DOCSLIB.ORG

20Th, 21St & 22Nd August 2021

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
20Th, 21St & 22Nd August 2021 20th, 21st & 22nd August 2021 Windsor Racecourse, Berkshire, SL4 5JJ Opening Times: Fri & Sat 10:00am - 5:30pm / Sun 10:00am - 5:00pm www.artinclay.co.uk Follow us Proud organisers of Art In Clay t: 01782 271 200 f: 01782 280 008 Email: [email protected] Artists top left to bottom right: Ian Harris, Wendy Lawrence, Web: www.valentineclays.co.uk Peter Beard, Richard Robinson, Rose Dickinson WELCOME TO ART IN CLAY WINDSOR 2021 Our 27th Art in Clay has not only witnessed We are asking all of our visitors this year to CONTENTS its first online show, in 2020, but has help us by judging the People’s Choice now a brand new location at Windsor Award and voting for your favourite Racecourse. (located by main entrance) all you need Welcome ................................. 3 to do is use the onsite QR code that will Talks & Demonstrations ........... 4 Whilst we were sad to leave Hatfield enable you to cast your online vote during House, we feel thrilled to be part of this Friday & Saturday of the show. We then Clay Creation Zone ................ 6 wonderful venue and are grateful to all would like to invite all visitors to join us of Windsor Racecourses support over the on Saturday evening from 5.45pm (Mick Exhibitors .................................. 8 previous months. Casson Food Zone) for our Exhibitor Award Presentation when we will announce the Event Info & Site Map ............. 36 Visitors will get to witness high-end art to winners of the Potters Choice, Mick Casson practical and functional ceramic pieces & Student Awards. We just ask our visitors one last request that are a perfect addition to your home which is to enter our competition or ideal as a collector’s item. Choose from We are again supporting Adopt-A-Potter by providing feedback on your nearly 200 of the Pottery world’s most so please ensure you visit their stand experience at Art in Clay to ensure knowledgeable and experienced potters, (individual marquee 6) and try your luck we can make next year’s event even well-known artists, and up-and-coming out on their ceramic tombola whilst better (pg 6). ceramicists who will be displaying and supporting a great cause. selling their art during the three day show. All that is left to say is a big thank you For additional information and Covid to you our visitor, it’s your support that Listen and watch a great line up of protocol please view pg 36 but if you need makes all of this possible and helps to ceramic artist doing talks & demonstrations help during the show just speak to one of promote the importance of clay to all. (pg 4) including an opportunity to hear the show staff who will be wearing bright from TV’s famed Great Pottery Throw Down blue t-shirts. Hannah Ault judge Keith Brymer-Jones (Saturday 12pm Show Director & 4.30pm) as he discusses his experiences A huge thank you needs to be given to all Art in Clay within the pottery world. Please note these of our helpers, volunteers, staff, sponsors, (Also a Director of sessions are to be booked in advance. and exhibitors. Without their support, time Valentine Clays Ltd & & enthusiasm Art in Clay certainly would LoveClay Ceramics In our Clay Creation Zone (pg 6) you can not be able to take place. Centre) have a go at throwing your very own pot, creating your own ceramic piece of art or experiencing the wonderful world of raku Transport of clays is kindly donated by Browns Distribution Ltd ORGANISED BY glazing. (t: 01782 525300) All information and listings in the show programme are correct at time of the event. 3 TALKS & DEMONSTRATIONS Richard Godfrey Marquee 3:30pm WENDY LAWRENCE Located at the top of the show ground A journey in clay 25 years as a maker and a teacher. A brief talk about my There is always a great demand for the talks and demos, experience as a maker and a demonstration for hand seating is available, but on a first come first served basis. building techniques and carving. FRIDAY, 20TH AUGUST 2021 4:30pm PHILIP HARDAKER Stoke-on-Trent is still the centre of our ceramic 11:00am MATTHEW BLAKELY universe. Still producing the finest clays, colour, kilns and related Dig your own glaze ceramic components. Anything ceramic related is available Matthew Blakely discusses how glazes can be made from your within a six mile radius in our city. This is why I decided to move environment. A broad and beautiful range of colours and here over 40 years ago and set up my studio in this magical textures can be produced using found clays, plant ash place. The history and heritage of ceramic production still and rocks. litter this city. My work responds to this special past as I’ve been digging shards and ceramic detritus from this land and 12:30pm MARIE PRETT-PEARSON incorporating it within my work. My practice has become a celebration of the past - women and men have forged our Mertle the sitting Mule creativity and formed our ceramic heritage and history. Marie will being demonstrating how to handbuild a sitting mule using thrown parts, pinching and modelling. 