new zealand potter —i anagrams

contents Vol. 15/2, Summer 1973

Full-time courses in ceramics—Lyell Hallum . 2 Some potters Rosemary Perry—Gaynor Scandrett ...... 18 Does your kiln comply with the Act?—W. Frederika Ernsten—Gaynor Scandrett ...... 19 Milne ...... 7 Nola Barron ...... 24 Potters, pottery in England and Germany—— Flora Christeller ...... 9 Editorial

Town gas stoneware kiln—Madelaine Aldwell 14 First Fifteen Years Notes from a country potter—~Helen Mason ...... 16 Over fifteen years the New Zealand Potter has So the imported idea has germinated and provided a mirror for reflecting the progress and flourished. It has consolidated and broadened to development of the pottery movement in the point where we can call it our own. Some New Zealand. very good work is being done by a growing In the beginning a handful of potters inspired number of people. We have earned a reputation by the craft revival overseas experimented and overseas for our pottery. But is all well? philosophied as they groped for values that were Some critics say that today’s pottery lacks appropriate to life in New Zealand. This was in the the vitality shown earlier. Others say that our NEW ZEALAND POTTER is a non-profit making magazine published twice annually. 1950s, fifteen years before the Whole Earth potters are technically sound but are lacking Catalogue published these same views to a imagination and appreciation of good design. I say receptive audience. The early evangelistic potters— that there are a lot of pots in the pot shops that Subscription rates: Within New Zealand $2 per annum, post free. such as Brickell, Castle, Perrin, Blumhardt and should not be there. Australia $2.20. Canada and United States $U.S.3.50. Mason were fired with zeal. Their enthusiasm But despite the criticisms the pottery movement Britain £1.50p. Other countries $U.S.3.50. was catching. And so a seed from the northern is in good shape. The enthusiasm is still hemisphere was planted in New Zealand. there. Technology improves. There is a wide variety Then comes a period when the originators, and of styles in work. We no longer see pottery We regret that changing exchange rates have made adjustments to some overseas subscriptions other converts, mastered their craft. They spared just through the eyes of Hamada or . no effort in learning the techniques, finding out We are developing our own idiom. about the rocks and clays, building and firing. The structure is old enough now to be fairly Editor Margaret Harris These potters came to know their material at first called a New Zealand ceramic tradition: the hand. They were few enough in number to be younger potter merely needs to enter this structure Administrator Esme Marris known to each other and they shared their and use it. He is spared the pioneer potter’s knowledge and kept in touch. Their work was search for identity. Advisors and helpers Don Frazer, Audrey Brodie, This could have an Doreen Blumhardt, Nigel strong and lively befitting ”pioneers." New Zealand effect on the vitality of his work. Harris, Ruth Court, John Stackhouse pottery began to be recognised as having a Nevertheless he is starting well up the ladder character of its own. Which accounts for the technical surety in the work Index complied by John Stackhouse, Now there are even more potters, more pots and of many potters still in their twenties. Design Audrey Brodie, Jim Brodie. more pot shops. I'm tempted to say everyone's improvement will come with a more Cover Nigel Harris doing it. The camaradie has gone. What started wide-ranging artistic background because design out as a religion has now become big business. awareness is absorbed, not learnt. . Printed by Deslandes Ltd., The last issue of the Potter volume 15/1, The pottery movement in New Zealand shows a diversification in New Zealand pottery will face its true test when the pottery unheard of a few years back. As well as what market is no longer heavily supported by fashion. [:1 Editorial/subscription/advertising correspondence should be addressed to New Zealand Potter — PO. Box 12-162 Wellington North, New Zealand. we've come to expect, there is gay decorated earthenware, pure sculpture, sophisticated cylinders and bottles and a bit of fun and nonsense. Full-time Courses in Ceramics at Otago Polytechnic

