"iewzed'dhdtter“v.<.>-'._21/] éUtumn 1979 new zealand potter vol 21/] autumn 1979

f"

Contents

215t National Exhibition, NZ Society of Potters l Accounting without tears Thoughts about natural gas

Slab rollers \OOOGN Margaret’s place 10 Daniel Rhodes — his visit 14 Travelling in South America with Anneke Borren 18 Pottery school at Te Horo 20 Warren Tippett 21 Barry Brickell remembers early days again 28 A climbing kiln 29 Clark and Crum modeling clays 30 Design guidelines for beginners 31 INTRODUCTION Hazy morning slow but hotter, Recent work 32 easing through the smokey stacks, The half bisqued potter sits, Auckland Studio Potters Annual Exhibition 34 mishima jeans, carbon fingers checking spies — playing it outside the rule, carbon face with carbon eyes, History on your table 37 mistakenly brilliantly burnished and fluxed, columns, into cleaner skies. with crystalline crackle and pool, Legs up high on unsprung dust sacks, a thermocouple stuck in his ear and the clock reading singed off sweat rag face, twelve hundred and dropping. An underfired test mug as heat moves into all around — full of “leftbehindahalfabottle” wine — 1979, it starts to feel and taste. cone ten singe White hot orgasmic cone down time the kiln and you are soaking on a burnt back fringe, New Zealand Potter is a non-profit making magazine published twice annually. Circulation is 6,500. The holding fuel flow, now cut its throat, with bright squares in his spy—eyes. : annual subscription is $NZ4.00, for Australia $A4.70, Canada and the United States, $U.S.5,40, Britain Cannot remember when or more particularly why, and start off, your wine fed hoping, £2.70 postage included. this cycle began — for the gut glazed matts New Subscriptions should include name and address of subscriber and the issues required, Please mark and painted shines correspondence ”Subscriptions”, Receipts will not be sent unless asked for. A renewal form is included FROM WIN TO WICKET DOWN shino, I know its waiting time. in the second issue each year. This should be used without delay. It is the only indication that the Clay matted “insulation” beard magazine is still required. shiny headed stoneware ears, Handle me, 200, hot scratch open silica jokes — gloves on clawing eager prizers, Advertising rates Full page 180mm wide x 250mm high $140 cylinder coaxing, door to ”step across dog” floor Half page 180mm x 122mm high $80 heatwave rushes, shrunken tops, the light up day draws near. Quarter page 88mm wide x 122mm high $50 sizes. Stacking slacking bendy bum 13 less in Spot 88mm wide x 58mm high $30 in the doorway of the arches, Pass me more passing, knocking, start the blocking cannot believe the changes in this load Offset printing. Unless finished art work ready for camera is supplied by advertiser, then 10% will be at last the time has come — tomorrow. have to live, take this paint, .. added to the above rates. Correspondence marked ”Advertising”, to editor. Sleepy early never works put a sign out on the road. social knockers dropping by, editor: Margaret Harris talked till ever, 101m Green/Potters Green layout and design: Nigel Harris sheets at 3, lighting up at 5. Paremoremo editorial committee: John Stackhouse, Nigel Harris, Audrey Brodie, Auckland correspondent John Parker, Christchurch correspondent Ann Davie editorial/subscription/advertising P.O. Box 12-162 Wellington North, New Zealand Cover, Margaret Milne at work in Auckland printed by Deslandes Ltd, Wellington iISSN 002878608 photo: Steve Rumsey New Zealand Potter Page 2 New Zealand Potter Page 3 21st National EX ibition NZ Society of Pott

glaze 1“)“q. Riglg;55713;:l:alt Cfcvfitfi‘ S’Q Waikato Art Museum

Left: jug/ saltglaze stoneware Ian Bell

Right: bowl, salt glaze Mirek Smisek

Top left: grass pot, stoneware Left; cmc' k, sa It gaZLI ’ Frankl-lolmes stoneware Peter Gibbs Centre left: stoneware cylinders Anne McCartney Bottom left: Petunias, earthenware tiles Gennie De Lange Top right: stoneware teaset Right: teapot, saltglaze Ian Firth Renton Murray Centre rig/1t: porcelain lidded box, incised slip decoration Graeme Storm New Zealand Potter Page 4 New Zealand Potter

Right: two spheres, crystalline on porcelain Anneke Borren

Centre: trinket box and twig vase, porcelain Margaret Radford Below: stoneware serving dishes Peter Stichbury

Photographs: Kees Sprengers, Waikato Art Museum

Top left: platter, house with a glass dome, stoneware and epoxy resin Brian Gartside Top right: sphere, stoneware Anne McCartney Centre left: Vortex I high fired earthenware Leo King Below right: ceramic assemblage # North Shore landscape, stoneware, porcelain, epoxy resin Brian Gartside Below left: dish, Shino type glaze Kevin Gaskill New Zealand Potter Page 4 New Zealand Potter

Right: two spheres, crystalline on porcelain Anneke Barren Centre: trinket box and twig vase, porcelain Margaret Radford

Below: stoneware serving dishes Peter Stichlnuy

Photographs: Kees Sprengers, Waikato Art Museum

Top left: platter, house with a glass dome, stoneware and epoxy resin Brian Gartside Top right: sphere, stoneware Anne McCartney Centre left: Vortex I high fired earthenware Leo King Below right: ceramic assemblage — North Shore landscape, stoneware, porcelain, epoxy resin Brian Gartside Below left: dish, Shino type glaze Kevin Gaskill New Zealand Potter Page 6 New Zealand Potter Page 7

ket in one year and result in your pay- depreciation on your house — a prop— the beginning of their careers, is ’at Accounting without tears Ngaere Adams. A.C.A. ing a lot more tax in that year. ortion of these are allowable if you use what stage should I start putting in a If, for example, at the end of your your house as an office. There is a very tax return?’ I have tried to find this out Some people say that there is no ac- cheques paid and bankings made or it Tax Law states: financial year, you had just had a firing good booklet available from the Queen from the Inland Revenue Department of trading stock of counting for potters, or other people will cost you money and time to get ’that the Value and had a kiln load of fired pots on Elizabeth 11 Arts Council called ’Tax but the answers have been rather as at the end of any involved in the crafts for that matter. information from the bank. Don’t on any taxpayer hand waiting to be sold, the sale of Guide for Artists’, which gives a lot of vague. The main thing to consider is at the option Maybe they are right, but with the Tax any account pay bills from the cash you income year shall be, those pots early in the coming financial information about what expenses are intention. If you make pots with the its cost price, its man lurking in the wings, we cannot receive. At the end of6 months or so it of the taxpayer, year could result in your showing a deductible for tax purposes. At a cost of intention of selling them, then you are or the price at afford to ignore the fact that, sooner or is usually impossible to remember market selling value, high sales figure for the second year $2.50, it is a good investment and very no longer a hobby potter and should replaced.’ later, the bogey of accounting has to be what you have paid and you could pre— which it can be and a low sales figure for the previous reliable, but it is still a good idea to consider yourself in business. There is faced. As a potter as well as a chartered judice yourself when it comes to work- This allows a certain amount of year. In such a case, it might be better employ a chartered accountant to pre— no profit figure beyond which you are accountant with years of experience in ing out your expenses for the year. latitude. Finished pots should gener- to bring those pots into your stock fig- pare your annual accounts and tax re— expected to put in a tax return, but the dealing with accounting for small Some people think that it is a good idea ally be included at cost, but I would ure at selling price (instead of cost turns. He or she is experienced in the Tax Department will still look at your businesses, I am probably able to see not to bank all the money received, or suggest that any unfinished pots be left price) to even up the income for the job just as you are experienced at pot— first set of accounts and tax return and both sides of the problem better than even show it in their records at all but if out of stocktaking on the principle that two years. This is the sort of matter ting, and it is worth the fee charged then decide whether it is a hobby or a most people, and can perhaps dispel a this is done in a big way it is very there is many a slip twist the cup and which should be sorted out with your just to have the worry off your mind business at that stage. few of the worries which beset potters obvious from your annual figures that the lip. However, if you have a kiln full accountant, but it helps considerably if and to know that it is done properly. If when it comes to preparing figures for you appear to have been living on less of pots ready to fire, you could, if you you know what it is all about and how you happen to have any hassles with their annual accounts and taxation re- than the proverbial smell of an oily rag want to, include these in your stock on to help yourself to save tax. the Tax Department, you know that These notes are, of necessity, only turns. and those tax people are not fools hand at cost of materials only. If I exp— Expenses allowable for tax purposes: you have someone else who will take brief, but I hope that they will help The biggest headaches seem to be to lain how stock on hand at your balance I won’t give a list of these, but any care of it for you and help you to pres— potters to understand those mysteri- be ‘how to keep adequate records’ and Stocktaking: date can affect your taxable profit for expenses which are directly or indi- ent a good case. If you try to do it your- ous things which go on at accounting As far as stocktaking is concerned, it ’stocktaking’!!! The first one is easily the past year and also for the following rectly attributable to your potting bus- self, you could finish up paying more time. Accounting, like potting, takes coped with -— just bank everything is always a bit of a hassle, but it is not year, it might help you to understand iness are usually deductible ~— don’t tax than you need to because you don’t years to learn but you can help a lot up every gramme care- you receive and pay all your bills by necessary to weigh how important it is to take stock forget travelling expenses both in NZ. know the law. (and keep the cost of accounting low) cheque. A bank account is the best re- of manganese oxide as long as you are fully. and overseas, also some of your When do I start paying Tax? by understanding what is required cord from which your annual accounts pretty close to the total cost of materials The following are two very simple household expenses such as power and A question often asked, by potters at and why. can be prepared — but don’t forget to in stock at the end of your financial examples to show how different stock— keep your cheque butts and details of year. taking figures can affect your profit for the year: Book review Books Publications FIRST Example 2. YEAR: Example 1. Glazes for Australian Potters Two fine books that potters would be Pottery in Australia, twice yearly. $7 pleased to own have been sent for review. from 48 Burton Cassell Janet DeBoos Street, Darlinghurst Sales for year 6000 6000 They are The Art of Bernard Leach edited by NSVV 2010. Technical articles on Less Cost of Sales: Price $8.50 Carol Hogben published by Faber and glazing particularly celadons in the Stock at beginning of year (materials and pots) 1000 1000 Faber, and Michael Cardew by Gareth Clark latest issue. Plus Purchases of materials 500 500 This volume contains 154 glaze for— from Oxford University Press. Ceramic Review, six issues £6 from 17a mulae — enough to keep the addicted Based on the retrospective exhibition Newburgh St, London. Brilliant ac- 1500 1500 glaze recipe tester busy for quite a held at the Victoria and Albert Museum in count of the British Craftsmen Pot- Less Stock at end of year (materials and pots) 800 300 while — with interesting and useful honour of the artist’s 90th birthday, The Art ters Association visit to China in a Cost of Sales 700 1200 results. Different sources of glaze mat— of Bernard Leach is a total assessment. Ex— recent issue. erials can make many overseas for- tracts from his writings show the de- Williams Pottery iWorkbook A revised Gross Profit on Sales for Year $5300 $4800 mulae useless so a series of 12 tests velopment of his thinking, and the full enlarged edition of Howard Wil- from the stoneware range were made page illustrations are so superb one would liams book has an additional chap- up from materials purchased in New want to have the book on the shelf open. ter on slip casting. Beaux Arts SECOND YEAR: Zealand. Michael Cardew, by Gareth Clark, Faber paperback NZ $9.95. 6000 6000 Sales for year Steetly Potash Feldspar, Australian and Faber, an intimate account of a potter Glaze Recipes A new and enlarged edi- Silica, NZ Less Cost of Sales: Ball Clay C, white ground who has captured the spirit of country tion of the Ceramic Review book of Stock at beginning of year 800 300 NZ Dolomite etc were Kaolin and craft, has much to teach us. This is the first glaze recipes with over two (materials and pots) used. All of these tests fused perfectly book solely devoted to his life and work hundred tried and tested recipes is 500 500 Plus Purchase of materials giving results close to those described and again the illustrations type and bind- attractively presented in paperback in the text, in fact they were the most ing are of the highest quality. at £1.75 from Ceramic Review Books 1300 800 promising series of new glaze tests I 17a Bernard Leach, Beyond East and West, Newburgh Street, London. Ask Less Stock at end of year have fired for some time. for a Ceramic Review Faber and Faber is less successful as a book list offer- (materials and pots) 700 700 The frits and base glazes included in book. For an autobiography there are too ing good titles at reduced costs. Cost of Sales 600 100 the lower temperature ranges are from many gaps and for the reader unfamiliar the Australian ”Ferro” range and seem with Leach’s work and thought, too much Gross Profit on Sales for year $5400 $5900 to be all alkali or borax based. 1 have is presumed. Its as if the birthday anniver- not yet been able to locate a supplier in Potter back numbers sary were taken as a reason to produce New Zealand.* something for publication from Bernard If potters use this volume with half The total Gross Profit for the two the two sets of figures is in the stock at the end of one year it will make your Leach — and Memoirs, Portraits, Essays is Vol 19/1 Plans for pugmill, clay blender the care that has been taken in its com- years is the same i.e. $10,700, but as— the end ofthe firstyear which is carried profit higher the next and vice versa. what it is. Potters will want to read them porcelain article pilation they should be well rewarded suming that your expenses were the forward to the beginning of the second As you can see, stocktaking is a very though. — but don’t forget, firing ranges are Vol 19/2 Making porcelain bodies, same in the two examples, the second year in each case i.e. $800 in the first important exercise and can have a sig— listed in Orton cones. background to potting in New example and $300 in the nificant effect on the tax you have to example (because of income second exam— Bernard Leach would result in your hav- ple. pay, both this year and next year. Gwyn Ace Zealand. fluctuations) 1887 — 1979 ing to find several hundred dollars The stock figure shown at the end of In the long run the figures even we join all potters in Vol 20/2 Kiln for fast firing, kiln for salt more to pay your tax in the second year the 1st year will become the stock on themselves out over the years but inac- * Each book will have an insert relating gratitude for the long glaze. than you would have to in the first hand at the beginning of the 2nd year, curate or fluctuating stock figures Australian frit numbers to New Zealand and wonderful life of example. The only difference between so that if your stock figure is too low at could put you into a different tax brac- equivalents. — Editor Bernard Leach. New Zealand Potter Page 8 New Zealand Potter Page 9

