Darvin and for submitting designs is December 8. Luginbuhl is being shown Katharine ]arvis, Jamesville. Complete entry information and competi- ,at Gallery One, Findlay, Ohio. November tion rules can be obtained from The COLORADO OWN-YOUR-OWN Pfaltzgraff Co., P.O. Box 1069, York, Southern Colorado Pennsylvania 17405 (Attention: Design State College and Competition). the Pueblo Service League are presenting the ninth annual "Own-Your-Own" exhibi- tion and sale, featuring work in WHITE'S UTICA POTTERY ceramics, textiles, painting, and sculpture by resi- White's Utica Pottery, an exhibition of dents of Colorado, Wyoming, Montana, stoneware manufactured from 1834 to and New Mexico. The show opens Novem- 1906, opens November 9 in Fountain Elms ber 9 at the College Center and continues at Munson - Williams- Proctor Institute, through November 16. The exhibition is Utica, New York. The exhibition will con- sponsored by the Arkansas Valley Bank; tinue through February 8, 1970. jurors are Tom Benton, Aspen, and Joseph Tracing the regional history of pottery M. Stuart, Salt Lake City. Chairmen for in the last century, the exhibition includes the sale are Suzanne Anton and Ed Sajbel. examples of various types of ware dated 2 through Decelnber crocks, a Masonic punch bowl, an unusual 5. The artist, As- sociate Professor tobacco jar, and an umbrella stand. of Art at Blullton College SUMMER RAKU PARTY since 1958, completed many of these "White's Utica," a familiar mark to col- pieces The Lowell (Moss.) Girls Club, in last year during his its lectors of stoneware in the New York post-graduate study summer program at Lake and at the University Massapaug, pre- o] Montana at Missoula. sented a project in Mr. Luginbuhl raku for its ceramic had a raku piece included class. Along with learning in the 25th Ceramic National Exhibition about the his- tory and traditions of raku, the girls made at Syracuse; his work also was included pinch pots, coated them with their in the 1969 Ohio Sculpture own and Ceramic glazes, and fired them in an enameling Show at Youngstown. Pictured is an eight- kiln. After this they plunged the red-hot inch wheel-thrown raku pot A by the artist, p~ts in c,,ld ~:~tcr Finally. the girls ended one of the pieces included in the Findlay show.

GALLERY FOR GLASS COLLECTION The world-famous glass collection of the Toledo Museum o[ Art, considered to be the finest such collection in the United States, will be placed in a new $500,000 gallery, it was announced by Museum Di- rector Otto Wittmann. Completion date is set for early 1970. The two-story fa- cility, which will be called "Glass Through The Ages," will present the history of glass from ancient Egypt through the 20th century. It will be located in a space adjacent to the Museum's Classic Court in the East Wing. The floors, which will the project by having a tea party, Japanese surround an open court in the center of style. Emily Tickell, executive director of New England area, originated with Noah the gallery, will be connected by a ramp. the club, reports, "We have an active White in 1834. Assuming ownership of a The 5,000-piece collection of glass will be ceramic class here at the Girls Club. For pottery established by S.H. Addington, chronologically arranged in wall cases of our raku party, we used glazes published White and his two sons began to produce varying sizes, carefully illuminated in the in CERAMICS MONTHLY." Class members salt-glazed stoneware crocks and jugs. most modern manner to present the are pictured at their raku party (Lowell After Noah's death in 1865, the business translucent quality of the glass. "Sun" Stall Photo).