by Lyall Hallum "The subject of education for potters has been So in Dunedin we have ideals, and we have alive for some time . . I take this students. The art school, now 103 years old, quote directly from an article by Ken Clark has undergone considerable change since in the 1969 autumn issue of the NZ. Potter. becoming incorporated into the new Polytechnic He goes on to discuss planning, costs, viability in 1966. Seventy full-time students from all over and white elephants but more importantly he says New Zealand, and a few from Australia, are that students must have: . . above all the working towards a multi—subject general art freedom to explore the unknown, together with three year Diploma (Dip. F.A.A.). This course the opportunities and facilities to exercise the provides the essential broad base to aesthetic imagination in this particular medium . . education but allows a degree of specialisation in Doreen Blumhardt, writing in the same issue would the third year which has enabled senior students surely agree with this for she writes with to achieve creditable standards, as shown in some spirit about educating the young and states: Geoffrey Logan's exhibition of stoneware pottery . . the arts are an essential part of a properly at the Moray Gallery, this year. balanced education . . These I too believe to be worthwhile objectives, and now, four years later, I am pleased to put the rhetorical question. Where are we going? photos: Otago Polytechnic Specifically, where are we going at the Otago Above right: Third generation diploma students, Polytechnic School of Fine and Applied Arts, Pam Haugh and Chan Guan Choo discuss a point where Ceramics tuition as a specialist subject with tutor Lyall Hallum and visiting potter Michael is in its third year? I'am pleased to report that Trumic. much progress has been made in achieving . Below: Full-time ceramics students Judith Murtagh the sort of goals that these writers outline. and Rosie Corse Scott. To start with, we are not short on ideals. I take as Below: Oswo/d Stephens and Doreen Blumhardt at my general objective the aim to foster in students the official opening an enthusiasm for creative expression and self realisation in the ceramics medium and to set about providing them with the means, in terms of understanding the materials and techniques, to achieve these, their own ends. This is hardly "training for potters" to use Kenneth Clark’s rather narrow term. it is, I believe, something considerably more. ls it really conceivable that we should, as Mr Clark suggests, conduct surveys to assess whether or not we can afford to hold such ideals? Certainly not, for aesthetic education is, as Doreen says, part of a larger thing—it is for life. It is as much the right of the digger of ditches, the seller of goods, as of any other member of the community, and from such ranks our most creative people may appean Ceramics programmes for these students are We also have the facilities. Doreen Blumhardt's designed to give in the first year, an intensive three day seminar marked the official opening of a guided work programme which leads progressively new L shaped complex provided by the Government to increased personal research and self expression. within a year of our initial request. This building In the second year industrial techniques are is excellent for our present purposes, containing introduced and the basic handforming techniques main forming studio, glazing room, clay extended while in the third year specialist, and preparation room, kiln room, a separate kiln shed non-specialist student alike are on projects of their and the usual office and storeroom, but this own choosing from across the whole range of the is only an interim measure as approval has been ceramic medium. That some of these students given for the complete rebuilding of the whole will become potters cannot be doubted Polytechnic. but this is not the important thing because, Of the potters, educators, and to come back to Kenneth Clark's words, if they industrialists that l talked to during my trip are to have “the freedom to explore the unknown", throughout the country last year, few expressed they cannot be restricted by our concepts reservations about our plans, If there were a as to what they will achieve. single doubt that could be extracted from Besides these Diploma students we have a the many views expressed it would be that a small group who are New Zealand's first misguided philosophy (at least contrary to that of full-time pottery students. As they come from a the people concerned) might dominate a school variety of backgrounds (art, science, commerce such as ours. i agree this could happen unless and so on) and have varying degrees of experience a conscious effort has been made to ensure, in ceramics, their courses have to be especially and this time | quote Ian Smith from that same designed to suit their needs. The very flexibility of 1969 issue, that students are encouraged . . to the Polytechnic structure is ideal for this make enlightened selections and rejections purpose. The ceramics student may choose to of philosophies and techniques." include art history, basic design, sculpture, To this end l am enlisting the support in our chemistry, metalwork, to name a few of the teaching programmes of several professional specialties of the 60 full time tutors. potters from throughout the country. Both Doreen Blumhardt and Michael Trumic, the first potters to be involved in the scheme, are photos: Otago Polytechnic enthusiastic about the students they encountered. And the students are equally enthusistic with this approach to ceramic education. I am optimistic about the future. When next the question is raised in New Zealand about the direction that ceramics education is taking, it FULL TIME COURSES IN CERAMICS will have no connotation of despair, but one of OTAGO POLYTECHNIC SCHOOL OF FINE AND APPLIED ARTS a continuing spirit of surprise. D offers instruction in ceramics

Lyall F. Hal/um is Tutor in Charge of Ceramics at Otago Polytechnic. 1. In a One year course in fundamental ceramics

2. As part of a three year broadly-based course for a Diploma in Fine and Applied Arts. Ceramics can be major option in the third year.