Thoughts about natural gas delay in the firing cycle and the operation is quite safe. I didn’t want to fire with gas Frank Sharpley 10 There is none of the hassle of get- Slab Rollers Potters may be interested in details dammit! I was quite happy with my by Ngaere Adams ting in supplies of oil — the gas is of our slab roller purchased some years dirty, inefficient drip feed diesel 3 If you oxidise or do not reduce always on tap and the quantity used ago in the United States. The roller is a firings and liked my glazes the way heavily you can have a firing which is easily recorded from the meter. Brent, 22 inches wide with a large steel of a they were. However, the building is as ’safe’ as electricity, and you 11 Cost seems to be comparable with roller driven by heavy steel wires new house next door right in the path need hardly be aware that it is a diesel and certainly Cheaper than underneath the clay table. The table of the smut laden prevailing wind flame that you are handling. my old inefficient drip feed system. allows a full width slab, five feet long forced my hand. They didn’t like my 4 The firings can be oxidising or re— 12 For atmospheric burners you need and 1%; inch thick to be rolled with ease smuts on their swimming pool and ducing whichever you choose. at least 8 ounces of gas pressure from 25 to 30 pounds of clay. The con- new car. As we already had the pipes 5 Natural gas is much cleaner than (approx 14 inches water guage) struction is such that none of the clay in to the house, natural gas seemed a other fuels with the exception of otherwise you will probably need a gets squeezed out laterally into the sensible alternative, and as I don’t like electricity. blower and a different type of functional parts of the roller. the noise of vacuum cleaners or blow- 6 It is very easy to control at all stages burner. This means that you need From our experience any brand of ers, atmospheric burners‘were the of the firing. to be on a fairly new gas main as slab roller that will meet these re— choice. After a year of firing in this 7 With atmospheric burners, such as some of the old ones won’t stand quirements should be suitable. The way, I wouldn’t want to change. the ones I use, no blowers or vac- this pressure. American “Studio Potter” volume 5 I have found that: uum cleaners are required and the 13 I still enjoy my firings. number 2 gives excellent advice on the 1 It is possible, by drastically cutting only sound is a small amount of choice of makes in one of their very down both on primary and secon- burner noise — like a large bunsen Ngaere Adams’ workshop is enclosed useful consumer guides. dary air, to reduce just as satisfactor— burner. by the trees and vegetation of their You will need to keep the machine ily with natural gas as I used to do 8 My burners are removable and can nursery in the heart of New Plymouth. busy to justify the cost. A group would with drip feed diesel. (I even have be stored away after each firing She has been treasurer and president of have a better chance of doing this than soot at the spyholes.) This is proba- away from the weather if your kiln New Plymouth Potters during which time one hobby potter. As well, you need to bly not as efficient as the experts say is outside. (However, make sure the long lease of the Old Vicarage was be sure of having enough room to set the firings should be, but the glazes that they are covered or you may secured as agallery and the workshop was up and operate the roller. There is little are almost indistinguishable from discover, as I did, that a mason built. The old vicarage itself was restored information available in the literature those fired with drip feed — espe- wasp had made a nest in the pipe by the Historic Places Trust. Ngaere has on techniques of operating slab—rollers cially ash glazes and tenmoku and just inside the jet!) been pottingfor nine years as a spare time so much has to be learned from expe- are not harsh as I thought they 9 I can change the burners to my sec- hobby. ”I started at weekly night classes rience. might be. ond chamber in a few minutes as and have attended numerous schools or— The clay has to be one that responds 2 The firing can be just as exciting for soon as I have finished firing the ganised by New Plymouth potters and to rolling and some good throwing those of us who are pyromaniacs first chamber if I want to bring the others, and Massey extension summer clays do not survive firing after being and certainly not as tame as I ex— second chamber up to terra cotta or schools.” Size gave up accounting one used in the roller. We have had fine pected it to be. glost temperature, without any year ago to take up potting full time. results from Podmore’s porcelain and from McPherson’s Sandy XXX.

Visitors from Kyoto Tauranga Potters Group Electric kiln survey Notable Iapanese potters Professor There are fifty members in our I wish to do an electric kiln survey Kondo and Mr Miyashita came to New group. We meet monthly and en- with the View of improving the ser— Zealand through an arrangement bet~ deavour to run two weekend schools a vice, so I need to be given information ween the Arts Council and Mitsui of year. We hold an annual exhibition, from potters using the kilns. I would Japan to give schools throughout the the most recent selected by Toby Eas— need to know the make, manufacturer, country. Their work, exhibited here a terbrook Smith with Peter Stichbury as agent, whether it’s a top or front few years back, is highly sophisti— guest exhibitor, and participate in a loader, the ultimate firing tempera- cated. Some of the techniques they combined exhibition with other ture, the actual temperature used, demonstrated were new to our potters. groups. Space is limited but we have whether pyrometer and/or cones are built a small workshop for our one used, life of the elements eveness of wheel and two cubic foot electric kiln. heating, where elements burn out, Visiting potters are welcome. The pub- condition of bricks, the after sales ser— lic relations office in the Strand has a vice and any problems you may have Competitions list of addresses and phone numbers of encountered. members. If you have your own kiln or use a An international concourse of Jill Hay group or school kiln, all the informa- ceramic art takes place in Faenza, Italy tion you can give will be helpful. Entries must be received each summer. Please write to Una Sharpley, R.D.1, by April and since forms arrive by slow Papakura. sea mail in March, air freight is the only way they would get there in time. Are you a Craftsperson? New Zealand potters have had work The Crafts Council ofN.Z. is compil— NZ Potters Directory selected for the Faenza exhibition. For ing a register of craftspeople and particulars write to the Secretary, NZ catalogues of craft shops and supplies. Society of Potters, Box 881 Auckland. If you have information useful to our Don’t miss, almost sold out. And here at home there is the research, write to: $3.00 NZ, $3.50 Aust. Box 12-162 Fletcher Brownbuilt Award in May, Crafts Council of N.Z., P.O. Box Wellington North. Scamper Award in August. 11—233, Wellington. New Zealand Potter