2:00pm RICHARD BAXTER SATURDAY, 21ST AUGUST 2021 How and why 11:00am DANIEL BOYLE Richard Baxter will do a ‘show and tell’ on making and decorating tips. Usually there area logical reasons for the Salt and ash glazed stoneware way tools are used to make things happen in a particular A demonstration of his throwing and assembling techniques way. accompanied by a talk explaining 30 years of salt and ash glaze development, explaining his unique salt and ash glazed firing methods. 4 TALKS & DEMONSTRATIONS 12:00pm KEITH BRYMER-JONES SUNDAY, 22ND AUGUST 2021 Connection through creativity “I am delighted to be involved in this years Art in Clay. I shall 11:00am ALEX SHIMWELL be on stage on the Saturday talking about Clay, the Universe, and connectivity through Creativity. I will also be throwing a Throwing architecture, and the development of new work few shapes on the wheel. Really looking forward to The basic architecture of throwing and the development of meeting you”. my new work how their made where ideas came from. 1:30pm FELICITY LLOYD-COOMBES 12:30pm NICK MARSH Mixed Media Animal Sculpture My Journey with Clay Felicity will be demonstrating how she makes her animal Nick Marsh will discuss his journey with clay over the decades sculptures using wire, scrim and paper clay. from a 3D Product Design Course to developing his skills whilst working and travelling abroad enabling his own personal direction. 2:30pm ROGER COCKRAM From the land to the Sea 1:30pm JEMMA GOWLAND Describing how my influences started with the land (countryside in Devon) – and gradually rediscovered my Making the Face of Femininity marine science background – and now centre on how I Our 2019 Student Award winner will take you through her throw, alter, decorate and fire the work – reflecting various journey of the development of her current figurative work, aspects of the sea that I observe. eg spiraling, ovalising, using the properties of ceramic materials to help illustrate painting etc to reflect moments and situations, that I notice. meaning. 3:30pm FREYA BRAMBLE-CARTER 2:30pm NEIL BROWNSWORD Beyond Preservation: Re-evaluating Intangible Cultural Creating a vase, my way Heritage in the UK Ceramic Industry I’m excited to share a view into my world of clay, as I take you Neil Brownsword explores through his artistic practice how the through a demonstration to create a vase. This will include global economics and advances in automation technology have some throwing and assembling, sharing tips along the way. radically transformed the landscape of the UK’s ceramic industry in recent decades. This presentation brings to light some important questions and elucidates Brownsword’s projects which re-evaluate intangible cultural heritage within Stoke-on-Trent’s ceramic sector. 5 CLAY CREATION ZONE COMPETITION one WIN of 10 complimentary tickets for 2 Fire your imagination by creating your own ceramic masterpiece in our clay creation area people to next The Clay Creation Zone is a special area found in the centre of the show ground year’s show! in an individual marquee where both children and adults can have a go designing their own creations using clay provided by Valentine Clays and wheels donated by Love Clay and Gladstone Engineering. Simply fill out our visitor survey THROW A POT HAND MAKE RAKU and you will be entered into On a potter’s wheel with guidance from an & BUILD GLAZING a prize draw to win 2 tickets Your very own creation – with Raku Rob from experienced potter. from age 4 years Whitfield Kilns to next year’s show: £3 a go £2 for a ball of clay £10 per item With the Throw A Pot and Hand Building areas although the items won’t be fired www.artinclay.co.uk/survey once dried you can still take them away to put in pride of place in your home. Handmade items are made using air drying clay which can be decorated with acrylic paints and clear varnish. 6 EXHIBITORS Alex Allday Adrian Bates Decorative ceramic wares with Refined and elegant stoneware intricate surface pattern designs ceramics for home and year-round and textures, inspired by the fusion garden display. of traditional patterns and styles, Lucie Rie such as floral motifs, Victorian tiles 01453759830 and ornate architecture. Derek Emms (Newcomer) 07731921250 www.alexallday.co.uk Pat Armstrong Lindy Barletta Mainly thrown, classically shaped An established potter focusing on raku-fired vessels and bowls using all pleasing ceramics for the home, types of Raku glazes.
