A Bernard Leach: a Potters Book Pdf, Epub, Ebook

Total Page:16

File Type:pdf, Size:1020Kb

A Bernard Leach: a Potters Book Pdf, Epub, Ebook A BERNARD LEACH: A POTTERS BOOK PDF, EPUB, EBOOK Bernard Leach | 300 pages | 15 Sep 2015 | Unicorn Publishing Group | 9781910065167 | English | London, United Kingdom A Bernard Leach: A Potters Book PDF Book Enlarge cover. This is the book if you want to learn about artisan pottery production in England and Japan from years ago. Seller Inventory Together, they had the necessary skills and information to set up a studio. Seller Inventory Leach's pottery produced a range of "standard ware" handmade pottery for the general public. Add to Wishlist. Return to Book Page. The range embraces fiction, non-fiction, the arts and children's books. Ives in Cornwall. Resources in your library Resources in other libraries. Guests were presented with their pots as 'party favors. He would prove an adept student as eventually earned the title of the current Kenzan, an honor unheard of for an outsider. Published by Transatlantic Arts Inc. Add to Basket New Condition: New. Shows some signs of wear but in good overall condition. Struggling to establish himself as a potter Bernard Leach - Large Bowl, —50 - image via tate The Fatal Encounter Unfortunately, in his pottery burnt to the ground. To see what your friends thought of this book, please sign up. To join the dialogue with fellow book-lovers please see our blog,. The Hare with Amber Eyes: a hidden inheritance. British studio potter and art teacher. Seller Inventory FOY Used items may not include supplementary materials such as CDs or access codes. Seller Inventory ABE Bernard Leach by Edmund de Waal. New Hardcover Quantity Available: Though I don't agree with all of his philosophy and approach, this book was very important to me. Published by Transatlantic Cameron Sharp rated it it was amazing Mar 29, Now established as a potter, he decided to move to England. Published by Transatlantic Arts. Unread book in perfect condition. Very Good inVery Good jacket. Joan rated it liked it Aug 13, Shipped from UK. He taught several generations of students, many of whom would go on to teach others, keeping the 'links of the chain' of knowledge in the techniques and art of pottery intact from one generation to the next. A Bernard Leach: A Potters Book Writer Mar 26, Peter rated it liked it. Published by Transatlantic Arts. Retrieved 29 August Devoted to ancient tradtitons of the East Bernard Leach - Artwork - image via pinterest Peculiar Pottery Style of Bernard Leach Due to growing up in Middle East and absorbing the peculiar aesthetics, the style of Bernard Leach is in deed a combination of Western and Eastern arts and philosophies. Hardcover; 10th American edition; fading and shelf wear to exterior; in good condition with clean text and tight binding. Alfred Westharp , who at the time was living in Peking, Leach moved to Peking in They constructed a traditional Japanese climbing kiln or noborigama , the first built in the West. Bernard Leach Bernard Leach. Leach promoted pottery as a combination of Western and Eastern arts and philosophies. Leach was not only a prolific potter, but his books, such as his A Potter's Book brought the ideas of Yanagi to a western audience. Faber Finds is devoted to restoring to readers a wealth of lost or neglected classics and authors of distinction. Welcome back. Unread book in perfect condition. United Kingdom. Galway, GY, Ireland. British studio potter and art teacher. Published by London: Faber and Faber Very minimal writing or notations in margins not affecting the text. From his early days, he meticulously perceived art and became haunted with the idea of searching for a perfect shape. Sam Winton rated it really liked it Aug 11, Our BookSleuth is specially designed for you. During his eleven years in Japan, Leach met many artists including the young Shoji Hamada, and they became very close friends. More information about this seller Contact this seller 5. Condition: UsedGood. Just a moment while we sign you in to your Goodreads account. Web pages by. In that case, we can't Jacket outside very good, with very light rubbing. With this book, potters can learn everything from how to adapt recipes for pigments and glazes to designing kilns. Pretty outdated, but still a fantastic little primer on Ceramic studio production with a little history thrown in. More Books. A Bernard Leach: A Potters Book Reviews Start your review of A