Right: Gill Currutliers

Margaret’s place is in a peaceful bushland area in the middle of Auck— land suburbs, a resort for sundry wild- life and potters. For forty people it has made working as a potter in town pos— sible. The old cottage was first spotted through a telescope by Leon Cohen. With his support and the help of Jim Dryden, the owner, who also gener— ously contributed building material, it was transformed from a vandalised state into a workshop. The purpose of the pottery has modified as it has evolved over ten years. Privately leased, it began as a shared pottery by Margaret Milne and Grant Hudson, with teaching on two days to pay the rent. After Grant left for Greymouth and students advanced to potting full-time, they were free to come and go on Mondays and Tues- days leaving the rest of the week free for Margaret to work. So far she has taken only one apprentice, Tomiko .1 Hatta, who achieved membership of familiar surroundings. Being the least the New Zealand Society Julia of Potters skilled of the group I appreciate being after two years and now lives in We’ve all gone through a time when an equal in whatever capacity I am Australia. our pots have had a look of Margaret’s, able. The people involved now are mem- but with experience, our own indi- bers of a group and no longer pupils, vidual styles surface. I now have my photos: Steve Ramsey and the experience which was once own workshop and gas kiln at home, Biddy Cecilia Helen taught, is shared through the various but retain close ties with Margaret and we came into the group from the Cecelia and Eve pack the kiln PLACE activities of clay mixing, glazing and the group. Auckland Studio Potters Centre and MARGARET’S firing. J, The group members meet for working beside more experienced pot- lunch once a month to give some regu— Ruth ters has directly involved us with the lar contact to those who have moved whole process of making and taking naxd' Mglnefs group 0(— coflw away and no longer use the pottery for I value the co—operative and the responsibility for firing our own and WOrddtlg M a cottage Wor shop firing. New members are assimilated communal side. The helping one other members pots. into the group, usually on Margaret’s another with maintenance, and the '0 Malousln se‘th' 'm The, heart af- building and repairing of kilns, pump- intuition, but with approval of Eve residoyuhbut Pruddland. TIA-e everyone. ing oil, mixing clay and glazes ~ all tog While no formal criticism is given, that hard physical work, but at the Because my present circumstances , reup ls uMI'q/ote. $‘l-aw‘l'eat the nature of the friendships involved same time making and firing my own allow me to produce so little, being a . (I purely as. attach: in belonging, allow for a sympathetic pots. I’ve now moved away from town member of the group maintains my en- , Vbupflla ware pupil; aw needed environment where learning, criti- and oil firing. I have a prototype fibre thusiasm and wish to translate my 't’ cism, stimulation, caring and sheer kiln built by Arie Van Dyk, where the ideas into clay to a greater extent in the _; ex. Nat: e mvadtrdopfi the hard work interact in a unique way. finished ware and shelves are statio- future. " . ii ’0 S «A a aft The group does not hold exhibitions nary, the reverse of a conventional ' . ., gagfske new flaw. Permit“- or have a sales outlet but most belong trolley kiln. Kate to the 12 Potters Co—operative and sell I’m an Australian who moved from MM Mower/u Magard‘ 1S through the shop in Mt Albert Road. Sally Tauranga to join the Auckland Studio 3‘" PivoToLL. . wi' The pottery has allowed many peo- " w? I don’t mind making many many Potters Centre classes. One of my " ' , a “ We Mavetlm. necessary €4,p ple access to a full—time potter in a coffee mugs. tutors was Margaret who offered me workshop to share the enthusiasm, pit- I enjoy seeing them all in V‘ rows. I like throwing the chance of joining the group. Of 1' 3” fovouur 9mm use.N0+ falls and heartbreak that being a potter bowls and large oven course I accepted. I) 'Wouflk space,bui' row («hr at is all about. More practically, it has al- dishes. I hate firing with oil and ’ shave, a Fridge mat hm? fax cars. lowed urban potters in a built-up area love turning. g 114% LS a 90 cubic fig Ollaffi—VZ: kiln, to operate an oil fired kiln and build up GIII ouno or capital to become self sufficient and Karen I've been at the pottery from its be- -'~ eventually set up a workshop on their When I came to New Zealand from ginning and could write a book about own. .. , 3130?:finds”?“.5,' 2. mam; wheels the United States so much seemed life and happenings there. Hard work, ‘. M We l (okwk’ed- W a foreign that getting involved with a di— clay, diesel, many many firings, but ' aafimnu. " John Parker verse group of potters put me back in most of all laughter. New Zealand Potter New Zealand Potter Page 13 2-3:, ‘OS‘. 5‘

Top right: pots by lulia Colman Bottom right: Margaret Milne Opposite: Helen, Cecilia and Kuh’ unpack n bisque/firing Sally and Rut/1 in the workshop New Zealand Potter Page 14 New Zealand Potter Page 15

Again he encourages potters to relax, have some glaze experiment going be— slice of apple or banana laid on the to do something a little unpredictable. cause it’s dull opening the kiln each glazed surface. Take advantage of a break to think, time and having every pot predictable Like a good teacher Daniel Rhodes don’t strive too much for effort. There or perfect. Fire a piece three or four provided the information and left us to is broad acceptance of what comes times if necessary. take what we need for our work, now from the kiln. Failure is only obvious to Some materials can be used directly, — or sometime later. the person who makes the piece and for example wood ash, low tempera— has not achieved his intention. Always ture cones, or a surprise suggestion, a Sally Vinson, British trained potter, producer of domestic and func— tional ware, went to the lecture in Auckland where Daniel Rhodes showed slides illustrating tendencies and trends in USA ceramics, including his own recent work. For twenty years I have admired Daniel Rhodes from afar as a provider of excellent up-to-date technical in- formation for the potter. He has be— come a legend to students and teachers of my generation, and his book ”Clay and Glazes for the Potter”, published twenty—one years ago, was a keen rival in most circles in Britain to Leach’s “The Potter’s Book”. His visit to New Zealand in October prompted the clay in my veins to run a little faster, and so I went keenly to the Daniel Rhodes (born 1911, USA) Ceramic Sculptor, Author, University Teacher, gave the benefit of his museum to hear the man and all that he experience to potters in workshops throughout New Zealand in October. had to show us. I came away feeling very sad. What I ;}/'n\‘ v\ . had seen was for me an indication of the decadence of what should be an Throwing offa hump as an exercise in relaxation, forfreeing up one’s work before throwing with honest art/craft form. American DANIEL RHODES an intention to produce. ceramics it seems, is in the state of what art historians describe as the His visit — What came across “overbloom” and is indicative of the American greedy and self-indulgent way of life that can support novelty. Please don’t lets be impressed by all this junk work; it’s too like their junk food, and we’ve already accepted in New Zealand a plethora of this. Doreen Blumhardt studio own problem, and to let our work de— Henrietta Hume, artist and Let us maintain our integrity as pot- velop in a natural way, not to torture potter who makes large ceramic forms. potter, who attended a lecture given by ters, respecting the clay, the fire, each ourselves with questions of what we Daniel Rhodes in Hamilton and a other, and most of all not try to kid our “Forget yourself if you want to make ought to be doing. Nothing charac— workshop in Wellington. customers. something that is really you”, said teristic of a country can be consciously In his short visit to New Zealand, Daniel Rhodes, when I attended his International communication achieved he suggested — indigenous Daniel Rhodes missed nothing of the demonstrations in Mexico at the World through travelling and the printed things grow out of our own efforts in mass of pottery being churned out here Crafts Council Conference in 1976. doing our own thing. word is supposedly healthy for the in— casseroles, at the rate of There were many more words of wis— — mugs, jugs, spiration. It can also serve to confuse a to the dom dropped by Daniel while he de— He stressed that it was good occa— 50 to '100 a day, taken quickly heritage, something that we here are sionally to relax the idea that all has to market for sale regardless of standard. monstrated his sophisticated techni- still endeavouring to establish. Ameri— come out well, and how important it is He kindly suggested that we slow ques here in New Zealand. He told us can ceramics with many international to work in a groping process, so that down production. Relax, he says, for that many potters were drugged by backgrounds has been a hotch-potch of the unknown which is always there only in this way can work improve and techniques, and emphasised that the many influences since the fifties. its may give room for uncertainty and the spirit of the potter be released. This most important thing for artists was to influence has been rejected by many surprise. the message for New Zealand pot- bring ideas to actuality, and not to was British potters, but, judging by our to me. categorize ourselves or others, and not I enjoyed Daniel Rhodes visit im— ters that came Over strongly other lately-come visitor, Joan Camp- to work for an ulterior motive like a mensely. I liked his slow deliberate Many folk came to learn something bell and her work, it has made an entry competition or an exhibition. Our mo— tempo, his ability to teach, his sensi— of new glazing techniques and they into Australia. The Australians seem, tives should never be to astound our tive aesthetic appreciation, and his were not disappointed, although anyway, to have a knack of accepting fellow craftsmen. The beauty of folk dedication to a task. Meeting the au- Daniel Rhodes himselfhas reduced the more things American than we do. craft always comes from the flowering thor of those splendid books, that have use of glaze in recent work. Oxides, It’s up of a culture, not from people working taught us all so much, meant a great charcoal, woodash and other dry mat— to us, then, to consider whether or not we want out their ego. deal to New Zealand potters and we are erials replace the need for glaze on his to be part of He told us to keep working on our much the richer for his visit. sculptural forms. the great American ceramic dream. New Zealand Potter Page 16 New Zealand Potter Page 17