Load more

Recommended publications
  • Related Voices Hamada: Three Generations
    Related Voices HAMADA: Three Generations PUCKER GALLERY BOSTON Tomoo Hamada Shoji Hamada Bottle Obachi (Large Bowl), 1960-69 Black and kaki glaze with akae decoration Ame glaze with poured decoration 12 x 8 ¼ x 5” 4 ½ x 20 x 20” HT132 H38** Shinsaku Hamada Vase Ji glaze with tetsue and akae decoration Shoji Hamada 9 ¾ x 5 ¼ x 5 ¼” Obachi (Large Bowl), ca. 1950s HS36 Black glaze with trailing decoration 5 ½ x 23 x 23” H40** *Box signed by Shoji Hamada **Box signed by Shinsaku Hamada All works are stoneware. Three Voices “To work with clay is to be in touch with the taproot of life.’’ —Shoji Hamada hen one considers ceramic history in its broadest sense a three-generation family of potters isn’t particularly remarkable. Throughout the world potters have traditionally handed down their skills and knowledge to their offspring thus Wmaintaining a living history that not only provided a family’s continuity and income but also kept the traditions of vernacular pottery-making alive. The long traditions of the peasant or artisan potter are well documented and can be found in almost all civilizations where the generations are to be numbered in the tens or twenties or even higher. In Africa, South America and in Asia, styles and techniques remained almost unaltered for many centuries. In Europe, for example, the earthenware tradition existed from the early Middle Ages to the very beginning of the 20th century. Often carried on by families primarily involved in farming, it blossomed into what we would now call the ‘slipware’ tradition. The Toft family was probably the best known makers of slipware in Staffordshire.
    [Show full text]
  • The Leach Pottery: 100 Years on from St Ives
    The Leach Pottery: 100 years on from St Ives Exhibition handlist Above: Bernard Leach, pilgrim bottle, stoneware, 1950–60s Crafts Study Centre, 2004.77, gift of Stella and Nick Redgrave Introduction The Leach Pottery was established in St Ives, Cornwall in the year 1920. Its founders were Bernard Leach and his fellow potter Shoji Hamada. They had travelled together from Japan (where Leach had been living and working with his wife Muriel and their young family). Leach was sponsored by Frances Horne who had set up the St Ives Handicraft Guild, and she loaned Leach £2,500 as capital to buy land and build a small pottery, as well as a sum of £250 for three years to help with running costs. Leach identified a small strip of land (a cow pasture) at the edge of St Ives by the side of the Stennack stream, and the pottery was constructed using local granite. A tiny room was reserved for Hamada to sleep in, and Hamada himself built a climbing kiln in the oriental style (the first in the west, it was claimed). It was a humble start to one of the great sites of studio pottery. The Leach Pottery celebrates its centenary year in 2020, although the extensive programme of events and exhibitions planned in Britain and Japan has been curtailed by the impact of Covid-19. This exhibition is the tribute of the Crafts Study Centre to the history, legacy and continuing significance of The Leach Pottery, based on the outstanding collections and archives relating firstly to Bernard Leach.