Potter's Book. Showing Leach advocated simple and utilitarian forms. Published by Unicorn Publishing Group. About this Item: Faber and Faber Ltd. Another apprentice was an Indian potter Nirmala Patwardhan who developed the so-called Nirmala glaze based on an 11th-century Chinese technique. For a better shopping experience, please upgrade now. De Waal's book on Bernard Leach was published in Namespaces Article Talk. Dust Jacket Condition: Very Good. Weight in Grams: Book Description Transatlantic Arts. Hard Cover. Dust jacket worn at edges and tips, several small tears. Condition: Good. Members save with free shipping everyday! United Kingdom. Quotes from A Potter's Book. Javascript is not enabled in your browser. The story goes that he attended a party one evening of artists and writers. Used items may not include supplementary materials such as CDs or access codes. Though I don't agree with all of his philosophy and approach, this book was very important to me. Brown cloth boards, price-clipped dust jacket now in a removable protective sleeve. Seller Inventory GOR United Kingdom. A Bernard Leach: A Potters Book Read Online All books are sealed in plastic, packaged securely, and shipped promptly with tracking information. Published by Transatlantic Arts. New Book. Seller Inventory Hardcover; 10th American edition; fading and shelf wear to exterior; in good condition with clean text and tight binding. The spine remains undamaged. There are certainly processes and ingredients that have changed in the intervening time, but his descriptions of methods and understanding of form are timeless. Leach was the first international potter to provide an examination in depth of the workmanship of Korean and Japanese artists from the Sung dynasty period. Enlarge cover. Unread book in perfect condition. Add to Basket Used Hardcover. No trivia or quizzes yet. Condition: New. All books dispatched same or next working day in robust packaging. A large number of potters from all over the world were apprenticed at the Leach Pottery and spread Leach's style and beliefs. Get A Copy. Light rubbing wear to cover, spine and page edges. Want to Read Currently Reading Read. About Bernard Leach. Clean bright covers, some pages have light foxing to endpapers and page margins, occasionally with foxing spots on the margins of plates. Tom Johnson rated it it was amazing Apr 01, Near fine book in unclipped dustjacket which has minimal shelfwear. Bernard Leach died in , in St. Published by Transatlantic Arts. About this Item: Transatlantic Arts. Very Good inVery Good jacket. A nice copy! Their friendship spanned both their lifetimes and combined with their association with Soetsu Yanagi and the Mingei movement these two potters had more impact on the aesthetics and style of 20th century pottery in the world than anyone else. New copy - Usually dispatched within 4 working days. Galway, GY, Ireland. Published by Unicorn Publishing Group. Create a Want BookSleuth Can't remember the title or the author of a book? More information about this seller Contact this seller Condition: Very Good Softcover. With 4 colour plates, 77 half-tone illustrations in plates and many line drawings in text. Continue shopping. Faber Finds is devoted to restoring to readers a wealth of lost or neglected classics and authors of distinction. Seller Inventory ABE North America. Within these pages Leach communicates his deeply-held convictions, through an account of the standards and materials essential to English slipware, stoneware, Japanese raku and Oriental porcelain. More information about this seller Contact this seller 7. Terry G Beer rated it it was amazing Sep 23, Horne was establishing a Guild of Handicrafts within the existing artist colony of St Ives in Cornwall. Views Read Edit View history. He is regarded as the "Father of British studio pottery". The Leach Legacy by Marion Whybrow. Condition: UsedAcceptable. Resources in your library Resources in other libraries. The story goes that he attended a party one evening of artists and writers. https://files8.webydo.com/9584247/UploadedFiles/39FC0ABA-2110-7F1E-FCF5-56958BFAAD81.pdf https://files8.webydo.com/9583484/UploadedFiles/02DC6522-9790-79CA-6764-BA9C43C8D0D8.pdf https://files8.webydo.com/9582985/UploadedFiles/AC7AA1B8-E73C-F675-BC6A-DC988BFD7F2A.pdf https://files8.webydo.com/9582873/UploadedFiles/6AA8293B-AC5F-1455-0034-54E25E904E9A.pdf https://files8.webydo.com/9583916/UploadedFiles/5B6CC0DF-F384-DA7E-5EFD-27C3168E3734.pdf.