to build up layers to the thickness re— Hilary Stlrllng, British potter, Stan JenklnS took the photos Margaret Harris, Editor quired for a Clay slab that is more who for two years has been working and recorded from Daniel Rhodes in resiliant than normal”. with a New Zealand studio potter. Hamilton. NZ Potter, who recorded at the demonstration at Wellington Teachers Daniel Rhodes deliberately chose to Can we say that we must reject all ”Work so that not all of your results College when Daniel Rhodes talked show work from the USA that was dif— this stuff from America. That would be are pre-ordained; leave the door open about reinforcing clay bodies with ferent from the mainstream Of censoring New Zealand potters. By for new things to happen (referring straightforward work being made in showing us this work Daniel Rhodes fibre. mainly to glazing). New Zealand, which is undoubtedly was letting us see the ceramic in— Not many people create startingly ”Because clay lacks tensile strength the kinds of shapes that can be made pottery. There are many excellent pot— novators who provide the cutting edge original things... most of us just keep ters in the U.S.A. — mainly east of the (his words), i.e. the artists who are on doing our own things. are limited. We tend to compress rather than extend the material as a Rockies — producing domestic ware. stretching, probing, tearing, moving Do not try to centre in a hurry —— be idea: of improving Daniel Rhodes now lives in California sometimes unsafely towards new sympathetic with irregularities — as consequence. The cohesive strength by adding vegetable where the atmosphere favours experi- things in the world. Potters have got to soon as you get mad with it the clay ment. His own sculptural construc— decide what they believe in — not a w1ns. fibres and sand is not new. Pre- Columbian American pots have voids tions designed for the edge of the gar— shallow accepting of all things new, If you can step back and allow things den, are a response to his environ- but not rejecting of different ap- to happen which are not planned, then which show this process was used and adding straw to adobe bricks follows ment. He does not suggest that New proaches either. Ideas from the fringe more of the artist ’you’ shows up in the Zealand should jump on a ceramic junk can make new life. finished work.” the principle. I started using open weave cloth wagon. which saved getting cracks in the dry— ing. I could make convoluted shapes and sculptural forms previously Raeburn Laird who collected beyond my reach. Natural fibres unfor— the materials for the Wellington work- tunately leave voids where the cloth shop. burns out and that does leave weak- The first list of materials arrived from nesses, so I overcame that by using Daniel Rhodes. The second from the fibre glass instead of a combustible Potters Society of Australia. And a material. third and even more comprehensive Reinforcing clay bodies does not re- list from Daniel Rhodes. Three lists for place orthodox making methods, but it a two day workshop? has specialised uses for big pieces As I gathered together the materials I where the area of stress can be rein— became curious. Like others, I possess forced. It is useful for rectilineal pots the books ”Clay and Glazes”, also with straight sides which are so sus— ”Kilns”, and I thought I knew what to ceptible to stress collecting at the expect. He would talk oftechnicalities I weakestpoint—usuallyatthe corners. probably would not fully comprehend The process does not strengthen the but this was a once in a lifetime experi- clay during the firing. However most ence for me. But those lists! cracks occur in the drying, not the firing process. 40lbs dry pulverised clay... mmh There are two ways of handling the Burlap... I suppose he means hessian fibre: Cheesecloth, glass fibre A. It can be added as hairs or strands Tools — paddles small and large 2” X 4” and wedged into the clay body. Fibre- x 2ft and 2” X 4” x 4ft glass strands can be bought, loz is Calgon water softener enough for 4 or 5 lbs of clay, so that is Feldspar, charcoal, ash etc... under '1 “/0 reinforcing. But the amount straightforward enough is not critical. Fibre glass strands do Tinsnips. .. technical? I wonder. not need to hurt the hands. I collected quite a formidable B. Cloth can be impregnated with amount of material and tools. Could all slip to get sheets of pliable ceramic these be used in two days? But in a material as used by plasterers and deceptively slow way Daniel Rhodes mould—makers. The best material is demolished them. In a quiet manner open weave fibre glass drapery mater- with no sense of rush, but with ial. Deflocculated slip is necessary for humour, many techniques were de— this process, to make it, look up casting scribed, pots and a large sculptural slip in a good book. Shrinkage must construction were made and glazed. At not be different from the clay. the end, there were only two items left l: The slip recipe used in Christ— untouched. church was: Throughout, he provided a stimulat- By weight ‘100 pts HCB clay ing stream of practical information. 35 pts water Thank you, Daniel Rhodes. 3 pts calgon (a sodium compound water softener) Modelling a slab made up of several layers of hessian Cover the bench with dry clay or dipped into defloceulated clay. Below: This block was grog to keep the day from sticking. rolled, beaten, cut in half, hollowed out and rejoined Demonstrating glazing experiments with glaze 0n glaze, glaze ingredients 0n glaze and biscuit, Immerse the material in the slip and with defloceulated slip, allowing for a form impossible and showing7 what can he done with apple slices and banana skins. smooth out on the bench, and continue with a hollow shape. New Zealand Potter Page 18 New Zealand Potter

Travelling in South America with Anneke Borren

It’s not easy to summarise the rately with ornate headdresses, ear— kneeded pieces of clay with hair and thoughts and experiences of ten very plugs, quartz and carnelian beads and features simply outlined and pushed full months on the move. Owen and I gold necklaces depicting frogs, birds or in by thumbnail. were looking at the ceramics of each jaguars. These are superb forms with The antiquities laws here are not as area and also the jade, the stone and scratched on details, low fired, still in stringent as in the other countries. the bone work. We were interested in the carbonised stages and burnished Each month an inspection is made of the archaeology as we tried to under— with a serpentine or smoothly rounded antique dealers, second hand craft stand how the present relates to the pebble held in the hand. (Illust. 1 & 2). shops; the pieces for sale are sorted out past in the progression and degenera- There are also zoomorphic shapes used into those only to be sold within tion of cultures and how much art and for ceremonial offerings, and along- Ecuador and those which may be of— craft awareness affects the distinctly side, the simple handformed cooking fered to foreigners. Beware of the many separate layers of society in these coun— dishes fired with wood in plastered copies and fakes offered for sale. The rounded ant- tries. adobe kilns resembling business has reached such a level that I will village pot— take you along the paths we hills. We discover many even museum experts are unable to travelled and try to share out ideas dis- teries firing coal braziers, platters, state absolute authenticity of a piece. covered the way I remember them, water-jugs in exactly the same way. The Central Bank ouito has a splen— concentrating on ceramics. They are making too, bricks and roof did display of pre—Colombian artifacts We start on the continent of South tiles using the clay dug from around which impress us greatly. We also visit America u in Colombia, travelling them, leaving themselves on an ever— several magnificient private collections /////ll|l\\\\\\» rough with packs, tent and sleeping growing pedestal of ground. where we have the chance to handle bags, and using buses, boats, canoes, We go on to the San Augustin ar- the pieces; we stay an extra week be— with the occasional hitch. We eat in chaeological region in the south of cause Owen is offered an opportunity markets or roadside restaurants. The Colombia with its finely monolithic to exhibit his work (ivory carvings, pattern becomes: find the village human forms in basalt, and lava stones Potter, Vol 19/2) at La Galeria, one of “OK if? plaza, hunt out the archaeological guarding the grave stones of a little the main exhibition galleries run by sites, the local museum, the market, known civilisation. In the tombs we Olga Fisch and her niece Gogo. Later, illwol‘fl. L/ :lllus‘m 5. illusin. A the 200, the botanical gardens, the find clay forms in the shape of three in Lima he has another chance to ex— The makers of these pots have design them. Decoration is incised and straight line through Paraguay and park, the bus station (for the cheapest legged bowls and pots with precise hibit at Miguel Gayo’s gallery. hotels). Remember you are a ”gringo” geometric incisions. at their fingertips. The decoration is so moulded and patterned with richly Northern Argentina and Chile. On the — a foreigner. You learn that Latin What a contrast all this is to the crude Modern pottery here comes mostly alive that it looks as if the humming flowing brush lines in white, red or way we procure a piece of Lapis lazuli bird could Americans have two faces, one for loc— copies and false artifacts in the craft from Cuenca, where in small concerns fly right off the pot into a black. They are impressive. We miss for Owen and finally greet our own fuschia bush to ”de-honey” als, and one for gringos, which is shops and markets in the villages and the traditional Spanish tinware has be— the flow- seeing a private collection in Santarem Pacific Ocean again. And so into ers. (Illust. mixed with an element of contempt towns. The modern tourist junk for come simplified and different bird and 6) just by not knowing about it. The lack Bolivia and the real Andes altoplano lNe leave Lima for Pucallpa sometimes hard to take. In the remoter sale is mostly poor, low fired, painted flower patterns a regional trademark. It and of reference about ceramics in these which we love. We find plenty of false Amazonia and become intrigued by country areas, however, the old law of with housepaint in garish colours and has its charms. On the coast the tradi— areas is a constant frustration. “Tiwanaku” sculptures and authentic the pots the Shipibo Indians are mak— hospitality to strangers is maintained. then varnished. No, better to go back tional cooking ware and dishes are still As we progress down river we come pottery shards on the archeological ing, still in the traditional Each country in South America is to the past and dream about the makers being turned out by hand on a wooden manner on a to curse Western influence and the sites. From Lake Titicaca we go on to board, smoothing the clay with quite distinctive, but all have separate ofthe flat Quimbaya figurines found in board while sitting crosslegged on the shaped economic programme of the Brazilian Cuzco where the Inca culture reached bits of wood and fired clay layers of society struggling for recogni- Central Colombia near Armenia. The floor. One could watch those sweaty until it is government which has resulted in total its peak. Here the history and the art more finely drawn out than porcelain. tion where human lives are little val— figures have moulded features on fingers working for hours. Alas, plastic destruction of human, animal and and crafts of these peoples makes an There ued and the rights of the individual are rectangular shapes which sit on their and cheap alloys are taking over the are bowls made of finely plant—life along the river and further overwhelming impression so that you stretched clay, zoomorphic pots buried by the thrust of the survival of flattened haunches. Decoration re— function of these suitable utensils. The in and further inland. The outcome has almost lose consciousness of your own lizard and bird shapes and composite the fittest, or the richest. Against this quires a mere few lines or some areas of pots we consider to be most lively in had a bad effect on the tribes who have reality. We tramp the Inca trail for five pots decorated first with background we move, experiencing black slip. Moulded and incised rollers Ecuador are made by various Indian iron slip and contact with ”advanced ways” because days through the mountains to Machu calcium white fired, then with delights and sometimes frustration. for body decoration are patterned with tribes of the Oriente (Amazonia) who vegeta- they no longer value their own crafts Pichu where past building achieve- ble dye patterned with a fine linear de- and Colombia we find is as rich in pre— stylised birds and monkeys, and there bring small quantities into Quito to traditions. Instead they turn out ments are in evidence at every corner sign by brush, before firing. The pots Colombian relics and as sophisticated are their spindle whorls. (Illus. 3, 4 & sell. pitiful tourist items. So Brazil could and even here we find shards at an are piled for firing under dried grasses in parts as more widely known Peru. 5). We pass into Peru for our first con- destroy its cultural heritage making the altitude of 12,000 to 14,000 feet among and branches and allowed to dry in the But keep in mind that our interest lies We come across few studio potters as tact with the famous desert cultures. In world so much poorer. magnificient alpine flowers and abun— Cinders. Finally they are coated with In cities as much in the everyday utensils as in we know them in New Zealand, but Lambayeque we visit the Bruning of Brasilia, Rio de Janeiro, dant blueberries to eat. The Inca pots resin. The pottery is exciting because Sao the richly ornamented and courtly ob- Dona Luz Valencia, whom we meet in Museum and in Lima the noted Larca Paulo, there is little evidence of in the museum surpass even the here is contemporary work linked to studio jects. the charming old town of Popayan, is Herrera Gold Museum and the Amano pottery to be seen except within imagination. past Amazonian designs. The gold museum in Bogota is a making wheel thrown pots and exper- Collection. They are all stacked like the large Japanese communities where Our route is towards the coast again Then we embark on a journey the people must for a visitor. Superbly displayed imenting with glazes made from se— warehouses with pots from the like Shoko Susuki make beauti— to the famous “Nazca Lines”, where entire 4,700 km length of the Amazon ful ware are ceramic items and artifacts in gold venteen volcanic type soils found in Mochica, Chimu, Nazca and Inca. in the Japanese style and we walk over acres of Nazca graves. RiVer taking four and a half weeks for Megumi, and its alloys from ten different reg- the area and is obtaining some subtle Breathtaking and overwhelming they a Japanese/Brazilian, makes The grave robbers are there digging up the journey on six separate little trad- something ions. Objects from the Tairona culture colours. are. The sculptural Ohica pots, made in out of confused Brazilian and dispersing evidence of a whole ing boats. We slide down slippery values by civilisation in the mountainous Sierra Nevada de We go on to Ecuador, around Quito two part moulds, vary only in the combining Japanese — mummies lie about ex— muddy banks to the boat and bargain methods Santa Martha in the north bordering on mainly, and discover even older Pacific treatment of added on pieces: the and ideals in his work. The posed to the air and falling apart, with the captain for a fare. We note that potential the Caribbean Sea date from 800 ~— coast cultures such as the Valdivia who Nazca ofthinhandbuilt rounded forms in terms of raw materials is everywhere there are huge funerary the imagery used on the Shipibo pots great. 1500 A.D. We admire the huge funer— were jungle dwellers. We are fasci- and dishes with as many as seven dif- Ceramic folk art of the coastal urns and scattered shards of decorated varies as the tribes change. In Brazil, in areas are mostly figures portraying Nazca ary pots with faces, with clay ocharinos nated by the female figurines, nearly ferent coloured natural slips gathered pots. Fascination and disgust Benjamin Constant, Manaus Santarem happenings. They curiosity and sadness, make in the form of stylised figures in the all ceremoniously broken and buried from the foothills and right on into the are low fired and this place and Belem the pots are heavier, thickly have a crude charm. an archaeologist’s dream traditional costumes dressed elabo— With the dead, made from hand heart of the Andes mountain regions. and night~ built with a distinctive feel about Our journey now takes us back in a mare at the same time. We are offered Cit. THE FOLLOWWG 355$ i CONTNN A SELECTION New Zealand Potter Page 20 OFowecrsMADE mwe l pots to buy. Authentic they say. We are LATTER PART or me. not sure until we come across the man i who fakes them w beautifully. They w Aoomou to mesa are well made, of good proportion, ,7 , IMAKE A uMnev mow slipped and burnished, and fired in an adobe kiln in his yard. They are perfect ‘ t ' m croonesnc mass. examples, but the potter is not aware of ~ firmer me umosr creating an art form. To him its a job ewrovmarr OUTOF bringing in good money of which he is proud. He is also proud of his plastic ' EVEKVTHIW I‘MMAKlNEr. : flowers and plaster heads on his for- ; M057 OF'H‘I R915 mica table. We go back to Lima and then north for ninety miles to Chancay where we \ Afia‘i‘iyfi‘flyf find a similar scene of open graves and "r“ POTTERY coop) where we pick up “huaca pots”, dig- ging them up ourselves to find some IN ALBANYOK BIT- filled with cornmaize and foodpaste; ‘lONS ETCJN THIS WWI finding mummies sitting on their beds of coca leaves, and discovering black , [WE WITHEHANPLE MY . slip decorated animal fetishes — every- 0 K MUCH MORE AND thing perfectly preserved. On that high lie Ful—U/GANIN E note we complete our loop through South America. PROCESS.-:i>m ‘ t, m: NODSVALEurea:- . On a more personal note ~Owcn and I CHAMBERED WOOD created life during these travels, and Ta/ii, V FIRED KILN 8o BYIAI) our daughter, was born, in September, in Santa Barbara — and with lIL’l‘, wc’ll smitznvswam $752 continue our travels and studies more aware N. I specifically in Europe. . FIRE MW DECORA- Iamiary 1979. , ‘TIVE G ZES WHICH LIKE To AL NATE BETWEEN REWCWOMBOXIDMWOM, CHAHsEz N°2J$ swe-sroxsosuras i Pottery School at Te Horo HEAUaEK REDUCTIONwas