    [Show full text]
  • Of Gallery Marianne Heller
    GALLERY 1978 – 2013 35th ANNIVERSARY OF GALLERY MARIANNE HELLER t is always enthusiastic individuals who make a difference. Walter H. Lokau Marianne Heller is just such an enthusiastic individual who Isets things in motion. As a gallery owner, she has dedicated herself to publicising contemporary international ceramics, and she The tale of someone who has been doing this for 35 years. One thing has remained in all this time: her untiring enthusiasm for contemporary ceramics and her set out to bring the world uncompromising desire to make quality ceramics accessible to the public that are otherwise rare in this part of the world. That is what of ceramics to Germany … has remained, but quite a lot of other things have changed in three and a half decades… chael Casson, David Frith, John Maltby, Svend Bayer and oth- The 1970s – the time of self-fulfilment. A passion for peasant ers debuted here with their pots – the whole business grew in pottery had taken hold of Marianne Heller. Were there no contem- no time. Once a year from 1982, the Festhalle in Sandhausen porary ceramics? She looked around. Inevitably a pottery course became the venue for the English Potters' Seminar: a public followed. But she soon left making ceramics herself well alone. By workshop after the English model, and previously unknown in chance, she got her hands on Bernard Leach's A Potter's Book. It was this kind in Germany, intending to teach techniques and at the a revelation! Leach's doctrine of the wheel-thrown vessel, which was same time to develop taste and judgement.
    [Show full text]
  • The Ceramics of KK Broni, a Ghanaian Protégé of Michael
    Review of Arts and Humanities June 2020, Vol. 9, No. 1, pp. 13-24 ISSN: 2334-2927 (Print), 2334-2935 (Online) Copyright © The Author(s). All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/rah.v9n1a3 URL: https://doi.org/10.15640/rah.v9n1a3 Bridging Worlds in Clay: The Ceramics of K. K. Broni, A Ghanaian protégé of Michael Cardew And Peter Voulkos Kofi Adjei1 Keaton Wynn2 kąrî'kạchä seid’ou1 Abstract Kingsley Kofi Broni was a renowned ceramist with extensive exposure and experience in studio art practice. He was one of the most experienced and influential figures in ceramic studio art in Africa. Broni was trained by the famous Michael Cardew at Abuja, Nigeria, Peter Voulkos in the United States, and David Leach, the son of Bernard Leach, in England. Broni had the experience of meeting Bernard Leach while in England and attended exhibitions of Modern ceramists such as Hans Coper. His extensive education, talent, and hard work, coupled with his diverse cultural exposure, make him one of Africa‘s most accomplished ceramists of the postcolonial era. He is credited with numerous national and international awards. He taught for 28 years in the premiere College of Art in Ghana, at the Kwame Nkrumah University of Science and Technology (KNUST), Kumasi. Broni has had an extensive exhibition record and has a large body of work in his private collection. This study seeks to unearth and document the contribution of the artist Kingsley Kofi Broni and position him within the broader development of ceramic studio art in Ghana, revealing the significance of his work within the history of Modern ceramics internationally.
    [Show full text]
  • 2011 Gallery Catalogue
    A SELLING EXHIBITION OF EARLY TWENTIETH CENTURY SLIPWARES Long Room Gallery Winchcombe 12th to 26th November 2011 JOHN EDGELER & ROGER LITTLE PRESENT A SELLING EXHIBITION OF EARLY TWENTIETH CENTURY SLIPWARES FROM THE WINCHCOMBE AND ST IVES POTTERIES 12th to 26th November 2011, 9.30am to 5.00pm Monday to Saturday (from midday on first day) Long Room Gallery, Queen Anne House, High Street, Winchcombe, Gloucestershire, GL54 5LJ Telephone: 01242 602319 Website: www.cotswoldsliving.co.uk Show terms and conditions Condition: Due to their low fired nature, slipwares are prone to chipping and flaking, and all the pots for sale were originally wood fired in traditional bottle or round kilns, with all the faults and delightful imperfections entailed. We have endeavoured to be as accurate as possible in our descriptions, and comment is made on condition where this is materially more than the normal wear and tear of 80 to 100 years. For the avoidance of any doubt, purchasers are recommended to inspect pots in person. Payment: Payment must be made in full on purchase, and pots will normally be available for collection at the close of the show, in this case on Saturday 26th November 2010. Settlement may be made in cash or by cheque, lthough a clearance period of five working days is required in the latter case. Overseas buyers are recommended to use PayPal as a medium, for the avoidance of credit card charges. Postal delivery: we are unable to provide insured delivery for overseas purchasers, although there are a number of shipping firms that buyers may choose to commission.