32 Ceramics Monthly MICHIGAN CRAFTS SHOW The 21st Exhibition /or Michigan Artist-Cra/tsmen will be held at the Detroit Institute o/ Arts from November 19- De- KILNS cember 28 and feature work in ceramics, ALPINE glass, metal, textiles, and other crafts. Preliminary jurying was done from slides and final jurying of the work was done by Paul Smith, director of the Museum o[ Contemporary Cra[ts. Samuel Wagsta[[, )ne 14 curator of contemporary art at the In- stitute, explained that the two-phase system was adopted because of the increas- ing number of entries in the competition and because of limited museum space and personnel to handle and store entries. Gas Kilns, Electric Kilns, Spray Booths, Drying MID-ATLANTIC WINNER Cabinets, Glaze Formulating Tables, Ware Trucks, Gloria Weiss was the blue-ribbon win- Kick or Electric. ALPINE has ner in the professional hand-building Potter's Wheels- classification at the Fifth Annual Mid- the complete line for your ceramic or school Atlantic Ceramic Show, held at Glen studio. WRITE FOR FREE CATALOG NOW! Burnie, Md. in March. Her large sculptural piece, done by the coil method, is pic- CLAYS GLAZES TOOLS GLAZE MATERIALS MINNESOTA CLAY CO 2410 East 38th Street, Minneapolis, Minnesota 55406 ALPINE DEALER for the states of Minnesota, N. and S. Dakota

tured. Jurors in the show were E/nola Hillebrenner, Marcie Firth, and Kaja Melander. According to Ann Gordon. profits from the show were turned over to a non-profit home for children.

INDIANAPOLIS MUSEUM SHOP Craft work by Indiana craftsmen is being exhibited and sold in the Enchanted Owl Cra[t Shop, located in the Indianapolis Museum o[ Art. Started two years ago w mm tVmm mm VVmm mmVV by the Alliance, a women's auxiliary at the Museum, the shop stocks work in all guide to firing available... Orton Cones... is packed major crafts and represents 89 Indiana Now the most reliable Cones craftsmen. The purpose of the shop is to especially for the hobby potter in handy blister packs. 10 small sponsor interest in the crafts and afford the (1Vs") come in self-dispensing plastic blisters. Lets you take cones craftsmen an outlet for sales. Mrs. V.K. as you need them, protects cones from breakage while stored. Stoelting, representing the Alliance, re- Use Orton Small Cones as firing guides and with automatic shut-off ports that the shop is open during Museum hours.

AWARD TO The Horace E. Potter Memorial Award [or Excellence in Cra[tsmanship was awarded to John Paul Miller, Brecksville, Ohio, when the 51st May Show opened Continued on page 34

November 1969 33 MAKING KEMPER CERAMACTIVITIES Continued [rom Page 33 POTTERY at the Cleveland Museum of Art on April 30. The pieces exhibited by Mr. Miller, without a TOOLS gold and enamel brooches, also won the $1000 Award for Crafts. Crafts in the 1969 show were juried by Thomas Gentile, wheel for Sculptors - Potters - Ceramists Olaf Skoog[ors, and Thomas Tibbs. by F. Carlton Ball Quality, Utility and Durability TOLEDO AREA AWARDS and Janice Levees From Rudolf Rie[stahl, Curator of since 1947 at the Toledo (Ohio) Museum o[ Art, comes the following: Used in colleges, unlversities and "I enclose a photograph of some items schools all over the United States. that won awards in the Toledo Area Wood Modeling Tools 6" & 8" • Artists 51st Annual Exhibition. This ex- Wood & Wire End Tools • Double hibition is sponsored by the Toledo Fed- eration o[ Art Societies which is composed Wire End Tools • Texturing Wire of thirteen member clubs and art associa- Brushes • Many others with multiple tions. The Federation elects the jury which uses. Complete line of ceramic hobby selects tile exhibition and awards the tools. Write for complete Kemper Catalog enclosing S0c (coin or stamps) for postage and handling. Please include your Zip Code Number with address.