I would like to share with readers my with people like Hamada, Kawai and kind to us all. In the afternoon with TN°3. IS AGAIN SIDE - l experience as one of ten students at Leach. On this beautiful evening we everyone back on terra firma the glaz— BOWEN IIEO 1 Mirek Smisek’s two week school in have time to view the moon through ing and loading of the glost kiln con— wow s$906046!!!” % September. Mirek’s telescope. tinues and takes most of the next day. Days one to five. Mirek explains that Day nine at about 10.00 a.m. the At 4.00 p.m. the glost kiln is fired for Marmara} the object of the school is to learn how kiln’s temperature is at 1300°C. Addi— the third time. Evening comes and we mismmswauroxuse to make better domestic ware. Cas- tional potters from surrounding dis- gather around the kiln and Jane brings seroles are dealt with first, followed by tricts arrive to see the salting process. out her guitar and sings. The natural 57 mo OKWKEE Pom. i large bowls, soup bowls, teapots, wine After twenty saltings a test ring is draught burners provide a gentle goblets and beakers, cheese dishes, drawn. All is going well. There are a background. E: mugs, jugs and bottles. All these items further ten saltings and two test rings Day twelve and the kiln reaches [q are made over a period of five days are drawn. Progressing well. A further temperature at 9.30 a.m. and is closed under Mirek’s guidance. Jane Beverley twenty saltings and two test rings are down at 11.00 a.m., and we go off to see is also giving instruction on slab work. drawn again. Hush, as Mirek examines Mirek’s collection of pots. We have a Day six. Loading and bisque firing the quality of the glaze. ”Perfect”, he barbecue and find out that not only is of the 150 cu ft beehive kiln. says, so the dampers are closed and the Mirek a first rate craftsman, but he’s a Day seven, and Mirek suggests a salt kiln is shut down at about 11.30 a.m. first rate gourmet as well. We finish glaze firing, so the excitement is in- For the rest of the day the glazing for with films and are moved by the awe tense as we prepare the kiln, mix the the glost firing continues. inspiring pots of the historic Japanese glazes, and unload the already bisqued Day ten early, the opening of the salt Jomon period. pots. kiln and the first pot is about to be Last day, there’s another good glost Day eight we spend glazing pots and drawn. “Look at that. It’s beautiful”, firing and we gather around to hear our loading the salt kiln. The salt kiln is set says Mirek with the first slab dish pots discussed. alight at 4.00 p.m. Some stay up with warm in the hand. Soon we are all I can recommend this school. Thank the kiln throughout the night watching holding warm pots, exclaiming and you Mirek and lane for providing an Mirek and kiln in close interaction. exulting, for the result is one hundred enriching experience. per cent successful. Mirek tells of experiences working The kiln has been K. Gaskill, Hamilton BQ¥L§ 7' _, . FIGETAGmwaw rm mm: , fl. golAWTHEWOF fibamwmgmfl . 3;}? ‘ ‘ iiJWB‘EEé‘Lfifi‘mmsmm swnTe" “" wrwflwmze V ' ‘* nma‘mmmo WK v “ %wum4%K%%Ww:m?flwfiAfl / 5m WK oorcweo mkumm'mso WW V '

- s E ‘ mm’ my 6E GLAiEé0W P _ Wwwaerrgww—a mammal/55w ' = me. my WWE Home“; .. ; aAzEfiv Gut GREEN ENAMEL. \ 1- , r69;XE 9k ; 6 SALTGMZED STONE-g . > ' “ 1/ f’ ' HMS 80x55. 8011mm? 5/ ' ' ' , ‘ Box 1239 LEFT HAS Snwezignv : 50mm up slusEE'rs ‘ ' w POECELAIU : BOXES SUPTKAILEDE WITH PORCELAIU8F1LLED ' , IN WITH Bluesrukoumse / GLAZES N THE MARINE? ‘ ‘4 450m: 2. éomscwts srouewm OF SOME WCTORIAN 9-; I ‘ ., ~ MMJ mu. cw $a on amasupmw , AKT NOUVEAUTILES. wnm 0W swag DECOR/(TED 5 .. ; wrrH COBALT Beam STEOKis.

4—912 LEFT 45mm FbIZCELAw BOXES DECOR/WED wwu COLOUKEO ENAMELS. A/OPALESCENT BOMEASH GLAZED macaw» 50;: WITH COBALT Ewe. scuAREse- SILVER ENAMEL LINES. 6“ LONG PORCELAHV Y (54¢: seg) supv t [T we. L a l ; VJ 1.5“. . W°E$Emamazes. a Wm y “ v[a

k.‘ " mmgzwmoLZMMaAzeo . are w msuPTmEUmamenOPALascemW) THENSONEASHWAX 5' » WED, FATLLEXCESSewe :5“(EN WAsHEO OFF. ,

WEISLTDDK’I é ' 6L4 wmfi:sAcocouzfm‘zgmmwe . '- 4i? '~ .‘- savaged IMHNEETCMSING souswawaemc _' . ~ EFF£CTJ. ‘ . PORCELAIN TILES 2 C" ‘5‘ WWI) SALTGIAZED, «Isms QSFFIM FILLED IN WITH ENAMEL-Ho25010 cmII(m11wI

,~_'/ . W302“: ENE @3313? ‘ I'r\- v +7250 Iv 74mm I H —-’ J“ » \;1,‘/// 7ELLOW8 GREEN ENAMELS. ; i- _.\4,_I//’/// N0 616 6C? SALT GLAZE SLI TRAI Dwm—I PORCELAIN SLIP FILLED IN WITH Bane, TUKOIIOISE,5. YELLOWG

SALT GLAZED cuss-s g6“) BIMLT FROM SrONEU SLABS POLLBO£ ATI'EI'ZNfiDIN SLAB Koch , Lowea use HAeQ-oormsts Bounow 9 SILVEK e sers op STACKINGT cuees—j ‘ SLIPCAST OR PRESS MOULDED - SALTGLAZED ON , PORCELAIN WITH THE ADDITION HERE 9 THERE 0F cowwzsoa SILVER ENAMEL? % ~SOUARE PORCELAIN PLATE SLABBUILTWITH ADDED FEET,GLAZEDIN WHITE aDARKCELADON WITH OVERGLAZEENAMEIS. FOUR BRAVE MOULPED PLATTEKS W PORCELAIN ITH COIL FEETADDEIZ {u-THE THKEE PLATES PPOSITE III STONEWAKE GLAZES. THE ONE ON THE FAR LEFT Is SALTGLAZED. WHIIHHIH‘H ‘ COMBED J'Aksrh THESEARE IN Bo PORCELAIN 6 SOME afiHIEs STONEWARE CLAYS, SALTED OVER USING A VARIETYOFGLAZES 8 SLIPS. SALTING BRINGS FORWARD THE TEXI‘URES INA GREAT VARIETYOFWAYSONTHESE. >~ COMBING fiFLUTlNfi IS "' ' APPUEV ONTHECYLINDER Wows. BY IAHSMHIL 5 MIKE ARMSTRONG THEN THE FonsEXPANPEV MANY THANKS T0 was K! W PLE FROM THE (N SWEsHE 80W! BM WORKS 10 mm flmmzug ME NECK 55455 AKE FNI$HEP mwnmmas WSEFDNMMMWfi. W LAST. ? New Zealand Potter Page 28 New Zealand Potter Page 29