    [Show full text]
  • The J. Paul Getty Trust 2009 Report 2 Message from the Chair 4 Foreword 6 the J
    The J. Paul Getty Trust 2009 Report 2 Message from the Chair 4 Foreword 6 The J. Paul Getty Museum Acquisitions Exhibitions Scholars Councils Docents and Volunteers 26 The Getty Research Institute Acquisitions Exhibitions Scholars 38 The Getty Conservation Institute Conservation Projects Scholars 52 The Getty Foundation Grants Awarded 62 Publications 64 Staff 69 Board of Trustees, Officers and Directors 70 Financial Information The J. Paul Getty Trust The J. Paul Getty Trust is an international cultural and philanthropic institution that focuses on the visual arts in all their dimensions, recognizing their capacity to inspire and strengthen humanistic values. The Getty serves both the general public and a wide range of professional communities in Los Angeles and throughout the world. Through the work of the four Getty programs–the Museum, Research Institute, Conservation Institute, and Foundation–the Getty aims to further knowledge and nurture critical seeing through the growth and presentation of its collections and by advancing the understanding and preservation of the world’s artistic heritage. The Getty pursues this mission with the conviction that cultural awareness, creativity, and aesthetic enjoyment are essential to a vital and civil society. Message from the Chair The principal subject of my Trust Report letter last year was the Getty’s then-newly adopted strategic plan. The plan was developed in close collaboration between the board and the Getty’s senior management team. Its key elements are: a renewed focus on what the Getty can do best; enhanced collaboration among the Getty’s four program areas; increased flexibility in the allocation of funds across the Getty’s programs for new strategic initiatives; continued development of the core collections of the Museum and Research Institute; and strengthened leadership in the field of visual arts locally and internationally.
    [Show full text]
  • Bernard Leach
    BERNARD LEACH hsgayg in Appreciofiiom CoiiectedF ané Edited by T. Barrow A Monograph published by the Editorial Committee of the N.Zi Potter Wellington New Zealand 1960 BERNARD LEACH READING — ST.IVES, 1957 CONTENTS Page List of Illustrations Terry Barrow Editorial Preface Bernard Leach An Open Letter to New O\ Zealand Potters The publication of this book was Bernard Leach Looking Backwards and made possible by the generosity of 10 the Hon. W. T. Anderton, Minister Forwards at 72 of Internal Affairs. Financial C. L. Bailey Bernard Leach in Perspective 16 support was also received by small donations and pre—publication Michael Cardew Bernard Leach — Recollections 19 payment of subscriptions. All Ray Chapman—Taylor A Few Lines on Bernard Leach 26 work in connection with the pro— duction of this book has been Kathe rine Pleydell — At St. Ives in the Early Years 29 voluntary, and any profits from Bouverie its sale will be used to subsidize Barry Brickell The Colonial Response to Leach 33 regular issues of the N. Z. Potter Bernard Leach A Note on Japanese Tea 37 or other monographs. Ceremony Wares Len Castle Photographs of the Leach 39 Mr. Wilf Wright has generously Pottery undertaken the task of distributing Murray Fieldhouse Workshop Visit - The Leach 41 the book. Copies may be obtained Pottery for ten shillings each by applying to Mr. Wright at Stockton's Ltd. , George Wingfieldu Bernard Leach — Bridge between Woodward Street, Wellington, N. Z. Digby East and We st Bernard Howell Leach Biographical Chronology 62 c 1960 by the Editorial Committee N. Z.