Kemper Manufacturing Co. P. O. Box 545, Dept. CM-II This comprehensive and richly Chino, California 91710 illustrated book, published by Reinhold, covers every phase of hand-building and decorating clay pieces. No book has ever covered the subject of texture and form The Famous more effectively. prizes. The Federation also makes pur- KLOPFENSTEIN chases from the exhibition each year for The techniques illustrated in the POTTER'S WHEEL its collection of work by Toledo Area book start with simple projects suitable for Write for FREE Information Artists. The jury elected elementary school by the Federa- children and progress to those of H. B. KLOPFENSTEIN & SONS tion for this year's exhibition consisted of considerable difficulty. The em- RFD. ~2 Dept. A Crestline, Ohio 44827 , potter and Professor of Art phasis is on simple, direct ways of at the University of Illinois; Francis Van- working that will encourage the deveer Kughler, painter, New York; and beginner rather than defeat him G. Stuart Hodge, Director, the Flint In- by showing at the outset involved Order Books Now stitute of Arts. These men selected 219 techniques and difficult pieces to works from approximately 750 items en- form. The author, working with for Christmas Giving tered." tools usually found in the home, points The exhibition opened May 18 and out that no special work- shop or studio is required to pro- continued through June 8. Pictured (left duce the beautiful pieces of pot- to right) are works by lack Earl (porce- tery -- a table in a kitchen, COLOURS FOR GLASS lain), (two glass pieces), garage or back porch will do. Onita's Translucent Glass Colours and Harold Hasselschwert (enamel). (Hi-flre~Water Base) Potters at all levels of achieve- Abalone Lustres ~ Hi and Lo Fire Lo-fire Colours for decorating milk qlass, etc. DUCKWORTH-IPSEN EXHIBIT ment will find thi.~ volume in- Send self-addressed, stamped envelope to: Three area artists will be featured in a formative and inspirational. It is combined media Craft Show at The Art a book every teacher should have. ONITA JONES Use the coupon below to order 1937 Maple Ave., Costa Mesa, Calif. 92627 Institute of Chicago from October 30 now. Price: $9.95 per copy. through December 14. To be shown in Gallery 38 are ceramics by Ruth Duck- WE PAY POSTAGE worth, of Chicago; glass by Kent F. lpsen, m R D ~ ~ m . associate professor, School of the Art Institute; and cut paper by Schomer CERAMICS MONTHLY Book Department Box 4548, Columbus, Ohio 43212 You owe it to yourself to get our Lichtner, of Milwaukee. Born in 1919 in Hamburg, Germany, Please send me -- copies of MAKING story before you buy any kiln. Ruth Duckworth studied drawing, paint- POTTERY WITHOUT A WHEEL at $9.95 each. Aim for an AIM Kiln ing and sculpture at the Liverpool School Name of Art in England from 1936-40. She I Address then studied ceramics at Hammersmlth I School of City State Zip__ ~ngusU an ~acTavish's Art and at the Central School of Arts and Crafts in London where she Ohio residents add 40c per copy sales fax. I CERAMIC KILNS taught for five years afterwards. In 1964 I enclose [] Check [] Money Order I she left England to accept the position of Hiway 9 & Brookside SOLD ON OUR USUAL MONEY-BACK I Ben Lomond, Calif. 9S005 Artist in Residence and Instructor in GUARANTEE I Mail Address: P. O. Box 414C Continued on Page 35 )._ -

