CDA No. fifty-one September/October 1973 President: The Journal of the Canterbury Society of Arts Secretary-manager: Russell Laidlaw 66 Gloucester Street Telephone 67-261 Exhibitions Officer: Tony Geddes Receptionist- P.O. Box 772 Joanna Mowat Ragistarad at tha Pott Offfc* Kaadquartars. at a magazina. Editor of News Stuart McMillan New members Happenings We welcome to the C.S.A. in the Gallery Mrs Hilary Ruscoe Mrs Gussie Fenton Variety is the spice of life, they say and some recent Mr & Mrs Michael Thomas Mr Richard Dear exhibitions have proved just that. Furniture was the Mr James A. Slater Mrs Myree Fogelberg order of the day when a June exhibition contained some Mrs N. Abbott Miss C. McCormick selected, modern, imported furniture from Christchurch Mrs D. M. McClelland Mr & Mrs Guy Jansen homes. Hardly any need to say how successful this was as Mr & Mrs B. C. Gatehouse Mr S. L Bennington the exhibition enticed more people into the Gallery than we Mrs D. R. Smith Mr B. S. Cooke have seen for some time. So our appreciation goes to Miss Malvina Overy Mrs Linda Arthur all exhibitors who may have spent any time dining off Mrs Ann Willis apple boxes. Mrs R. S. Black A retrospective exhibition by Mr W. S. Baverstock, Prof. Roy P. Kerr past Director of the McDougall Art Gallery, must have Mrs Beryl Mathias brought back some memorable moments for Christchurch Mr & Mrs William Nichol citizens. Mr Baverstock is indeed a very modest man and if Mrs Betty Wood it hadn't been for a suggestion from Mr Laidlaw we wouldn't Mr & Mrs Michael Abrahamson have had the opportunity to admire the skills of Mr Mr & Mrs Douglas Arthur Baverstock's pen. Mr J. Howard Booth Our Graphic & Craft exhibition has been plagued by Mr & Mrs Richard Harman disasters for the second year. Last year invitations didn't The cover was designed by A.P. Geddes, with apologies to Miss Eileen Kernahan arrive on time, this year they did but in a printing error Pieter Brueghel, the elder. Mr & Mrs T. H. Rutherford the dates were mixed, so don't be disheartened Graphic Mrs Gillian Scoggins & Craft fans, it can't happen again although next year Mrs Judith A. Stark we would like much more support from our exhibitors, Mr D. J. Thornley especially our talented potters. Mrs Joan Will THE AUSTRALIAN MALING & CO. POTTERY BOOK 86 GLOUCESTER STREET HERBERTS Even a person who lias never touched a piece of clay will find himself itching to try his hand at the wheel after WINE MERCHANTS OF CASHEL STREET reading this book. A pottery book we commend. 62-779 Famous for footwear in Canterbury Price $4 95 Whitcombe & Tombs Ltd. CHRISTCHURCH

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For those who appreciate the uninhibited emotions of Recent purchases for the C.S.A. Permanent Collection It is with sad regret that we note the death through illness others in "natural habitat", some brilliant photography are, "Surprise Lunchbox" (pencil & photo montage) by of one of our youngest members Philip O'Regan, aged 18. by Ans Westra was the best photographic exhibition we Max McLellan bought from the exhibition of Auckland Philip became a working member of the Society last year have seen for some time. A far cry from Ans Westra's own Painting, "Relief" by Don Peebles, Untitled painting by and has exhibited and sold work in Society exhibitions words.. "I've had all sorts of jobs, even painting the Jeffrey Harris, and "Ben Nevis from Glencoe" (early since then. His one-man show will open on Monday 17th gold lines on cups they sell in Wool worths." painting) by Duncan Darroch. September. Philip began his art training in 1968 and since then has In July, a lively opening and exhibition by Chris Joanna Mowat Grosz & Rex Valentine. Rex's bold and sturdy pots sold worked avidly toward his own exhibition which he did so steadily and at the same time Rex took up residence with up until the time of his death. Philip's ambition was to his wheel even though industry did cease for a few days share his creative feelings and ideas with fellow Society while he dashed up north for a sailing adventure back to members through the work which will be seen in this Christchurch. exhibition. Lunchtime concerts held about every two weeks are well BASHIR BARAKI attended and due to force of circumstances the last concert was held in the North Gallery which proved to be a much more intimate atmosphere and I think most people would agree, without so many acoustic problems. Concerts in the Gallery are a result of time and effort put in by Jocelyn LUNCH-TIME RECITALS Allison in arranging these programmes and our musical 1.10to 2 p.m. OTHER CENTRES: calendar is now booked through to December. 19th September After our previous pleas for a piano, Julian Haselden 10th October Waimate Art Group. Closing 13th September. has come to our rescue and our new aquisition will be 17th October Te Awamutu Festival installed in the Gallery shortly for an indefinite 24th October A.N.Z. Bank Print Competition. Closing 24th September. period.