We have the best facilities for the teaching of ceramics in New Zealand. Instruction by full-time tutors Left: Lyall Hallum shows Michael Trumic the inside and visiting professional potters. of the centenary arch kiln. Right: Cobalt on white slip stoneware bottle and Enquiries about enrolment in the 1974 classes to: Course Supervisor, School of Fine cups and a slip decorated vase. Both by Lyall and Applied Arts, Otago Polytechnic, Private Bag. Dunedin. Hal/um.

5 The demand for “LEACH" kick wheels is as strong as ever. by W. Milne, Air Pollution Engineer, Health Department,

The Clean Air Act which came into force on 1 April Fuel Burning Equipment 1973 contains measures to control air pollution from all Oil Firing sources. All processes involving equipment which burns Vapourising or ”pot" burners give best results from fuel at a heat release rate exceeding 100 kwh (e.g. 2 gal range oil, a 50/50 mixture of diesel oil and kerosene. Diesel oil/h) must be notified to the local authorities before 1 oil does not vapourise as readily and tends to deposit more April 1974. carbon -n the ”pot”. The primary air to the pots must be The local authority may enact bylaws requiring certain supplied by a fan. The burners must be kept clean and if processes to be licensed in addition to their notification. carbon deposition or smoke is a problem a greater pro- Conditions designed to minimise air pollution will be im- portion of kerosene should be used. posed on each licence. Payment of an annual licence fee Low pressure air atomising burners require air at a will be required and there will be regular inspection of pressure of 10-15 in. water gauge, (6—9 023 per sq. in.) licensed equipment to ensure compliance with the con— and the oil atomising nozzle should be well made and ditions. No modification or addition to the equipment will kept in good order to ensure fine and even droplet size. \s be permitted without notification and prior approval. Kiln Design and Materials of Construction Notification and licensing of air pollution producing pro- All kilns will be required to have two chambers for final \ cesses will enable local authorities to keep a check on the firing under reducing conditions, with the second chamber sum total of air pollutants being generated in their areas. for "biscuit” firing, equipped for correct afterburning to If all studio kilns in a local authority area are operated eliminate smoke. "Hot face" insulating refractory used in with satisfactory smoke and odour emissions the respons- the zone surrounding a flame becomes incandescent rapidly ible local authority would be unlikely to require licensing and ensures clean burning sooner on starting up. lmpinge- of such kilns. ment of an oil spray on the quarl or brickwork will cause However one offender may bring the process into dis- carbon deposition and smoke. The shape of the firebox repute and reSult in stricter control measures. should match the shape of the oil spray pattern from air It is the duty of the occupiers of all premises, domestic atomising burners. and industrial, to adopt the best practicable means to Provision must be made for. the controlled admission of control air pollution. lf the kiln is operated for profit, fines afterburning air into the mixing chamber between the first \J of up to $500 may be imposed for breaches of the Clean and second chambers. A course of two "hot face" Air Act. Such penalties could also be incurred by non- insulating bricks in the wall between the connecting passage profit making or domestic operations in Clean Air zones. and second chamber would help. An air passage through These zones may be gazetted in some areas after 1 April the centre of this wall with outlets into the connecting Kick Wheels :: Power Wheels Banding Wheels 1975. passage could be readily cut into this type of brick. (Old The best practicable means of controlling air pollution hacksaw blades notched on one corner of an emery wheel from pottery kilns would include choice of fuel, type and to form coarse teeth about 10 mm apart are ideal for cutting condition of fuel burning equipment, kiln design and ”hot face" bricks). materials of construction, location and height of the chimney, Locations and Height of Chimney glazing materials, and the method of operating the kiln. The location of a kiln relative to neighbouring properties Choice of Fuel must be carefully considered. The height of the chimney Electrically heated kilns create the least pollution and will be determined by the local authority and the fuel to be SEABOABD IOINEBY llll are recommended for difficult locations. Gas, either piped used must also be approved. or bottled, is clean burning, and easy to control. Under Glazing Materials ”Authorised Manufacturers of LEACH Potters' Wheels" reducing conditions, toxic concentrations of carbon mon- The use of salt for glazing results in the emission of oxide could be emitted unless correct operating methods hydrochloric acid vapour from the chimney. This vapour is are adopted. The height and location and the chimney must corrosive and must be dispensed safely. If safe dispersion be carefully considered. is doubtful a harmless glazing material should be used. Oil firing, requires good equipment and correct operating Method of Operation 151 Marua Road methods to avoid troublesome emissions. Lighting up a Where there is a smoke problem some change in the P.O. BOX‘11-035 cold kiln can produce excessive smoke when inferior firing operating methods may correct this. Ellerslie equipment is installed. Under reducing conditions black Lighting Up Auckland 5. smoke and soot smuts will be emitted unless correct Kerosene could be substituted for range oil or diesel afterburning methods are used. Diesel oil or range oil may oil for the first half hour by using a two way cock and be used, depending on the type of burner. fitting a small supply tank for the kerosene. Solid fuel firing by hand introduces variability into the A "target" brick placed on and near, but not touching, the firing cycle with the possibility of intermittent smoke emis- bag wall has improved conditions in some kilns equipped sion. with low pressure air atomising burners. This brick creates turbulence and thus better mixing of the fuel with air leading Records to more rapid combustion. A log book should be kept and details of each burn The firing rate should be adjusted for optimum con- recorded. These details should include type and quantity Potters Pottery ditions. of fuel, weather conditions, wind directions, a description Reducing Conditions of the kiln atmosphere during the reducing period, the ware When burning liquid or solid fuels under reducing con fired and other information. Reference can then be made to ditions free carbon is present in the gases leaving the the record when a particular result is to be repeated or primary chamber. The gases and carbon particles are at avoided. ,9“ Conclusion Germany a temperature of about 1250-1300°C and the addition of England the correct amount of additional air will ensure the com~ There should be no difficulty in operating a kiln to comply plete combustion of the carbon, carbon monoxide, etc., with the Clean Air Act and if trouble is experienced, advice in the second chamber. should be sought from other potters or the Air Pollution Control Officers in your district. by Flora Christeller