Barry Brickell remembers CLIMBING KILN John & Ley Macassey early days again A Eleuthera Potteries, no Whitianga

It was not until some five or six years the then traditional bituminous cok- teapots, coffee sets and fruit bowls \ll was a or o Fitmlovl had elapsed that my ambition to be- ing coal from the West Coast and used were particularly memorable and sold come a full—time potter was realised. for salt glazing up to stoneware temp- steadily at a local shop in Nelson. dismal «Fwd/i BM \lmpad dRP' Some important events were to take eratures. From time to time Mirek Mirek had by then bought a property diesel hailstorm place first. One was a visit to Nelson by would make a pot from local clay and on the frosty flats near the airport. mi owl t trad Len Castle, Terry Barrow and myself in place it in this kiln just for fun. It was From time to time I would stay with ‘liNz valle Wilt Smoke, January 1955. We hired a van and our these casual experiments which set my him and we enjoyed a brisk bicycle camping safari included a visit to imagination on fire. Here was some- ride before starting the days potting. ‘ us bulk await (13 Mirek Smisek who was then managing thing with real meaning. A plastic clay He became one of the first customers of ; Won mat sl‘Wfil ' a brickworks in Nelson. from Ngatimoti, a terra cotta red from Ian McPherson of Mapua who had The previous year had been my first Moutere. I can still recall my reaction to started up as a supplier of prepared l fill/But Wfiifld 9L“ ti year at varsity when I studied geology. the animation of the coal flame and salt stoneware clays. In Mirek’s first days of NGOQl’ Lmol Kimble lad Wat/id ‘w This subject gripped my potter’s im— flashings. full-time potting he was preparing his agination. Our lecturer, E. J. Searle was I remember Mirek questioning how own stoneware body using an old 50 $ludwol_Seuesal ubr Kilns ,:_ enthusiastic in his subject and I practi- to build a small simple kiln which gallon ball-mill as a blunger and drying Ln. ‘cillon‘v‘tazl aLIli l ‘ I cally lived in the laboratory and library would be capable of reaching stone- slip in countless plaster moulds. of the geology department and read ware temperatures. Here was my op- I must mention the granites of Kai- Sum iu a Q G U. {; every paper I could find on the rocks portunity to describe the sump-oil teretere beach which we encountered \llxc killed HSQS” ' cl (SEQ ‘ . and clays of New Zealand. I soon fired drip feed models which we had later in our safari. I was astonished and - , learned of the existence of Nelson gra— evolved in Auckland, based on Neil delighted by the big pink phenocrysts Que SQUQl Chem 5 Cum) us‘lo nite. There is no true granite in the Robertson’s burners, and later on a (super-sized crystals) of feldspar, \Uwr Climb Hill/x Commpto North Island so this factor, together simple swinging louvre three plate which protruded from the semi de- "Th1 algal desk in was boSeol andlML (it mums \llm KélétogdAwk kilyt Show» in with curiosity over Mirek’s pioneering type. I made some sketches for Mirek composed finer grained granite of the efforts into potting, gave us ample of a simple down draught chamber. It cliffs. One could pick feldspars like ”new kiln book'wl a meantime“ Sub\ timed i‘m mall when reason to investigate Nelson. was Mirek’s own modification of this plums and the beach was scattered 5mm‘lke Mls‘ide was Solid and slablo. melt—dram elm ,xoo, exca ‘ Len was then a science teacher at Mt kiln which stood him in good stead for with the pearly crystals too. The de- Albert Boys High School. Terry was years to come as the country’s first composed granite is itself the basis of a Fexiwxale Q climb it» 3.5 and bmlt‘llne lea algae: dwbers 3“ "love“ ethnologist at the Dominion Museum, full-time stoneware potter. A year later rich coarse textured type of stoneware. 4%; round.’rhg dums'iovxs QFPvexmalel 2 Lick 510,-. levikl‘ficn Mollk 4-0;“ working on his masters degree. Thus (1957), Mirek resigned from the brick— We also visited Catherine Phillips with our heads filled with visions of works. I-Iis small down draught kiln (now Blowes) in her warm and homely Chambers: H21 mlfilcwtl mickuA Memlegrlk \‘L CMEEQM‘ (H44 “91(3) 6‘76"” the ultimate potter’s mecca, we were as ran on diesel and the drip feed burners colonial cottage deep in the Tadmor formidable a triumvirate as could ever had simple fixed louvres. valley. She was working on vegetable Egg; fiélollim 690 -CW\ chow“ descend on Mirek and the weathered It was another five years before Itook dyes on homespun wools and this was ' “fie mélkoolo muslillélt‘wms Qmmdvllm 8am <13n 6% Wm Snwgak0 q' granite bastions ofNorth West Nelson. the plunge into full—time potting. my first encounter with a spinner. Her ' . Tl . (29m UBNA $213 \ Mirek’s studio, then a small room Meanwhile there was Mirek firing craftwork was rich and warm and she wax—eefmulu WSWd‘lQWQ_ body ”37d Qtiei { if; I f9 Q under the house, contained an im- twice weekly and maintaining a steady was full of enthusiasm. omen mwwdaco megawatt . . mense kick—wheel. In his spare time he output of salt glazed domestic ware Here was a memorable timeless we 1* la sat made large floridly decorated ear— from the local clays. The ware was slip world — of oiled wood, iron kettle, la Merck On its Sidfl, bill d Olll #:eq thenware vases which to my mind had decorated in cobalt blue, manganese arch brick fireplace, simple pots, warm and lM pin Qraltbu use Susgoh ggfiifi aghmmflz Dita molls‘im a distinctly continental flavour. I think brown and iron yellow with quite a lot rugs and the friendly peace of the coun- T ’w‘ We: d’, b ill it and Rate LL ‘ ‘toh cola/Ion clitoris. there was an electric kiln. The brick- of sgraffito decoration as well as the try way of life. I realised that this was (1 ca gem: works kilns were coal fired, burning salt glaze texture. The wine sets, environment must be my goal. beau \Pul QtokQS, OMd \lj Wk- “film? fiigigosfhtguil «(Mi ~. ~ ., ‘lg 9 Q0 , booze;‘\kg_mw\ Trxa arches mm {éxwol —-9 ' {if Miami/6 opened cwd m s Sumtllaueousli on 3 fibrils 0? X“ W lswldd l , $10 hour's madwx m kciflo our ankles. l\o.rdboard wk battens nailed . fl 3digital Mmmowdged to‘llw badlSWhm NQNL SPCun mfiflxg Together at Driving Creek tion. Sally Vinson organised a pot rave Driving Creek Pottery is blooming. Qaflk‘lol (3‘3d gimme damzol mgr; one evening and also a raku firing. The vegetable garden is large and pro— wile S 52a “—372" Barry Brickell’s annual potters’ D00 John Anderson designed and built a ductive, the potted plants around the header use oral at titled ,. EULNM 1979 was a great success. The weather wood fired tunnel kiln of about 30ft in railway yards are green and strong Mdermrilh b was Eloujs. :, " I I“%: Q 8 ear and (1M? (1.5 was perfect with hot sunny days and length to fire earthenware tiles from creating a feeling of richness and har- bk mm ‘ oul o I . ." .. , _ ll sojlfasiié W‘ V\ w Conga. moonlit nights conducive to camping. clay dug from the side of the railway mony. were, laid us If, mom-RNAW s usuqll‘ um area it»no» 9, The atmosphere was warm and line. This was pugged by keen small bricks Ann Ambler “$9— gfoltcmn Q, QQJ 0?— NM 0A NlYZU—l‘k: friendly. Neighbours had the mighty feet and some not so small. The firing Measut 4N bardtecmal traction engine operating — an amaz- of the kiln was an all night affair with mlxiQ/k b3 s‘lll KMcUQdmd is wocro . ing sight on the Coromandel road with John and Herb Kingi stoking, and Ann Ambler points out that we incor- tiSQOl~lo lute la ktl‘Clkflh cf chogggit is u&fi?§r§ (mt-cam EEK CalSO a load of children riding behind. Barry others in bursts of enthusiasm. The rectly misspelt the name of her pottery 5 _ ' ,, , teem—siehadfbr lea . cut wood with the traction engine and raku followed with pots that were bis- (Potter VolZO/Z). It is Waybe, pronounced and extended Our whole (Mi Gl pé’thm Oddlwl had a steam pug mill going. qued in this kiln. as we said. World“ w‘ilrkllxa Clantafiaktln has widened, Most people went to the beacn or The pottery was open for all to see editor ‘ - lo ' ' M aa‘ \ mat Wommsél‘wms river by day and congregated later at and question Barry or Lorraine on 4*m err-tempera agate at a * the snake pit for meals and conversa- technicalities relating to potmaking. New Zealand Potter Page 31 New Zealand Potter Page 30