34 Ceramics Monthly CERAMACTIVITIES CLAYS Continued [rom Page 34 FOR GLAZES Ceramics at the University o[ Chicago and in C has remained there except for a period TOOLS 1967. She now operates a studio on Hal- KILNS sted Street and accepts a limited number L MODELING Schools and institutions write for of students. Her biography includes 13 FREE literature. one-man shows and 8 group exhibitions and her works have been bought by the SCULPTURE Victoria and Albert Museum, the Stejlik Museum, the National Modern Art Museum of Kyoto, Japan, and the Duke OR WHEEL Castle. Her A of Edinburgh for Windsor Art-Crafts Supplies, Inc. major commission, completed in 1968, was USE THE BEST the 400 foot square ceramic mural for the N.E. 67fh St. Miami, Fla. 33138 FOR THE LEAST COST! 235 entrance of the Geophysical Science build- Distributor for: ing at the University of Chicago. An article PARAGON Kilns • DUNCAN, SYMPHONY, on Ruth Duckworth appeared in the y Clays as low firing as and DRAKENFELD CERAMICHROME September 1969 issue of CM. Cone 06, also higher MARX Brushes • JACQUELYN Stains Kent F. Ipsen holds advanced degrees firing clays. from the University o/ Wisconsin. Before coming to the Art Institute, where he is Send for catalog COMPACT-ADJUSTABLE-RIGID-ALL STEEL-SPLASHPAN currently associate professor of the School PORTABLE-HEAVYFLYWHEEt _,. o[ the Art Institute, he taught for four years at all levels in the Wisconsin public p0tfor' whool 109. " schools and for three years at Mankato BYRNE POWEREDVERSION ~149. State College as an instructor in ceramics in lOR miORMMZlON.our THE"QUAGMIRE'w,EELAJtidj~ and glassworking. He has participated some 30 juried and invitational shows ES__TRINMEG. LTD.3651 Pt.GreyVancoave~8 Canada" since 1964 in which he has won 17 CERAMICS awards; and in 10 one-man shows, mostly 1451 Route 46, Ledgewood, N.J. 07852 in Wisconsin, Michigan and Chicago. (201) 584-7492 He is represented by five galleries around

CERAMIC & SCULPTURE SUPPLIES CLAYS • TOOLS • GLAZES RAW MATERIALS KILNS • WHEELS Catalogs $1 (deductible with first $15 order). L ,L KILNS RICHLAND CERAMICS Post Office Box 3416, Columbia, S.C. 29203 • . . the most complete line! The only kilns with patented DYNA-GLOW element holders. Write for information. CM L and L MANUFACTURING CO., Box 348 Please Mention 144 ¢onchester Rd., Twin Oaks, Pa. 19104 when writing our advertisers

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A TTENTION the country and his work is contained in ,. ,to/" the permanent collections of numerous New York Dealers and school galleries. and art centers and many university "l'eachers ! had a showing of his studio! Kent Ipsen recently You are invited to visit glass-blown pieces at the Edward Sherbeyn Ceramic Center Gallery, 2952 North Clark St., in Chicago. Long Island The 12-inch Glass Bottle pictured was one 77 West Merriek Road of the pieces on exhibit at the Sherbeyn Freeport, New York 11520 Mill mix Gallery show. (516) 378-8288 drudgery time ior creative New York's Newest .,7! save Send news, and photos, i[ available, about "People--Places--Things" you think will and Most Complete be o[ ceramic interest. We will be happy Ceramic Hobby Center to consider them [or use in this column.

November 1969 35 Back In Print CATALOG $1.00 Refundable on first order. LETTERS Continued [rom Page 7 Catalog sent free to with clay and Schools and Institutions. I thought our project might be of interest to CM readers. Our third grade social studies book told us how the Indians lived around Lake Reedy, near Frestproof, Florida, hunting and fishing for a living. My recent experi- ences and knowledge of Early Florida Indians made me stop on this sentence and build an enriching unit on this sub- ject. Since not much printed information is available, we really did some digging for information and found out about life of the Indians through our own research. The i 2; results brought us knowledge of pottery shards and something about how important pottery was in the daily lives of thcse