    [Show full text]
  • Andreas Schmid and Andrew Mcdonagh & Andrea Branzi Grandi
    Martino Gamper 237. I am crazy about perforated blowers. There he produces a this lunchtime collection are by sharpener, pasta server, slotted material, these were just trials time capsule and a crystal ball. great English photographers spoon, strainer stainless steel in ceramic. Levitating inside the melted now mainly forgotten, whom I strainer. 238. I bought these from a workshop glass something happens, happen to love: Fay Godwin’s in Vallauris, a small ceramic it is the ‘NOW!’ of the fake Bison at Chalk Farm and a Daniel Eatock town close to Nice in France. camera click from an instagram school textbook with photos by & 239. Stone bowl from Iran that I snapshot. street photographer Roger bought in a tourist shop in Mayne, including one that was Andrea Branzi Bahrain. The Year Cubes (Vuosikuutiot) used on the cover of the Wall Bookshelf 2011 240. I have bought a lot of bowls in are produced in Finland by iittala. original edition of Absolute different supermarkets in Heat Death (the end of the Beginners. Several are fairly 257. Empty Drinking Glasses, Japan. I am fascinated by the Universe), (…), 2014, 2013, obscure catalogues of famous 2009–ongoing. This unmatched very high quality and crafted 2012, 2010, 2009, 2008, 2007, artists, the brilliant ring-bound set of glasses is united by its feeling they hold as beautifully 2006, 2005, 2003, 2002, 2001, Miró survey and the guide to identity as packaging that once mass-produced items. 2000, 1999, 1997, 1996, 1995, Matisse’s chapel, both of which contained food items, the 241. This was made from the 1994, 1992, 1991, 1990, 1989, appealed on the basis that just collection plays on the appeal punched out pieces that 1988, 1987, 1986, 1985, 1984, propping them on a shelf would of getting something for nothing.
    [Show full text]
  • Title Designing 21St Century Standard Ware: the Cultural Heritage Of
    Title Designing 21st Century Standard Ware: The Cultural Heritage of Leach and the Potential Applications of Digital Technologies Type The sis URL https://ualresearchonline.arts.ac.uk/id/eprint/8755/ Dat e 2 0 1 5 Citation Tyas, Matthew J. (2015) Designing 21st Century Standard Ware: The Cultural Heritage of Leach and the Potential Applications of Digital Technologies. PhD thesis, University of the Arts London and Falmouth University. Cr e a to rs Tyas, Matthew J. Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Designing 21st Century Standard Ware: The Cultural Heritage of Leach and the Potential Applications of Digital Technologies Matthew James Tyas A thesis submitted in partial fulfilment of the requirements of University of the Arts London for the degree of Doctor of Philosophy November 2014 Falmouth University Abstract Abstract This practice-based research investigates the potential applications of digital manufacturing technologies in the design and production of hand-made tableware at the Leach Pottery. The methodology for the research establishes an approach grounded in my previous experience as a maker that is informed by an open, experimental, emergent, and responsive framework based on Naturalistic Inquiry. A critical contextual review describes the cultural heritage of Leach which, for the purposes of the research, is developed through the Leach Pottery as a significant site, the historical production of the iconic Leach Standard Ware and the contemporary production of Leach Tableware.
    [Show full text]
  • Catalogue of the Papers of Bernard Leach
    Catalogue of the Papers and Books of BERNARD LEACH - - - - - - COMPILED BY ALYN GILES JONES, M.A., D.A.A., F.S.A. VOLUME I 1 – 10,803 - - - - - - Crafts Study Centre Bath 1984 - 1985 F O R E W O R D This is the third and final catalogue of the papers of Bernard Leach. However, a number of his letters are in the Muriel Rose archives, also held at the Crafts Study Centre: many of these are in answer to her own letters to him listed in the three Leach catalogues. Other Bernard Leach material may yet emerge, and hopefully any such records will be deposited at the Centre. Mr David Leach made available the first “trance” of these papers, for which the Centre is deeply grateful – as, indeed, it is for the contents of Bernard Leach II, also deposited by him. The second section of this catalogue concerns the papers of the late Mrs Trudi Scott, Bernard Leach’s housekeeper, confidante and indispensable prop during his last years. I had only one telephone conversation with her ever, shortly before she died, during which she promised me an original drawing by Bernard – which I never got! Following her death, I enquired of those close to her about her papers, and can thus claim credit for having saved them. They would otherwise have been thrown away. The collection consists largely of fascinating oddments, single pages of letters, infuriating but captivating jumbles of “membra disiecta”, which have required the repeated re-cataloguing of already catalogued entries, and the constant need to review and revise and rewrite, as fragments came together during the interim and final sortings.