Clark and Crum modelling clays Steve Rumsey .2457. éza‘dfim %%Mm

Design is a form of communication By learning to see in The Ceramco purchase of Crum being marketed as ”Clarks Modelling As a starting point, the following this way you in itself so it is difficult to put into will cultivate the ability Brick, Tile & Pottery Co. Ltd. and the Clay" through normal craft pottery proportions are suggested: to understand However, for those who feel the difference recent disappearance of ”Crum Model- suppliers. words. between good and bad (a) 65 parts Clark (dry) + 35 parts AF 30 lost as to how to develop an awareness design. But I warn you — after 30 ling Clay” from the market appeared to Clark clay is not a direct replacement (dry) = 100 parts Crum (dry) of design, here are a few basic starting years as a designer and more recently end a chapter in the history of craft for Crum, although it can be adapted clays points. a potter — I’ve pottery in the Auckland area. Both Clark and Crum Modelling barely scratched the quite readily to your present Crum water content as The main objective is to cultivate surface. However, after some trials and tribu- have about the same body recipe. Compared with Crum, just look — In this lations it is now back on the market in follows: your ability to see and not day of instant this and that the Clark clay is shorter, tougher, has a clay = 3 insatiable appetite for visual and both plastic and powder form. (b) 4 parts plastic Modelling create an painting by numbers it is easy to higher iron content and a lower pencil, pen, crayon get In the meantime other developments parts air dry (approx.) experience, get a misled into thinking there is a vitrification point. However, an addi- You are not magic had taken place: and some paper and draw. formula for success. There isn’t. tion ofAF 30 fire clay gives it properties Using this information you can con- worthy You On the opposite bank of the “Khan attempting to make a picture have to be honest and work it out similar to Crum, as regards plasticity vert your present Crum based body to favourite aunt, but for yourself — just work conscienti- River, Clarks Potteries Ltd. after 50 of framing for your and fired shrinkage, but it is rather more Clark Modelling Clay. For example the to an end — to make you ously at becoming a good potter years, are still very much in business as a means vitreous, particularly when fired under Rex Head high temperature stoneware see what you are looking at. which means a good designer too. manufacturing pipes and fittings from reduction. body recipe is modified as follows: a clay similar to Crum’s. This clay is Drawing will sharpen your observa- Strive to put your own personality into tion and open up a new world to you. your work. By searching the world So if you think your drawing is bad, around you what you discover must Step I Step II Step 111 Step IV don’t be discouraged, it is all worth— filter through to your pots. while. Sense of movement is another as- Hence the purpose of design can be Rex Head’s CRUM DRY to TOMF 30 SR 140c pect. Look at the dynamic patterns in defined as the finding of solutions Plastic Equivalent Properties Components Dry CLARK to CLARK water, the flowing shapes of hills, which are life enhancing and better CRUM CRUM of AF 30 + CLARK Dry Plastic Equivalent . drifting clouds and the effect of wind our appreciation of the world around Recipe Eqivalent dry See (a) above plastic Recrpe overland. us. One can heighten the appreciation From this we can develop various N.Z. Ball Clay 112 of a subject by contrasts e.g. in nature design principles which we should NZ. Feldspar 50 Fine grog 28 we can see the vividness of com— adopt and use in conjunction with the 3 AF 30 200 ...... 200 + 73.5 plementary pairs in still and moving techniques of potting we have been 210 x—5=100 73.5 273.5 water, in wet on dry and dry on wet. taught. CRUM PLASTIC 280 CLARK DRY Visit your art galleries. Extend your A pot has two functions # to satisfy CLARK PLASTIC 210 x m65 _ 136.5 136.5 x 4/3 182 search into man-made objects too. a basic requirement and to provide an Buildings offer great opportunity to aesthetic appreciation. In order to de- StEP 1: Convert Crum Plastic to equivalent Crum Dry by multiplying by 3/4. develop an awareness of design —— sign well one must go one step Step 11: Convert Crum Dry into equivalent proportions of AF 30 and Clark Dry [see suggested proportions ”(a)” above Table]. Step 111: Total AF 30. Convert Clark Dry to equivalent plastic by multiplying by 4/3. look at patterns and textures of old beyond the physical need and out- Step IV: Enter AF 30 total and Clark Plastic in final recipe. and new brickwork, old chimneys, match it. peeling paintwork. Shapes and pat— Below are some books I think are terns between buildings. Discover for worth looking at and your library will yourself. have many more. Fired to Orton Cone 10 with fairly This body, fired as above, pro- Critically look at everyday objects Charles Holmes heavy reduction, terminated with half duced a rich, dark body with an attrac— you use. For example a mop or garden an hour oxidation, these two bodies tive burnt orange/gray mottle. It has a tool. Do you think they are well de- Looking and Seeing series performed as follows: plastic to fired shrinkage of 13% and signed, that is, do they function Civilisation. Kenneth Clark (SR-140C water absorption of 0.75% at Orton efficiently and are they aesthetically The Ascent of Man. I. Bronowski Rex Head Rex Head Cone 10. Alternatively, taking photographs pleasing? How could you improve the Basic Design. M. de Sausmarez CRUM CLARK can be very rewarding, or simply take design? Ways of Seeing. John Berger Shrinkage (Plastic to Fired) 11.75% 11.90% The plasticity of these bodies may be more time to stand and stare. Water Absorption (“porosity”) 31.51% 2.28% controlled by reciprocally varying the Go to nature, a source of endless proportions of AF 30 to Clark Model— material. Here are just a few of the Another body (derived from Peter ling Clay, e.g. for a shorter body than Stichbury’s 423:2:1 dry recipe) has things you can explore. Study trees SR-140A above, reduce AF 30 to 45 and plants; notice the way leaves grow proven satisfactory under test: units and increase Clark plastic Model— from stems, they don’t just look stuck ling Clay to 30 units. The fired proper- SR ~ 140A on (you can relate this to handles); fol- ties are little changed. low the graceful curves of branches AF 30 Fire Clay 50 their interrningling patterns against Clark Modelling (plastic) 25 Clarks Modelling Clay is produced the light; compare leaves and study MM». MM Steetley’s Ball Clay H 20 Wm». ->m by: their shapes, pattern and structure. a...“ Steetley’s Potash Feldspar 10 Clarks Potteries Ltd Pick up shells, eggs, flower and fruit N‘s. ~\ > Fine Grog (Kamo Green) 4.5 40 Taylor Street buds and pips. These will all stimulate \._\ . “a. "mwjfflvqfiw Add Yellow Ochre 1 awn.“ .» Avondale you in appreciating form as well as INater of Plasticity 29% of Dry ingredients only Auckland, 7 pattern, colour and texture. Pebbles and stones contain great subtleties when you are faced with drawing them. Pick them up and feel. You can learn so much about the im- y; ' ‘ N p 3 portance of touch to the whole experi— « mamas-raw? ence ofform. New Zealand Potter Page 32 New Zealand Potter Page 33 Recent Work

.' a... my; ‘ 7 .yr‘ .1.‘ , ? “4“”. ll” ‘r 'fl 3594‘; . K

5‘.

(.x

1

‘

Aotearoa is the title of this mural depicting the New Zealand landscape. Howard Williams ceramist, and Monika Schaer weaver, combinedfor the commission for the boardroom ofthe National Mutual’s new office in Shortland Street, Auckland where viewing can be arranged. The 13’ X 4’ mural is made of Huntly fire-clay with 25 “/0 heavy grog, electric fired in small pieces and glued on to six particle board panels with battens screwed across the back. The woven panels are stapled over the particle board panels, draped down to tuck in behind the ceramic and oversewn in position. The weaving uses a combination of wool, linen thread, cotton and string in off—white, ivory, sage and olive greens, complementing the texture and colours of the clay which is natural tirwclay whites, and greens to black ofcopper oxide. The weaving provides the sky with cloudformations and two vertical panels which run down through the hill lines into looped bushes and rocks.

Whose workshop do they come from? The Albany village potters put together an exhibition in their gallery oftheir own children’s work. The direct and vital children’s approach is evident in this work which shows a high level of competence.

».fl ‘1 : Top left: Scott Hockenhull, dragonfly. Top right.- Gordon Lidgard ('15 yrs) h'dded boxes. Centre left: Marie Brittain (7 yrs) ”Little Red Riding Horse. ,,,,, .. a. Centre right: Hedgehogs and3 lions, Melissa Hockenhull. Below left: Rebecca Stichbury, ”2 cats". Below right: Ruth Brittain (7 yrs) ”She died with her Ley and john Macassey, dinner sets exhibited at Topfers Gallery, Auckland. Apotfrom Doris Dutch’s cityscape series shown boots alt-H Photos Slim Jenkins. at Alicat Gallery, Auckland. New Zealand Potter Page 34 New Zealand Potter Page 35 Auckland Studio Potters. Annual Exhibition

Shino type glazed stoneware, Mayra Elliot Teapot porcelain celadon glaze, Nicholas Brandon

Left above: Majolica dinnerware, Sally Vinson Right: stoneware, Glenys Marshall lnman Below left: stoneware, Margaret Symes Right: Rick Rudd, raka Stoneware, Warick Lidgard Salt glazed stoneware, Barry Hockenlmll New Zealand Potter Page 36 New Zealand Potter Page 37

History on your table

New Zealand commercial ceramics Ponderous products made to tasteless from 1954 to 1978, represented by overseas patterns, particularly from Crown Lynn, Christchurch Brick Britain, were common. Nonetheless Company, Crum Brothers, Luke they made a start. Today improved Adams, McSkimmings, Milton, techniques for quality, and designs Temuka, Timaru and Waimea were characteristic of this country enable us exhibited at Otago Museum late last to sell on world markets. WE are ex— year. In his catalogue bookletfi Stuart porting to THEM. The battle for good Park who arranged the exhibition exp— design, however, is not over. Some of lains the museum’s policy of buying the recent products represented here, past and current commercial products for all their popularity, depend far too as well as craft pottery. much on decoration and not enough on Raymond Ward in the Otago Daily form. Times has this to say about the exhibi- The first exhibit that strikes the eye is Above left: porcelain, tion. an astonishing collection of railway re— Beverley Luxori ”Unlike most exhibitions in the freshment room crockery. A prize ex— Below: porcelain, museum foyer, this one consists only hibit is a cup that weighs 500g and looks Rosemarie Brittain of items from the museum’s collection. thick enough to deflect a bullet. It was Above: anglazcd porcelain, They are therefore not for sale. Some made by Crum Brick and Tile Potteiy Dianne White the museum could probably not even Company, which before World War II Luke Adams jag and glazed milk clattcn’rs give away. had specialised in sewer pipe produc- The collection, begun haphazardly tion, which explains a good deal.” Photos: Howard Williams in the 19405, now includes ware from Raymond Ward comments on some nine industries, dominated by Crown of the exhibits, many imitative of Lynn, Milton and Temuka, but there British ware, others of dubious taste. seems to be a gap between roughly “Between these extremes, traditional 1919 and 1940 which will no doubt in design and richly glazed, are some eventually be filled. As ethnologist and Luke Adams lidded crocks, preserving historian, Stuart Park has focused on a jars, mugs andjugs. Made with convic- set of objects of a type in everyday use, tion they form a snug Centre piece. Fi- realising that like the artefacts pre- nally are the latest Crown Lynn and served from ancient cultures they tell Temuka wares, uneven in quality no us a good deal about our way of life, doubt, but recognisably indigenous.” our tastes, nostalgias customs and ex— He concludes “and so in awe past the pertise. Mighty Railways Cup and out.” It is clear that progress has been * “New Zealand Commercial slow. Until recently the combination of Ceramics” by G. S. Park, Otago artist and craftsmen hardly existed. Museum Dunedin, 1978 28 pp.

WWW at! Mame .. . .- . CRAFT SHOP FOR SALE

Pottery and craft shop, long es- . tablished in Eastern Auckland suburb. Prime position, minimal

outgoings. For details write to — «mum

w: Helen Hamilton Ltd

C/— Remuera Post Office that? Auckland 5 g"

Pauline Abbott shown at Spectrum Gallery, Paraparammi. AL the largest, "r‘ ceramic suppliers IN THE WELLINGTON AREA.