Indians. In the back of the classroom I put a display of pottery shards, bones, and NATURE as DESIGNER shells which were uncovered near Indian by Bertel Bager springs and mounds located in Central Florida. Some of these are public parks This unusual and stimulating book pre- where the children have gone to swim, sents a treasured collection of plant unaware before this study that these were life which demonstrates in a unique once Indian grounds. and very effective way the beauty of As a culminating activity for the unit, form in nature. The illustrations are of we made some pottery out of clay dug seed pods, lichens, grasses, mosses and VAN HOWE CERAMIC SUPPLYCO. from a river bank. I keep a good supply 11975 E. 40th, Denver, Colorado 80239 of Florida river clay in my garage at other fascinating items of the woods home, so I hauled it in to school just as and fields that the author has collected it was dug and shoveled into the box. in walks through the countryside. These big chunks were such that one The designs and "collectible" forms of the LOCKERBIEPotter's Wheel could see the strata of sand, pure clay, beauty assembled here will suggest an and minerals. The children worked fever- infinite number of shapes and textures ~ FINESTKICK WHEEL MADE ishly preparing the clay and it was Used by excit- for pottery. All of the photographs colleges, schools ing, because there was a possibility that and studio potters $175.00. selected for use in this volume are of Write for new circular to one might find an arrowhead fragment or some other treasure embedded in the clay! exceptional quality, and those potters Parfex Co. -- 7812 Boulder who Ave., Highland, Calif. 92346 Usually, Florida river clay is unique in share an interest in photography that we have no pebbles or gravel to speak or nature will find this book of special of, which makes it wonderful for classroom interest. Every potter will find an use. astonishing new vocabulary of forms No motivation was needed to get the in this introduction to the obvious in class started on their very own pottery. nature which often escapes our atten- A subscr;ptlon to CERAMICS MONTHLY makes With a few basic skills shown, such as how tion. an ideal gift for any occaslonl Simply fill in the to make a pinch pot and develop further subscription blank in this issue, mark it "gift," with coils, they were on their way. The This superbly illustrated volume was and tell us how you want it signed. We'll an- results were very rewarding. The children originally published in Sweden and has nounce your present with a handsome gift card were pleased ~n your name. with themselves at being able met with great success abroad among to create from a lump of clay taken from If the recipient of your gift is artists, designers and craftsmen (par- already a the subscriber to CERAMICS MONTHLY, we will earth. The mother of one of the chil- ticularly potters}. We are happy to extend the current subscription. dren fired the pieces for us, as we have have this title back in stock andready no kiln at school. Again, the children were for shipment to our readers. full of wonder when they saw their bisque ware. Next, we had "mini-lessons" on This book would make a wonderful glazing, firing temperatures, and some tech- gift for a potter friend. Be sure to treat nical vocabulary. yourself to a copy, too! Price: $14.50 Each child donated money to cover the cost of glazing. Many of the pieces t "MORE fired CERAMICS MONTHLY Book Department ABOUT were glazed with a transparent glaze, be- Box 4548, Columbus. Ohio 43212 cause the raw clay fired to a beautiful Please send me copies of NATURE AS BOTTLES" terra cotta color; other children