Recommended publications
  • Hamada Shōji (1894-1978)
    HAMADA SHŌJI (1894-1978) Hamada Shōji attained unsurpassed recognition at home and abroad for his folk art style ceramics. Inspired by Okinawan and Korean ceramics in particular, Hamada became an important figure in the Japanese folk arts movement in the 1960s. He was a founding member of the Japan Folk Art Association with Bernard Leach, Kawai Kanjirō, and Yanagi Soetsu. After 1923, he moved to Mashiko where he rebuilt farmhouses and established his large workshop. Throughout his life, Hamada demonstrated an excellent glazing technique, using such trademark glazes as temmoku iron glaze, nuka rice-husk ash glaze, and kaki persimmon glaze. Through his frequent visits and demonstrations abroad, Hamada influenced many European and American potters in later generations as well as those of his own. 1894 Born in Tokyo 1912 Saw etchings and pottery by Bernard Leach in Ginza, Tokyo 1913 Studied at the Tokyo Technical College with Itaya Hazan (1872-1963) Became friends with Kawai Kanjiro (1890-1966) and visits in Kyoto (1915) 1914 Became interested in Mashiko pottery after seeing a teapot at Hazan's home 1916 Graduated from Tokyo Technical College and enrolled at Kyoto Ceramics Laboratory, visits with Tomimoto Kenkichi (1886-1963) Began 10,000 glaze experiments with Kawai 1917 Visited Okinawa to study kiln construction 1919 Met Bernard Leach (1887-1979) at his Tokyo exhibition, invited to him his studio in Abiko where meets Yanagi Sōetsu (1889-1961) Traveled to Korea and Manchuria, China with Kawai 1920 Visited Mashiko for the first time Traveled to England with Leach, built a climbing kiln at St. Ives 1923 Traveled to France, Italy, Crete, and Egypt after his solo exhibition in London 1924 Moved to Mashiko.
    [Show full text]
  • The Leach Pottery: 100 Years on from St Ives
    The Leach Pottery: 100 years on from St Ives Exhibition handlist Above: Bernard Leach, pilgrim bottle, stoneware, 1950–60s Crafts Study Centre, 2004.77, gift of Stella and Nick Redgrave Introduction The Leach Pottery was established in St Ives, Cornwall in the year 1920. Its founders were Bernard Leach and his fellow potter Shoji Hamada. They had travelled together from Japan (where Leach had been living and working with his wife Muriel and their young family). Leach was sponsored by Frances Horne who had set up the St Ives Handicraft Guild, and she loaned Leach £2,500 as capital to buy land and build a small pottery, as well as a sum of £250 for three years to help with running costs. Leach identified a small strip of land (a cow pasture) at the edge of St Ives by the side of the Stennack stream, and the pottery was constructed using local granite. A tiny room was reserved for Hamada to sleep in, and Hamada himself built a climbing kiln in the oriental style (the first in the west, it was claimed). It was a humble start to one of the great sites of studio pottery. The Leach Pottery celebrates its centenary year in 2020, although the extensive programme of events and exhibitions planned in Britain and Japan has been curtailed by the impact of Covid-19. This exhibition is the tribute of the Crafts Study Centre to the history, legacy and continuing significance of The Leach Pottery, based on the outstanding collections and archives relating firstly to Bernard Leach.