    [Show full text]
  • The Studio Potter Archives
    ARIZONA STATE UNIVERSITY ART MUSEUM CERAMICS RESEARCH CENTER THE STUDIO POTTER ARCHIVES 2015 Contact Information Arizona State University Art Museum Ceramics Research Center P.O. Box 872911 Tempe, AZ 85287-2911 http://asuartmuseum.asu.edu TABLE OF CONTENTS Collection Overview 3 Administrative Information 3 Biographical Note 3 Scope and Content Note 4 Arrangement 5 Series 1: Magazine Issues: Volume 1, No. 1 – Volume 32, No. 2 Volume 1, No. 1 5 Volume 2, Nos. 1-2 6 Volume 3, Nos. 1-2 7 Volume 4, Nos. 1-2 9 Volume 5, Nos. 1-2 11 Volume 6, Nos. 1-2 13 Volume 7, Nos. 1-2 15 Volume 8, Nos. 1-2 17 Volume 9, Nos. 1-2 19 Volume 10, Nos. 1-2 21 Volume 11, Nos. 1-2 23 Volume 12, Nos. 1-2 26 Volume 13, Nos. 1-2 29 Volume 14, Nos. 1-2 32 Volume 15, Nos. 1-2 34 Volume 16, Nos. 1-2 38 Volume 17, Nos. 1-2 40 Volume 18, Nos. 1-2 43 Volume 19, Nos. 1-2 46 Volume 20, Nos. 1-2 49 Volume 21, Nos. 1-2 53 Volume 22, Nos. 1-2 56 Volume 23, Nos. 1-2 58 Volume 24, Nos. 1-2 61 Volume 25, Nos. 1-2 64 Volume 26, Nos. 1-2 67 1 Volume 27, Nos. 1-2 69 Volume 28, Nos. 1-2 72 Volume 29, Nos. 1-2 74 Volume 30, Nos. 1-2 77 Volume 31, Nos. 1-2 81 Volume 32, Nos. 1-2 83 Series 2: Other Publications Studio Potter Network News 84 Studio Potter Book 84 Series 3: Miscellaneous Manuscripts and Images Miscellaneous Manuscripts 85 Miscellaneous Images 86 Series 4: 20th Anniversary Collection 86 Series 5: Administration Daniel Clark Foundation/Studio Potter Foundation 87 Correspondence 88 Miscellaneous Files 88 Series 6: Oversized Items 88 Series 7: Audio Cassettes 89 Series 8: Magazine Issues: Volume 33, No.
    [Show full text]
  • History of the Leach Pottery David Andrew Was Born in 1911 and in This Year Leach and a Japanese Friend Tomimoto Kenkichi Were Invited to a Raku Party
    History of the Leach Pottery David Andrew was born in 1911 and in this year Leach and a Japanese friend Tomimoto Kenkichi were invited to a raku party. He was enthralled by the firing The Leach Pottery is considered by many to be process and wrote, "By this to me a miracle, I was carried the birthplace of British studio pottery. One of the great away to a new world. Enthralled, I was on the spot seized figures of 20th century art, Bernard Leach played a with the desire to take up the craft". This was a pivotal crucial pioneering role in creating an identity for artist time in Leach's life and he decided to follow the path of potters across the world. ceramics. He was recommended and then studied with The restored Leach Pottery site includes a Urano Shigekichi , known by his title of Kenzan VI, two museum, created to celebrate the life, work, influences days a week for two years. and legacy of Bernard Leach. Exhibition, gallery and He learnt throwing, brushwork decoration in shop spaces provide regular shows throughout the year the ancient style and different firing methods. He then showcasing work by leading regional, national and set up a pottery in his garden and started to produce international studio potters. work to exhibit. In 1913 his second son William Michael was born. Leach had successful exhibitions in Early Years 1887 to 1909 1914 and published his first booklet, A Review 1909- 1914. This booklet was issued to accompany the Bernard Howell Leach was born Hong Kong on January exhibition.
    [Show full text]