insisted DESIGNER @ $14.50 on color. Name With tender loving care, each child (a sequel to "All About Bottles") wrapped his or her pottery "made from Address new techniques since 1964 . . . a hunk of earth" and placed it in a box City State Zip__ $3.50 ppd .... Canada add $1 brought in just for this purpose, then wrapped the box carefully in his own Ohio residents add S8c per copy sales tax. KAY KINNEY-CONTOUREDGLASS printed wrapping paper, to be given as a I enclose [] Check [] Money Order 725 Laguna Canyon Road Christmas gift. Marian •. Norris Laguna Beach, Callfornia 92651 We Pay Postage ~ Money-Back Guarantee Maitland, Florida

36 Ceramics Monthly Oscar-Paul ITINERARY PROFESSIONAL from Page 12 Continued POTTER'S WHEEL • Ceramics NEW YORK, NEW PALTZ 28 "Mexican Glass November 29-December • Stained Folk Art," Smithsonian Traveling Ex- University College. • Lamp parts, licjhfers hibition; at State music boxes NE'~V YORK, NEW YORK Art Festival; • Kemper tools November 16-23 New York at the Americana Hotel. • Marx brushes NEW ~rORK, NE'~V ~rORK • Porcelain Flowers through November 8 Ceramics by Paul Soldner; at the Lee Nordness Galleries. Rhinestones, jewels, Glass Sculp- • November 15-December 4 • Variable speed (19-1SS RPM) Sfarlites ture by Lipofsky; at the Nordness Galleries. • Full torque "Satellite Drive" • Jewelry Findings, NEW YORK, NEW YORK porcelain blanks through November 9 "British Artist • Quiet operation circulated by the Smithsonian Craftsmen," we;ght • Crushed glass, marbles Traveling Exhibition Service; at the • Compact size & light of Contemporary Crafts. • Copper enameling Museum • Floor space -- 2 sq. ft. NEW YORK, ROCHESTI~R table tops • Plastics through November 9 York Crafts '69; at • Optional the Memorial Art Gallery. (flat or splash pans) 126 pages of more, more, more! Rush $1 for your copy today. ~'E~,V YORK, SYRACUSE • Smooth & uniform drive Invitational ex- November 6-December 7 write for more of ceramics, enamels, Potters and Dealers . . . hibition and sale ,nformation and prices. jewelry and other crafts organized by the Everson Museum; at the Museum. OSCAR-PAUL CORP. NEW YORK, UTICA 522 W. ]82 St., Gardena, Calif. 90247 November 9-February 8, 1970 "White's CERAMIC EOUIPMENT Utica Pottery," an exhibition of stoneware at Munson-William. WALKER pug mills • LOCKERBIE, made from 1834-1906; OSCAR PAUL and SHIMPO WEST Proctor Institute. ONE-STOP CERAMICSERVICE wheels. potter's NORTH CAROLINA, WINSTON-SALEM Supply FREE brochure on requesf Central New York Ceramic Ceramics, Depf. CM November 7-8 Piedmont Craftsmen Sixth 213-215 Second St. Capital Fair; at the Memorial Coliseum. 2174 S. Main St., Sail Lake City, Ufah 84115 Annual 13088 OHIO, ADA LIVERPOOL, NEW YORK November 19-December 17 The 25th Ceramic National Exhibition; at Ohio Northern University. Please Mention CM OHIO, AKRON when writing our advertisers through November 9 Exhibition of work by three artist-couples includes ceramic sculpture by Steven Kemenyffy; at the Akron Art Institute. Sold only by SILLON OHIO, MAS Authorized ENAMELING SUPPLIES November Ceramics by Tom Sharer; at Dealers FOR THE ENAMELIST] The Massillon Museum. EVERYTHING 1147 E. Elm Decoupage ~ Leaded Glass Calif. 92631 CATALOG $1 (Decoupage Catalog 50c) OKLAHOMA, TULSA W. P. DAWSON, INC. Fullerton. KRAFT KORNER December 2-8 Fourth Exhibition of the 5842 Mayfield Road, Mayland Annex Designer Craftsmen; at the (216) 442-1020 Oklahoma Cleveland, Ohio 44124 Phone Philbrook Art Center. ONTARIO, ST. CATHARINES CERAMIC "Invitation I," circulated by Now November Order Books the Canadian Guild of Potters; at the CLAYS for Christmas Giving Rodman Hall Arts Centre. and ONTARIOj TORONTO GLAZE through November 2 "Craft Dimensions Canada" includes a juried show of con- Royal MATERIALS ANDERSON CERAMICS COMPANY, INC. temporary Canadian crafts; at the Ontario Museum. (See Cover and Page 19S0 S. McDuffie St. 18.) CERAMICSUPP[,, INC. Anderson, South Carolina 29622 'riHity OREGON, PORTLAND ROW Complete Ceramic Supplies of Ceramics by 9016 DIPLOMACY November Exhibition DALLAS, TEXAS 75235 Continued on Page 38 PHONE (214) 631-0540