    [Show full text]
  • Bernard Leach and His Circle
    Bernard Leach and his Circle Spring 2008 26 January – 11 May 2008 Notes for Teachers Information and practical ideas for groups Written by Angie MacDonald Ceramics by Bernard Leach and key studio potters who worked alongside him can be seen in the Showcase (Upper Gallery 2). These works form part of the Wingfield-Digby Collection, recently gifted to Tate St Ives. For discussion • There has been much discussion in recent years as to whether ceramics is an art or a craft. Leach insisted that he was an ‘artist-potter’ and he always regarded his individual pots as objects of art rather than craft. • Why do you think he considered these pots more important than the standard ware (tableware)? • What do you think the display at Tate St Ives says about the status of these objects? Are they sculptures or domestic objects? • The Japanese critic Soetsu Yanagi complimented Leach by describing his earthenware as ‘born not made’. What do you think he meant by this? • Leach said he wanted his pots to have ‘vitality’ – to capture a sense of energy and life. Can you find examples that you feel have this quality? • The simplified motif of a bird was a favourite for Leach. He considered it a symbol of freedom and peace. Can you find other motifs in his work and what do you think they symbolise? Things to think about This stoneware tile has the design of a bird feeding its young, painted in iron. It has sgraffito detailing where Leach scratched through the wet clay slip before firing. It is an excellent example of Leach’s commitment to quiet, contemplative forms with soft, muted colours derived from the earth.
    [Show full text]
  • Bernard Leach and British Columbian Pottery: an Historical Ethnography of a Taste Culture
    BERNARD LEACH AND BRITISH COLUMBIAN POTTERY: AN HISTORICAL ETHNOGRAPHY OF A TASTE CULTURE by Nora E. Vaillant B. A. Swarthmore College, 1989 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts in The Faculty of Graduate Studies (Department of Anthropology and Sociology) We accept this thesis as conforming to the required standard The University of British Columbia October 2002 © Nora E. Vaillant, 2002 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of J^j'thiA^^ The University of British Columbia Vancouver, Canada Date DE-6 (2/88) ABSTRACT This thesis presents an historical ethnography of the art world and the taste culture that collected the west coast or Leach influenced style of pottery in British Columbia. This handmade functional style of pottery traces its beginnings to Vancouver in the 1950s and 1960s, and its emergence is embedded in the cultural history of the city during that era. The development of this pottery style is examined in relation to the social network of its founding artisans and its major collectors. The Vancouver potters Glenn Lewis, Mick Henry and John Reeve apprenticed with master potter Bernard Leach in England during the late fifties and early sixties.
    [Show full text]
  • Leach Pottery Announce Collaborative Project to Restore Documentary Film Compendium on Bernard Leach and the Mingei Movement
    Leach Pottery Announce Collaborative Project to Restore Documentary Film Compendium on Bernard Leach and the Mingei Movement The Leach Pottery and Marty Gross Film Productions, Canada, announce their collaboration in the restoration and re-release of historically important films from the 1930’s to the 1970’s which profile key figures in the history of The Leach Pottery and the Japanese Mingei Movement. The Great Britain Sasakawa Foundation have provided a generous £5000 donation in support of this unique project, and following this initial funding further funding has been pledged or received from The Museum of Ceramic Art New York, Ceramica Stiftung Basel, Warren and Nancy MacKenzie, scholar Dr. Paul Griffith and art collector Dr. John Driscoll. Film subjects include Bernard Leach, Shoji Hamada, Soetsu Yanagi, Janet Leach, William Marshall and others. Bernard Leach, founder of The Leach Pottery, was an important figure in the history of contemporary ceramics and a key member of the group that founded the Mingei Movement. His writings on Japan and its ceramic traditions are central documents in the history of the Modern craft movement. Over the neXt three years, the project will restore and digitize important and never before seen footage which documents the studies of Bernard Leach and his colleagues in Japan as they developed ideas that became central to the Mingei movement. The resulting compendium will consist of DVDs and a booklet containing the following films and new documentation: ▪ Trip to Japan, filmed by Bernard Leach, 1934-35 ▪ Mashiko Village Pottery, Japan 1937 ▪ Bernard Leach visit to San Francisco, 1950 ▪ The Art of the Potter (1971), by David Outerbridge and Sidney Reichman ▪ Excerpts from 10 hours of unseen film footage from The Art of the Potter ▪ An exclusive Video Interview by Marty Gross with Mihoko Okamura, D.T.