Stockists of only the highest quality products from Harrison Mayer. For servnce, an extensive selection, reasonable prices and a smile, call at our shop in Petone where our competent staff will be very happy to help and advise you. A full time potter is on the premises demonstrating the use of our products and kiln space is available for hire for both biscuit and glaze firings. Our representative will call and assist clients where required and free catalogues of our full range will be posted to you either by written request orjust a phone call. For those overseas we export both finished pottery and pottery supplies.

KILN EQUIPMENT GLAZES Pottery gauges, shelves, props, stilts, Stoneware, earthenware, coloured, saddles and spurs. basic, transparent, matt and opaque. CLAYS POTTERS WHEELS AIICGI GGIIery fine pottery Stoneware, earthenware, slip casting and Stockists of five different makes including 52 Jervois Rd, Ponsonby, Auckland. Phone 769-87fl porcelain kick wheels and electric variable speed. Specialists in 0 High Quality N.Z. Handcrafted 10 /0 discount given for all cash sales with the exception of bulk clays and exclusive lines. Pottery, Woodwork, Weaving We are pleased to offer to you at any one time the work of 100 or more N.Z. potters. We stock, display and sell all types of pottery Cobcraft Potters including herb, patio and outdoor planter pots. A wide range of stoneware for every household use: wine, tea, coffee, water, salad, dessert, dinner Supplies Ltd. sets or individual items—vases, candlesticks, etc. The range is terrific, the quality high and the price is more than competitive. Raku, porcelain, earthenware... electric, gas, oil or wood fired -— if it’s available Jan, Joan or Kilns Kiln Accessories Alastair can show it to you. Never hesitate to ask us about the pots or the Cobcraft wheels Tools people who made them — we like listening to all pottery lovers and talking pots and people. Cowley wheel Accessories See you soon at:

Clays Ceramic fibre

Glazes Raw materials Main Highway, Harrison Mayer agent PARAPARAUMU SCRENPRINTING V ,I Catalogue Mail order Open Monday to Saturday, ph.8604l

&CERAMIC SUPPLIES LTD. Postal address - PO. Box 68, Te Horo. P.O. BOX 30180 LOWER HUTT TELEPHONE 688495 Wellington agents for: 88a Victoria St. Box 25053 Potters Clay 0 Elecfurn o Cobcraft 0 Pacific Wheels 0 Venco Wheels 0 Talisman Products Christchurch Ph. 67-229 buying a pottery kiln? TH E COMPARE THESE WITH OTHERS SEARCH FOR Ask our customers - come and consult us QUALITY POTTERY WE OFFER YOU LEADS A twelve month unconditional guarantee on materials and performance. V Kilns are designed by qualified furnance designers. TO A New Zealand wide installation and maintenance service. THE Any type of Kiln, top loading, front loading, truck, tophat, elevator and tunnel kilns, from 1/3 to 5000 cu. ft. gas, electric and oil firing to 2000°C. A complete advisory service on ceramic processing. I Kiln shelves and furniture - industrial grade * E.C.E., Drost, Royal Sphinx, Koppers— LEO VAN HELDEN

Dynamidon, Annawerke. I I Electric potter’s wheels, pugmills, filter presses, and other industrial clay processing machinery. GALLERY I We manufacture pyrometers and kiln programme controllers and supply all leading brands of imported controllers. MAIN I We manufacture and design spare elements for any brand of kiln at low cost, 24 . hour service. 0 ROAD I GLAZES - REIMBOLD & STRICK * (Bulk Supply only) DAYS

Sole Agents " BAY Kiln Programme Controllers WELLINGTON OPEN SEVEN DAYS A WEEK TELEPHONE 62.8191

Top loading kilns 5.1 and 3.5 cu. ft. Front Loading Kiln 40 cu. ft.

—— m the electric furnace co ltd ®

99 The Mall, Onehunga, P.O. Box 13.454, Onehunga, Auckland Telephone 668-726 and 668-732: After Hours 873-909 Contact Heinz Ollmann or Jack Burrett. ECONOMICAL PUGMILL The Talisman pugmill, NEW though light and relatively small, will stand a lot of hard work and save a great deal of manual effort in both extruding and mixing TALISMAN plastic clays. Economical too. And for convenience it can be mounted vertically . or horizontally. Write for an POTTER’S illustrated leaflet. \ WHEEL The new Talisman “Colt” Stockists of: wheel has been designed 0 General potters’ equip- for people who want a ment (including Cobcraft good, serviceable wheel kickwheels) 0 Local and capable of doing all kinds imported clays o Earthen- of throwing work, even up ware and stoneware glazes 0 Raw materials, glaze stains to professional standard, at and oxides 0 Tools, minimum cost. Its simplicity brushes, books o Teapot makes it an ideal wheel for handles, wine spiggots, schools and classes. corks o Kiln shelves, acces- sories (including program— Manufacturers of the TALIS- mers) ceramic fibres 0 Mail MAN: orders promptly des- Potters wheels, pugmill, slab rol- patched ler, banding wheels, calipers, Write for free catalogue sieves Agents for Harrison Mayer, We provide: England. 0 Wheels for hire 0 Kiln hire ser- vice o Pug mill hire service.

TALISMAN POTTERS' SUPPLIES LTD 171 Archers Rd., Takapuna Auckland. PO. Box 36074 Northcote Ph 480-735 MEIIA tom&jill barton

« Example: Q s Stoneware Chun/Albany Glazes. ’ ' w Temperature range 1230—1280 00. A new range of glazes modelled on the Chun/Albany slip family, developed to produce a wide range of reactive Bowl: John Parker s effects with each other. Photo: Ans Westra Arthur Wedgwood Stoneware Glazes. Temperature range 1230-1280 ° C. Fired in an oxidising atmosphere these new glazes produce the characteristic effects usually associated with reduced atmosphere firings. 150 Karori Rd Wellington 5 mimgg Tel 769-126 SmlthGSmltm after hours 768-414 North Island All pottery supplies: 73 Captain Springs Rd, Box 709, Te Papapa, Auckland. Ph. 661 -249. Open Saturday Morning 10 to 12.30 South Island Pottery, Metal Enamelling, China Painting: Box 22—496, 213 Tuam St, Christchurch. Ph. 64-649. Subscribe to 9 POTTERY ' IN AUSTRALIA

”weareomi Subscription is $A7 per year from the editor, Janet Mansfield, 48 Burton Street, Darlinghurst, NSW 2010. LOW PRESSURE PUBLICATIONS available from the Editor, 48 Burton Street, Darlinghurst 2010. Please add 30 cents postage extra per copy.

Pottery in Australia (back numbers) 10/2, 11/1, 11/2, 12/1 (70 cents each); 12 2, 13/1, 13/2 ($1.50each); 142 ($2.00); 15/1 ($2.00); 16/1 ($2.50); Natural Gas 16/2 ($3.50). Booklets: Klln Burners ELECTRIC KILN (Arthur Higgs): price 75 cents. GAS KILN, CATENARY ARCH (Les Blakebrough); price 80 cents. Delivers 150,000 BIUs From GAS KILN, TOP LOADING (Ivan Englund): price 80 cents. RAKU: price 80 cents: I2LB Gas Pressure. A SIMPLE WOODFIRED KILN (Ivan Englund): price 80 cents. HIGH-TEMPERATURE WOOD

When visiting Auckland remember CLEAN 96 QUIET 96 EFFICIENT 96 Good Flame Characteristics OverAll Heat Ranges 96 Excellent Low Fire Control Gaels 96 Simple Manual Controls the craft shop * Supplied With Jets For 3 Heat Ranges

GLAZES FOR AUSTRALIAN POTTERS $46-00... 3 St Heliers Bay Rd. — Janet DeBoos Available from St. Heliers This concise and attractive book has been written for the COMBUSTION DIVISION Auckland. potter who wants tested recipes. A more satisfying alternative to buying ready mixed glazes is provided, together with means of adapting different glazes WESTRIM ENGINEERING LIMITED forthe best availablein all crafts to different clay bodies, kilns and firing atmospheres. — pottery, woodware, silver Each book will have a page insert relating Australian com- POBOX 5046 NEW PLYMOUTH mercial frit numbers etc. to New Zealand available equival- jewellery, weaving and baskets ents. TELEPHONE 82085 75339 86431 Available from all good booksellers — distributed by: open Friday late night and also CASSELL LIMITED, PO Box 36013, Auckland 9. Saturdays 9am. to 4pm. phone Price: $8.50. 557-793” FIBRE * --——«, - GRAPHICS _ : rams J STUDIO POTTERY FRONT LOADING GAS / WEAVING FEATURES , 0 Full Fiberfax fibrewall 0 Stainless steel door seals 0 Down draft for best efficiency HIS MAJESTY'S ARCADE 0 Special Venturi burners QUEEN STREET 0 Individual burner control AUCKLAND 0 Portable 0 Safe start and automatic control systems PH: 375440 available

Standard sizes include 7 9 12 15 20 cubic ft. Other sizes custom made to requirement, Ask about our 60 cubic it Top Hat design.

TOP LOADING GAS . « ”_. VISION 2 x 4 c.ft. (Illustrated left) All our standard gas fibre kilns are mounted on castors and are fully HEATHERS CERAMIC STUDIO portable, Safe to operate fibre kilns will fire to 1300°C easily LTD. under reduction or oxidising 75 Tennyson St, Napier conditions

for

N.Z.’s largest selection of underglazes and glazes mixed ready to use from 06 to 6. White ELECTRIC KILNS firing clay and slip. (Illustrated right) ' Our popular electric kilns are now EVERYTHING FOR HOBBY CERAMICS lined with ceramic fibre back up insulation for greater efficiency .

GAS EQUIPMENT & CERAMIC FIBRE Gas burners, regulators, hoses, pressure gauges and all other equipment for building your own gas kiln or converting your present kiln. Line your existing oil kiln with our ceramic fibre and save 30%-50% of fuel oil bills. CERAMIC SUPPLIES A full range of potters clays,chemicals, materials, wheels, tools, shelves etc are now available from our New Lynn factory. Write or call for a catalogue and samples of our own Hobstone clay. WIT E TWP RIDES-Z“I‘ EARTHWORKS Lz__,riw.jfirifi.. Handcrafts Sold Co—operatively by the Craftsmen I 0 tillLILI U ‘P‘ 5‘ Fine New Zealand wwwm Road, Auckland, New Zealand Parnell Village — 323 Parnell \ Open 7 Days at Muriwai BeaCh- Just outside Auckland. Phone 69R Waimau ku. Hours: Monday to Friday 10.00 — 5.30, Saturday 1000 — 3.00 F U R N A C E EN G] N E ERIN G Ltd §§a355:-A:%Zland & Ceramic Supply Co. J