November 1969 37 Advertisers Index Automatic shut-offs November 1969 AIM Kilns ...... are great but ITINERARY 34 American Art Clay Co ...... 4 Continued from Page 37 let's face it Anderson Ceramics Co ...... 37 Fred sometimes they fail/ and Patricia Bauer; at the Contem- Art-Crafts Supplies, Inc ...... 35 porary Crafts Gallery. B & I Mfg. Co ...... 4 Bergen THE NEW PENNSYLVANIA, PHILADELPHIA Arts & Crafts ...... 37 Brent, Robert, through November 23 " of Potter's Wheels ...... 12 the Southeast," Smithsonian Traveling Ex- Burt, W. D., Mfg. Co ...... 10 hibition; at the Philadelphia Museum of Byrne Ceramics ...... 35 Art. KILN-FUSE* Campbell, Gilmour ...... Cover 3 SOUTtt CAROLINA, CHARLESTON Capital Ceramics ...... 37 IS A FOOLPROOF HEAT FUSE November 1-23 "Craftsmen of the City," Central New York Ceramic Supply .... 37 Smithsonian Traveling THAT PREVENTS COSTLY Exhibition; at the Ceramlchrome ...... 6 Citadel. KILN DESTRUCTION. Craft Students League YWCA ...... 38 Craftool TENNESSEE, MEMPHIS Co ...... Cover 4 Use KILN-FUSE also to back-up your Shut- Creek-Turn November 9-30 "Picasso: Ceramics and ...... 35 Off. Cuts power at kiln's temperature limit. Posters," circulated by American Federa- Cress, J. J ...... KILN-FUSES 7 for all kiln makes and models• tion of Arts; at the Brooks Memorial Art Dawson, W. P ...... 37 All your electric power Gallery. lines have electric Duncan's Ceramic Products ...... 3 fuses to protect against overload; now all VIRGINIA, LYNGHBURO Estrin Mfg. Co ...... 35 kilns can have a "heat fuse" to protect November 13-15 "Central Virginia Craft ?ate-Root-Heath Co ...... 6 against destructive heat "overload". Fair," sponsored by Timbrook, Jr. Woman's Francoise Ceramics ...... 35 Club of Lynchburg; at the Lynehburg PATENT PEND)NG City Care Ceramic Supply Co ...... Armory. 38 Distributorships and Dealerships OPEN. Inquire: Jones, Onita ...... 34 WISCONSIN, MILWAUKEE Kemper Mfg. Co ...... TEPPING STUDIO SUPPLY CO. 34 through November 2 Ceramic Sculpture Kinney, Kay ...... Factory distributor for KILN-FUSE and KILN-KARE 36 3517 Riverside Dr., Dayton, by Edward Schoenberger; at L'Atelier Ohio 45405 Klopfenstein, H. B. & Sons ...... 34 Gallery. Kraft Korner ...... 37 WISCONSIN, WAUSAU L & L Mfg. Co ...... 35 November The Wisconsin Designer Long Island Ceramic Center ...... 35 CRAFT HANDCRAFTED Craftsmen Traveling Show; at the Wiscon- Mayeo Colors ...... 11 STUDENTS GIFTS sin Marathon County Historical Society. Minnesota Clay Co ...... 33 LEAGUE Unique and Reasonable DECEMBER 1.20 Ohio Ceramic Supply ...... STATEMENT OF OWNERSHIP MANAGEMENT 35 YWCA Men.-Fri. 11 a.m.-8 p.m. AND CIRCULATION Sat. 12 noon.4 p.m. (Act of October 23, 1962; Orton Ceramic Foundation ...... 33 640 8th Ave. Section 4369, Title 39, United States Ceramics, Date Code). I. at Slst, N.Y. Sculpture of Filing: October 6 1969. 2. Title of Oscar-Paul Corp ...... (212) 246-3700 Classes Publicaton: Ceramics 37 Monthly. 3. Frequency of Pacifiea issue: Monthly except July and August. 4. Loca- Potter's Wheel ...... 35 tion of known office of publication: 900 E. State St., Athens, Ohio 45701. 5. Location Paragon Industries ...... 9 quarters of the head- or general business offices of the pub- Parfex Co ...... OVER 1900 MOLDS • • • lishers: 4175 N. High St., Columbus, Ohio 43214. 