    [Show full text]
  • Yuko Kikuchi Hybridity and the Oriental Orientalism of Mingei Theory Downloaded From
    Yuko Kikuchi Hybridity and the Oriental Orientalism of Mingei Theory Downloaded from Orientalism is not a rigid one-way phenomenon projected on to the Orient from the Occident. It is an infectious phenomenon, open to appropriation by 'others', at least in the case of modern Japan. This article presents a case study o/Mingei (folk crafts) theory created by Yanagi Soetsu and evaluated in the Occident as an 'Oriental' theory for what is deemed to be its greatest merit—'traditional authenticity'. The intention of this article is firstly to demystify the essential 'Orientalness' o/Mingei http://jdh.oxfordjournals.org/ theory by showing its 'hybrid' nature and the process of hybridization involved in the course of its formation; and secondly to show the strategic significance of 'hybridity' in the context of Japanese cultural nationalism in the dichotomic framework of Orient and Occident. This article presents a case study of Japanese Japanese art in the nineteenth century, following objects in the modern period as related to on from interest in the art of China, India and the 1 Yanagi Soetsu (1889-1961) [1] and his Mingei Middle East. 'Orientalism' is an integral part of at UNIVERSITY OF THE ARTS LONDON on October 6, 2014 (folk crafts) theory, Japan's first modern craft/ the discipline for studying Japanese art, and has design theory created in the 1920s. The main focus been particularly evident in the way the Occident of discussion is on the creation of a Japanese defined Japan as medieval and primitive, and as a national identity, the invention of Japanese 'tradi- country of 'decorative art' without 'fine art'.
    [Show full text]
  • Education Guide
    EDUCATION GUIDE Apprenticeships: Altering the American Potter “I imagine as you talk to us Leach trained potters you’ve been hearing quite a bit about the past. I almost wish we could abolish that word, because I think what we’re about is the continuum.” - Clary Illian LESSON OVERVIEW In this lesson students get to know three American potters who are connected by their individual experiences as apprentices at Leach Pottery in St. Ives, England. Students will be introduced to two internationally influential potters – Bernard Leach and Shoji Hamada who took on many apprentices, as well as connect the notion of apprenticeship to their personal lives. Utilizing the Craft in America website students will explore and research the work of a featured artist/s, looking for qualities and attributes they feel they would like to apply to their own work. In studio practice, students will create a series of altered functional forms that have been influenced by the work of other craftspeople. Grade Level: 8-12 Estimated Time: Five to seven 45-minute class periods Craft In America Theme/Episode: CROSSROADS Background Information Jeff Oestreich was trained to the austere simplicity of traditional Asian pottery while serving as apprentice to Bernard Leach in England in the 1960s. A highly regarded studio potter, Jeff has exhibited widely in museums and galleries world-wide. His work can be found in the outstanding collections of the Victoria and Albert Museum, the Incheon World Ceramic Center, the Los Angeles County Museum of Art, the Smithsonian’s Renwick Gallery, among others. He opens his studio to the public every year.