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W. A. SUTTON - PAINTING ROY & JULIET COWAN October 7-21 October 6-21 ROY COWAN Born Christchurch. Studied at Christchurch Boy's Born Wellington. Trained as teacher and art The demands made by potting and print-making upon time High School and Canterbury College School of Fine Arts; specialist. Worked in teaching and related occupations. and energy, plus domestic survival, leave little time for Diploma 1937; later at the Anglo - French Art Centre, St Became a full-time artist and craftsman in 1959. Has received that hardest-of-all commitment — painting! Thus I paint at John Wood London. awards from Association of N.Z. Art Societies and Q.E.11 irregular intervals, on chosen themes of personal interest At present Senior lecturer and tutor in painting at the Arts Council for study abroad and research in N.Z. only. It is inevitable that any exhibition will reflect School of Fine Arts; member of Mediums include painting, printmaking, pottery & ceramics, many different interests, and a range of mediums. the Visual Arts Advisory Panel Queen Elizabeth 11 Arts and sculpture. Currently engaged in commissioned works for Council of N.Z; Member of the Board of Trustees, National buildings. PHILIP O'REGAN - PAINTINGS Gallery, Museum and War Memorial; sometime Vice President of the C.S.A.; member of The Group. JULIET COWAN (PETER) September 17 - 30 Half a dozen one-man shows in since 1947, Born in Canterbury, to a pioneer farming background. Born in Hawera in '54. From the time I could hold a and taken part in several travelling exhibitions of Attended Canterbury University School of Art (Diploma crayon I enjoyed drawing. Through school years the interest contemporary painting organised by the Auckland City Art in painting 1940). Became staff illustrator to School grew into a longing to paint. During my secondary education Gallery. Represented in travelling exhibitions of N.Z. Publications in Wellington until able to finance trip to at Xavier College, I was fortunate to have Mr Bashir painting to London, Moscow and the Pacific, Expo 70, London in 1951 for study at the Central School. Baraki as my Art teacher. He encouraged me, and the art Tokyo. Introduction to lithography. periods at Xavier together with private tuition from Mr Represented in Art Galleries and private collections Back in N.Z. in 1952, married Roy Cowan and returned Baraki form the tutoring period; this gave me confidence, throughout N.Z. Retrospective exhibition of paintings at with him to London in 1953 for a two year period. Studied and in the past two years I have enjoyed doing what I present touring the country. Many portrait commissions. pottery part-time at the L.C.C. School at Hammersmith. most want to do. I have no message to give, my work is the Mainly interested in the unique and the sky forms in Upon a reluctant return to N.Z. settled in Wellington product of my own imagination, and desire to see it in Canterbury and working out a synthesis of structure and with lithographic equipment and a small electric kiln. The colour and form. I observe the pattern of nature, earth, pattern based upon them. Paints entirely in oils and despises pottery movement was only in its beginnings at that time, sky, growth — and try to portray these — the unexpected acrylics. so we developed with it. colour and form in nature.