36 Names and addresses in our catalog from the of pub sher, editor and Pottery by Dot ...... Cover 2 managing editor. Pubisher: Professional Publica- fen leading producers. tons, Inc., 4 75 N. High St., Columbus, Ohio. Reward ...... 6 Send $1.00 (FREE to Editor: Thomas Sellers, Columbus, Ohio. Manag- Schools and Institutions.) ing editor: none. 7. Owner (if owned by a cor- Richland Ceramics ...... poraton, its name 35 SEELEY'S and address must be stated Rovin and a so immediately thereunder the names and Ceramics ...... 4 CERAMIC SERVICE, addresses of stockholders INC. ownlncj or holding I Seeley's Ceramic Service percent or more of total amount of stock. If ...... 38 9 River St. owned by not Oneonta, a corporat on the names and addresses Tepping Studio Supply ...... N.Y. 13820 of the indiv due/owners must be given. If 38 by a partnership owned or other unincorporated firm, its Thompson, Thomas C., Co ...... 5 name and address, as well as that of vidual each indi- must be given): Professional Publications Trinity Ceramic Supply ...... 37 Inc 4175 N. High St. Columbus, Ohio 43214. Gare is dressed to kiln Spencer L. Davis, Worthington, Ohio 43085. 8. Unique Kilns ...... 37 Known bondho ders, mortgagees, • . . in stainless steel jackets and a 2-year and other secur- Van Howe Ceramic factory warranty ity holders owning or holding I per cent Supply ...... 36 on electrical components. of total or more Check Gare'a net amount of bonds, mortgages or other se- Walker prices before you make your curities. (If there Jamar Co ...... 35 next kiln purchase and make be none, so state): None. a killing. The average number of copies each issue Westwood preceding during Ceramic Supply ...... 10 Gare Ceramic 2 months are [A) Total number of Supply Co., Inc. copies pr nted: 17,225 (BI) Paid circulation P.O. Box 830, Haverhill, Mass through dealers and carriers, street 01830 counter vendors and m sales 852 [B2 Paid circulation throuc~h Back Issues ma subscriptions: 15,053; (C) Tara paid cir- culation: 5,905; D) Free distribution The carrier by mail, following back issues of Ceramics or other means: 126 • (E) Tote distribu- Monthly tion 6 03 ; F) Office use, 'left-over, unaccount- are still available at sixty cents ed, spoiled after print ng: 94; G) Total: 17,- per copy (Ohio residents pay 4% sales MOVING 225. The number of copies for the single issue SOON? nearest filing date are (A) Total number tax). We pay postage. copies pr nted of 18,250 IBI) Paid clrculation 1960 November, December U.S. through deaers and carriers street Post Offices will no longer forward vendors and 1962 January (9-year magazines, even if .they counter sales 852 B2 PMd circulation through Index issue), February, h.ave your ne~ ma subscriptions: April, May address• Your magazmes WlU De returne 16,088; (C) Total paid circu- to the publisher at a charge lation: 16,940; {DI Free d stribution by mail, 1968 June, October, November of 10c each. carrier or other If you move, please notify us at least ' 4 means: 125; (E) Total distribu- 1969 ffune weeks in advance, giving tion: 17,065; F Off co use left-over unaccount- both new and old ed, spoiled Please send remittance addresses, and send addressed portion of after printing: 1185; [G) Total: (check or money your mailing envelope to Ceramics /donthly, 18 250. order) with list of issues desired. Box 4548, Columbus, Ohio 43212. I certfy that the statements made by me above (Don't forget are to "include your ZIP number on new address.) correct and complete. CERAMICS MONTHLY (Signed) Spencer L. Davis Business Manager Box 4548 Columbus, Ohio 43212

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