    [Show full text]
  • THE LEACH POTTERY: ONE CENTURY Dates: 17Th
    THE LEACH POTTERY: ONE CENTURY Dates: 17th Jan - 14th March 2020 Private View: Friday 17th Jan / 5-7pm Oxford Ceramics opens its 2020 season by celebrating the centenary of one of the most significant ceramic studios of the modern era: the Leach Pottery, founded in 1920. This pottery has shaped studio ceramics as we know it today, and is a cornerstone of ceramic history. It includes over 200​ ​works sourced from across​ ​the globe from these masters of ceramics: Bernard Leach, Shoji Hamada, Michael Cardew, Kawai Kanjiro, and Tomimoto Kenkichi; as well as antique English slipware from as far back as the 18th century. This is a show that weaves together both influence and the finished article. There is something for the collector, ceramic enthusiasts and the plain curious​. “As far back as one goes in time, the works of humanity from prehistoric times have reached us not through stone which crumbles and wears away, or through metal which oxidizes and becomes like powder, but through slabs of pottery, the writing on which is as clear today as it was under the stiletto of the scribe who traced it.” (​Bernard Leach, ​A Potter's Book​) James Fordham, the creative director of Oxford Ceramics, says, “This was always going to be a significant show for the gallery, as the Leach Pottery is one of the most respected and influential potteries in the world. I wanted to mark this anniversary with a show that explored not only the work of Leach & Hamada, but that looked deeper into the influences on their work.” Many great potters studied under Leach and many more were inspired by his written work, including A Potter’s Book, published in 1940.
    [Show full text]
  • ARTIST FACT SHEET Shoji Hamada
    ARTIST FACT SHEET Shoji Hamada ABOUT THE ARTIST (b. 1894, d. 1978) Shoji Hamada was born in Tokyo, Japan in the Kanagawa Prefecture (a district in the country) in 1894. He began studying ceramics at age 16 and graduated from Tokyo Technical College. In 1918, Hamada met British studio potter Bernard Leach. Together they founded the Leach Pottery in St. Ives, Cornwall, England in 1920. In 1924, Hamada returned to Japan to open his own studio at Mashiko in Tochigi Prefecture. Hamada and Bernard stayed life-long friends and were particularly influential in bringing the mingei aesthetic to contemporary pottery. In 1952 they visited the Archie Bray Foundation in Helena, Montana. Hamada mentored numerous potters during his career, at Mashiko and around the world. Regarded as one of the most influential masters of studio pottery, Hamada was designated a Living National Treasure by the Japanese government in 1955. ABOUT THE ARTWORK This work of art is an example of Hamada’s poured glaze technique. The artist created the patterns by pouring the glaze over the plate with a ladle. This plate has a solid, black background called a tenmoku glaze. The poured rust-colored is called a kaki glaze. Hamada’s glazes usually were made from ash, salt, iron and cinder. CONNECTIONS AND FACTS Shoji Hamada Hamada’s studio is now part of the Mashiko Pottery Village. Find Plate with tenmoku glaze and kaki out more at http://www.jnto.go.jp/eng/attractions/facilities/heart_art/ glaze poured in an angular direction, traditional_tochigi.html circa 1960 Glazed stoneware The word mingei means “art of the people” and was coined by a Collectors Forum Purchase Japanese philosopher named Soetsu Yanagi who found beauty in regional, handmade, utilitarian objects.
    [Show full text]
  • In Pursuit of the Ethical Pot IJ's Essay 7July2015
    ! Iskandar Jalil 140 Hill Street #01-03 Old Hill Street Police Station !36 Armenian Street #01-07!!!44 Jalan Kembangan! Singapore 179369 !!!! !Singapore 179934!!!! Singapore 419114 ! In Pursuit of the Ethical Pot (2015) Iskandar Jalil ! I have spent a lifetime in search of the ethical pot. People here are astonished, even potters – they have never heard of this and they find it hard to accept that there is such a thing as a pot with ethics. We do not have extensive discussions on this subject in our local pottery culture. The idea of the “ethical pot” was made popular by the pottery icon Bernard Leach as early as the 1940s but it is virtually unheard of here. ! The British curator of ceramics Oliver Watson explained that the ethical pot was the idea that if a pot was made, not just using the right technical skills but with the right attitude and values, this vessel would develop moral and spiritual dimensions1. The Japanese have long believed in michi (“the Way”) that when we make or do something, it is more than the physical form or appearance itself. They have sado, the Way of Tea, shodo, the Way of Writing, kado the Way of the Flower or the more popular term ikebana. I have said this before2, that kado or ikebana is not just about arranging flowers but embraces a philosophy of aesthetics, a set of principles or ethics and something more spiritual. ! So, for me, the ethical pot is the embodiment of the skills as well as values, ideals and convictions about pottery as well as about life that I, as a potter, have developed over the years.