A New Zealand potter in England feels immediately at home. it is recognised that our pottery movement is greatly indebted to Bernard Leach who integrated Japanese stoneware traditions with the sturdy peasant pottery of England, thus beginning a modern movement which has spread through all the English speaking countries. in Britain, domestic ware still appears to dominate the scene. There are small potteries producing table ware—some thrown, some moulded. These workshops are and have to be highly organised, producing set lines Above: Ingeborg and Bruno Asshoff. of pots which can be reproduced to order. Alongside this basic and functional conception of pottery as a craft, exists the other, more recent — Pottery Equipment trend of conceiving ceramic form as an art Cobcraft in its own right, expressing the ideas and feelings of Below: Beate Kuhn, H 20 cms, the maker. Potters working in this manner tend to work by themselves, often in isolated parts of the country, and in many cases POWER WHEELS produce no domestic ware at all. I visited Kenneth Clark at his studio, situated KICK WHEELS in a large old building in Covent Garden, and admired the beautiful, gaily-coloured tile murals he was making for a Swedish customer. l BENCH WHIRLERS gratefully accepted his help in planning my trip designed to see interesting potters in England. TURNING TOOLS I went to see the Craftsmen Potters Shop in London and made a list of those potters whose work was of greatest interest to me. My trip added to through the south of England climaxed in a talk Our range is being constantly with Bernard Leach. He spoke very warmly of his time in New Zealand and wished to be remembered Full details from our distributors, Smith and Smith Ltd. to those whom he met at the time of his stay here. At his age he is still extraordinarily active; Lamb and Son, Engineers he was then planning three exhibitions of his or COBCRAFT: work, one in Japan which he hoped to visit. 94 King St., Rangiora The other highlight for me was an afternoon North Canterbury. spent with Lucie Rie. Her latest pots were, I thought, particularly lovely, with beautiful soft Phone 7379 streaks of muted colours coming through a matt glaze—all reserved for a forthcoming show at Hamburg. gr} GLUCm Ursula Scheid, Bernard Leach, Audrey Blackman, Karl and Mary Rogers, handbuilt porcelain. ceramic sculpture.