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Born in London 1907. Settled in Hastings 1911 (and Awarded Queen Elizabeth 11 Arts Council Grant 1972. Studied at Elam School of Fine Art, Auckland. Napier 1965). Entered teaching 1924. First specific art "THE COFFE CUP" Graduated with Bachelor of Fine Arts in 1971. training under Roland Hopkins Napier 1924-25. Dunedin An encourter between two people. His October exhibition comprises mainly paintings Training College 1926-7 and third year for Art 1928 under I watched, drew later printed completed this year and some painted in Southland in 1972. W. H. Allen and R. N. Field. Work changed from naturalistic This was my experience. "For me a painting must become a complete world in to abstract in 1929-30. Art and crafts teacher Feilding itself. To impose order, through painting, on the world as JOHN OAKLEY - Paintings High School 1929-33. I see it, is not my concern. Painting is a search for the (Subjects included kick wheel pottery (4 wheels, gas September 30 - October 13 deep order in nature. The logic of a painting is allied to kiln), abstract art and design, and musical appreciation). I have never been a prolific painter, working that order in nature, of which man is an integral part. Went to London in 1934 to study design and crafts mainly in fits and starts. This is the fifth one-man The logic of the paint is a metaphor of the logic of the organic, (Central and Camberwell Schools of Art and Reimann show I have had, the last one being in Christchurch in 1957. chemical world." School of Design). I saw so much wonderful painting during my last visit British Forces 1941-46. Returned to Hastings for one overseas in 1959 that I felt depressed about my own year then went back to London to teach bookbinding and efforts, and it is only recently that I have started painting typographic design and colour theory and practise to again. trade students at the London College of printing, and I have strong feelings for New Zealand and for Canterbury continue to create bookbindings (and paintings) and begin in particular. In that I am unashamedly parochial. experiments in "animism" sculpture (returning home "on Inspiration for my work comes directly from nature leave" for several months every four years). but my paintings never turn out the way I hope and want Retired early (1964) to concentrate on creative work, them to. Each one is a new experience and turns out and spend half of each year at home. Remained here since differently. December, 1969, for domestic reasons. Will resume annual Painting for me seems to get more difficult as time trips to London in 1973 to arrange exhibitions etc. goes on, but probably other painters feel that too. Hand Woven Cushions, Rugs, Table Mats, NEW ART & CRAFT SERIES Shoulder Bags. Look for it every fortnight Introducing FINGER PAINTING - Guy Scott — the new magazine Introducing ABSTRACT PAINTING - Robin Capon about what's doing in Introducing WATERCOLOUR PAINTING - Michael Pope dMierp international This new series of Batsford publications is designed to help time Christchurch — art, beginners and teachers. From $4.35. theatre, music, cinema, Screen Printed Garments dining out, sport, See them at Whitcou s Antique Furniture environment, politics, 800 Colombo Street (Near Town Hall) Off astrology, gossip .... 111 Cashel Street CHRISTCHURCH Christchurch New Zealand Phone 40-229

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Question: You were primarily concerned with becoming Answer: I work irregular hours, about four hours a day Question: Why are you a painter - vhat started you off? a painter rather than acquiring an academic qualification. in a 16' x 18' studio shed in my back garden which is very Answer: Possibly that I intuitivel- felt that there Why was this? green and lush. The studio is not a mess but there is was something more to life that football, cycling, boxing usually lots of work around, most of which gets destroyed. Answer: Trying to become a painter and all that and girls, which is how everybody feels at sixteen plus, and Hopefully the best pieces are left. goes with being one, seemed to me at the time of being a I'd always been drawing, it was the only thing I was good at anyway, so maybe I had no option. student, of more importance ultimately than acquiring an Question: Do you do anything other than painting? academic qualification which does provide an easier or Answer: I have taken freehand drawing and perception more regular way of living. One could be trapped in studies for eight years at the University of Auckland the teaching or whatever the qualification allowed and Question: Would you consider it a wise thing if the Faculty of Architecture, nine hours a week, after which I this would not give one the time for the total State were to help with finance, etc? go home and work. commitment to painting that is essential if one is to do Answer: It would be very helpful for genuine artists the thing properly. Question: Do you have any other special interests? of every kind if there was an assitance wage that could be paid when things are financially tough, but I don't think Answer: I am a big kite fan and build large and Question: You had a preference for the masters of the anyone should be spoon fed. small kites which have decorative attachments, banners, early Italian Renaissance — why did you feel this way? bells etc. I enjoy this because it involves lots of other Answer: I did not have a preference for