    [Show full text]
  • As I Was Going to St Ives… LIVING a TRADITION at the LEACH POTTERY
    ARTS & CULTURE As I was going to St Ives… LIVING A TRADITION AT THE LEACH POTTERY It’s a long way from the tourist fray and the packed summertime Leach in St Ives between 1949 and 1952. Portland, Oregon- beaches that so many people associate with St Ives, Cornwall based potter Carson Culp finished up as a volunteer studio assis - and that’s part of the beauty of the place. Far from the seafront, tant in 2017, and he is currently resident artist at the Museum with its innumerable galleries, craft shops and cafes lies the of Ceramic Art in the legendary pottery town of Mashiko, Leach Pottery, a bastion of tranquillity and East Asian sensibility. Japan. He, too, is captivated by the many historic connections Created by Bernard Leach (1887-1979), the esteemed English between Leach and Mashiko, where Leach first encountered the studio potter, (and widely acknowledged as the most influential master potter, Shoji Hamada (1894-1978). potter of the 20th century), it was from the small studio on Consisting of a museum, gallery, studio and shop packed with Higher Stennack in St Ives that Leach contributed so much to locally made pots, the Leach Pottery is an absolute must-see in artistic sensitivity, both in Britain and in the wider world. Cornwall, and it can easily serve as the focal point to include a Although a Sunday afternoon drive past the Leach Pottery look around other centres of artistic production, past and pres - wouldn’t immediately call all this to mind, just one glance at the ent, in St Ives.
    [Show full text]
  • Bernard Leach
    BERNARD LEACH hsgayg in Appreciofiiom CoiiectedF ané Edited by T. Barrow A Monograph published by the Editorial Committee of the N.Zi Potter Wellington New Zealand 1960 BERNARD LEACH READING — ST.IVES, 1957 CONTENTS Page List of Illustrations Terry Barrow Editorial Preface Bernard Leach An Open Letter to New O\ Zealand Potters The publication of this book was Bernard Leach Looking Backwards and made possible by the generosity of 10 the Hon. W. T. Anderton, Minister Forwards at 72 of Internal Affairs. Financial C. L. Bailey Bernard Leach in Perspective 16 support was also received by small donations and pre—publication Michael Cardew Bernard Leach — Recollections 19 payment of subscriptions. All Ray Chapman—Taylor A Few Lines on Bernard Leach 26 work in connection with the pro— duction of this book has been Kathe rine Pleydell — At St. Ives in the Early Years 29 voluntary, and any profits from Bouverie its sale will be used to subsidize Barry Brickell The Colonial Response to Leach 33 regular issues of the N. Z. Potter Bernard Leach A Note on Japanese Tea 37 or other monographs. Ceremony Wares Len Castle Photographs of the Leach 39 Mr. Wilf Wright has generously Pottery undertaken the task of distributing Murray Fieldhouse Workshop Visit - The Leach 41 the book. Copies may be obtained Pottery for ten shillings each by applying to Mr. Wright at Stockton's Ltd. , George Wingfieldu Bernard Leach — Bridge between Woodward Street, Wellington, N. Z. Digby East and We st Bernard Howell Leach Biographical Chronology 62 c 1960 by the Editorial Committee N. Z.
    [Show full text]