early people, like the Auckland Festival Kite Fly last year Question: How does your painting relate to New Zealand Italian Renaissance painting alone, but did become very which (1972), had fifteen thousand people! interested in them while in Italy. I loved their exquisite — landscape, people? Question: What is your philosophy of painting — for simplicity of style, which seemed wholesome and Answer: I don't know how it relates or if it does money, to express ideas, communicate with people? devastatingly honest. at all. Critics and historians tend to make these assertions Answer: To communicate with people - communicate and want to localise or nationalise art and artists — but Question: Your studio hours - in what surroundings do what? Well, after twenty years of ideas and directions, I art is an international communication and can touch anyone, you work and when? would say ultimately to communicate love — and that's it. anywhere. shirwin international PARK YOUR CAR where nice things happen advertising AND FORGET IT — AT limited The action agency. AMUR. MOTORS to shopping people... 72 Riccarton Road. Christchurch 4. N.Z. P.O. Box 8116 Riccarton. Telephone 47-009. 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You contributed to this the work of Chris Grosz, painter, and Rex Valentine, potter. Noel Gregg and Peter Marden. Noel is an iron-worker and magnificent building — in what way? Out congratulations go to Rex for having 3 pots bought by Peter an artist. A building was made available for two the McDougall Art Gallery and one by the Teachers' Training potters, Denys and Philip Hadfield, and soon after Sue Answer: The town hall is a very tremendous piece of College. Rex Valentine, a new young potter, hopes to go to Turner and Noelene Bull set up a studio for weaving. The design and is a world class building, I was very honoured to Japan next year and his stay there ought to give him the owners of the property are making room for full-time artists have been asked to work on it. My brief to design and experience he is seeking. and craftsmen to develop their own studios while in and execute the mural from the Architects was for a work which Recently Several Arts had an exhibition of Nelson around them will be open courtyards and trees. A Gallery was festive and gay, and as the buildings' main function is crafts. Represented in it were spinners, kintters and run by Peter Marden called the "Iron and Art Gallery" is entertainment, the mural had to enhance this general theme, weavers whose work was well executed and displayed. The for the resident artists and is open during the week. hence the mural of Rainbow Pieces, the spectrum no less - potters included Christopher Vine, earthenware, Nancy The over-all aim is to develop this area of Christchurch its simply supposed to be formally festive and it was Malcolm, raku, Carl Vendelbosh, Bob Wallace and Stephen into an Artists' Quarter, each having his own studio, while great to do. Carter, stoneware, and the over-all standard was high. sharing the Gallery, to help and encourage artists and Jane Frampton On the opening night many pots were sold. Warwick craftsmen to develop their skills by discussion and the Freeman and Ray Mitchell also exhibited some fine sharing of creative ideas. silverware. The June meeting took the form of a brief history of A group of people who through time and dedication porcelain by Rosemary Perry which she concluded by Pottery notes have developed skills and knowledge in some art form are describing the difficulties of the making and firing of creating an "Artists' Quarter" between Oxford Terrace porcelain, which we all found most interesting. The The Annual Exhibition of the N.Z. Society of Potters will take place in October in Dunedin and most Potters will For Quality Meats and be busy putting aside their best pots for selection. The Ashburton Society of Arts had an Exhibition early Smallgoods in July. Hazel McCaughern was their guest potter and her Always BUY FROM 68 pots were much admired and appreciated. Invercargill, , Timaru, Ashburton and Nelson were well in CFM Butcher Shops represented. Gipsy and Eddie Poulsten submitted some good taste sculptured pieces and there were other pieces of sculptured Christchurch forms in Oamaru stone, steel and fibre-glass. BISCUITS 254 FERRY ROAD, WOOLSTON The Rangiora Pottery Group held its first Exhibition CONFECTIONARY 54 HOLMWOOD ROAD, FENDALTON this month in the "Capricorn". This Group was formed as a CHOCOLATES result of the intense interest aroused by an Adult 511 PAPANUI ROAD, PAPANUI Education survey. The main problem was finding suitable 812 MAIN NORTH ROAD, BELFAST premises to house the Group and its activities. A 100 year old two-storeyed farm cottage was kindly lent by a local Ashburton farmer and now houses workrooms and a drip-fed oil kiln. BURNETT STREET Apart from limited professional tuition members are all basically self-taught. Emphasis has been placed on learning Tinwald and practising the complete craft from digging clay, firing CANTERBURY MAIN SOUTH ROAD and experimenting with glazes and textures. The members had some 120 interesting pots displayed. Timaru In the C.S.A. Gallery Wilf Wright displayed some CHURCH STREET, STAFFORD STREET (2 Shops) interesting pots different from his usual style of MOTOREX LTD craftsmanship. L.M.V.D. The Graphic Art Exhibition was not well supported by FOR NEW VOLKSWAGENS C.F.M. SALES LTD potters and therefore the few pots submitted made rather a AND QUALITY USED CARS © poor showing. 71 RICCARTON RD PHONE 41-832 LICHFIELD STREET CHRISTCHURCH evening was concluded by Mari Tothill showing slides of Stepping back from his easel he would hold up a In those days foreigners rarely came here and Van der some porcelain from the National Palace Museum in Taiwan. brush full of paint between his eye and the subject, Velden, with his colourful personality, his bohemian The theme of "Vitality in Pottery" was the basis of seemingly to check the tone and the colour, and then dress and his bombastic manner, outshone local artists the July meeting by David Brokenshire. A passport to the place it deftly on the canvas. like John Gibb, a somewhat dour Scot but nevertheless a meeting was three pieces of fired clay which display It was the first time I had seen a real artist at painter of merit. some aspect of vitality be it for texture, colour or work — and I was fascinated. Here was the legendary He fired the young Thompson with enthusiasm, but his function. The attendance was large and the display of New Zealand painter back once more from France where he influence did not last. pots very interesting and stimulating; so too was the had been living for so long. On his arrival in France at the beginning of the lecture which left us all with something to think about. I was young then — and so was the cherry tree. Many century Sydney Thompson soon discarded the sombre The McDougall Art Gallery had an exhibition of pots artists painted that same cherry tree. Margaret Stoddart palette of his old master for the rich pure colour of the by Hamada kindly lent by local members. The display was did a lovely water colour of it. Impressionist school, and his painting developed rapidly. attractively arranged and spot-lighted which showed the But art is long and life is short, so says the It sparkled with a unity of light and atmosphere. His pots in all their perfection. classics. Paintings endure, but the cherry tree has long technique loosened, and, since he was a draughtsman of Mari Tothill since gone, and now — so has the painter. consumate skill, with a few deft strokes of colour he The recent deal in France of Sydney Lough Thompson could suggest a figure standing relaxed in sunlight, as SYDNEY LOUGH THOMPSON O.B.E.- at the ripe old age of 96, brings feelings of regret convincing as the background figures in Rembrant's A TRIBUTE. rather than sorrow. His life's work was done, and one "Night Watch" or the figure of the man servant drawing The first time I saw him he was painting a does not mourn his passing. the curtain in velasquez' "Maids in Waiting." picture of the Worcester Street Bridge, with the Chamber With over seventy years of painting to his credit a It was not until the early thirties that I got to of Commerce beyond and a beautiful pink flowering cherry significant chapter in the history of New Zealand painting know Sidney Thompson. I was living in one of his studio on the river bank in the foreground. has ended, but his paintings remain. flats in Cambridge Terrace when he returned once more from Tall, with a black beard, and wearing a sombrero Though some may think not he has had a far greater France. I saw a good deal of him from time to time and he type of hat and an elegant cloak — for there was an influence on the course of New Zealand painting than his often asked me into his studio next door to see his work. easterly blowing — he concentrated on his work quite first teacher Petrus Van der Velden whom he admired so He was a kindly man and softly spoken, but his oblivious of those who stopped by. much. gentle manner belied his underlying strength of purpose. BlirbenyS Tasman Gallery Ltd OF LONDON 72 GLOUCESTER STREET Contemporary (ONLY 2 DOORS FROM CSA GALLERY) The eoat with the Jewellery International Look # Individual, Artistic picture-framing Superbly mad* under LICOT— In N.Z. by Skell>rup # Dedicated, Expert Art-restoring Guenter Taemmler # Large Collection of framed and unframed GOLDSMITH P.O. 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He was dedicated to his art, and generous in his advice to Introducing Abstract Art. By Robin Capon. 128 Pages 152 young painters. I never once heard him criticise a fellow black and white illustrations. 4 colour plates. Batsford. artist unkindly — nor anyone else for that matter. $4.80. Though he is better known for his landscapes he was In the illustration the paper was first folded in also a remarkably fine portrait painter. His influence has half. A meandering line was drawn either side of the centre been wide. It extends from John Weeks and the Kellys — fold, the lines being repeated outwards to the edge of the Elizabeth and Cecil — down to painters of the present time. paper. The spaces between lines should be varied and they The painter who came nearest to emulating his style are coloured accordingly. is of Wellington. But no one could equal his This description, taken from the book is typical of the amazing sense of colour. flavour of the whole. It is a book primarily concerned with John Oakley techniques. A few suggestions are made of where certain artists got their ideas. The characteristics of various materials are described and their effects when put together. Of interest not only to teachers, but to parents, and indeed to many who might wish to understand techniques. CSA Gallery hours Monday — Friday 10am - 4.30pm Saturday & Sunday 2pm - 4,30pm

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