of and this is clearly discernible in his earthenware, or the blue salt-glaze pots produced Another earlier at their mainly potter whose work interested me was The situation regarding these potters in Germany work. I had visited the Scheids south of Cologne, near Koblenz. Mary Rogers, in a small village Here, at the village of Grenzhausen, working in Leicestershire at her own is an interesting one. It has always been a home, an attractive farmhouse I visited two home, parts of which date back to the 16th tradition here that wealthy people, mostly of noble near Frankfurt. Walter Popp, another of the small potteries, employing about ten potters each. century. She develops her shapes from natural birth, should be patrons of the arts. In former times exhibitors, is regarded as a pioneer of the modern One, owned by Wim Muhlendijk, produced objects such as shells and plant forms. Her princes and dukes kept in constant employment movement of ceramic art. His pots contrasted decorated salt-glaze ware of the style made locally delicate porcelain bowls were almost paper-thin. artists and musicians, and by virtue of their with those of the Scheids by their robustness— for several centuries, while the other, run by Everything she did was hand-moulded without the patronage the work of these artists was encouraged they rather lacked in grace and often were made George Peltner, a potter who had emigrated use of a wheel. and they became known and esteemed. Today it from several pots joined together. Beate Kuhn's from East Germany, distinguished itself by its In Germany, the contrast between potters is the rich industrialists who support the arts. work was more spectacular and showed much beautiful slip—trailed were showing a marked producing originality. Brightly coloured, it was full of humour— table ware and those concerned with While they often might hesitate to buy those Polish influence. purely some constructions were made from many pieces decorative works of art, is even more huge, incomprehensible canvases from modern In the south of Germany, in the Black Forest, I of similarly thrown shapes, and then assembled pronounced than in Britain. in Bochum, a town painters, they don’t seem to mind spending in met a young potter, Horst Kerstan, who had situated within unexpected ways. These pots were all very the most heavily populated and enormous sums of money on ceramic works of art studied for many years in Japan. The perfection industrialised expensive, even the smallest costing 50-60 Ruhr district, I had the good fortune which can be related to a specific environment of his glazes was almost unbelievable. He had to work dollars apiece, and the larger ones fetching with two very well-known potters, Bruno and are therefore memorable and meaningful. developed an intense iron red glaze which and Ingeborg several hundreds of dollars. Asshoff. In their studio one looked There are a number of impressive museums glowed on his pots—and I am the proud owner of in vain I also visited another museum of striking for a mug, a plate or a casserole; which have especially been built to house a small, exquisite tea bowl with an instead appearance: the "Keramion" at Frechen near these two artists produce pieces attractive collections of these pots, often assembled from oil spot glaze of great beauty. to the Cologne, entirely devoted to housing perhaps eye and to the touch which would private collectionsln Karlsruhe I visited an At Munich l made the acquaintance of Paul present Germany's largest and most comprehensive a focal point of interest in your garden, exhibition of modern ceramics from the famous Stieber, Secretary of the German Potters’ Archives, patio or collection of modern ceramics, financed by a huge livingnoom. The Asshoffs live on the private collection of l. Wolf: 200 pots, selected and who had spent a lifetime studying and collecting outskirts concern of producers and distributors of the city in a beautifully restored old artistically displayed in show cases, representing of clay pipes peasant pottery of Lower Bavaria. His intimate farm and commercial ceramic tiles. Set within a large house. The interior had been redesigned by the work of about 30 different German ceramists knowledge allowed him to identify pots made at a an architect green field, the building has the shape of a who had transformed the old barn and showing examples of pots from certain period within a particular pottery into a potter's wheel, but from a distance, could pass spacious home and studio, set amongst each artist, demonstrating his artistic development. community of a certain village, and sometimes large trees for a huge mushroom. In its ground-floor and garden. Eachryear they hold A few weeks later I travelled with the Asshoffs even by the potter's individual touch, though an exhibition and basement display cases are in their hall, the focal point of their to Rotterdam to attend the opening of an housed in those bygone days people did not give much for house. To over 7000 pots. this display are invited guests exhibition of five German potters. There one individual expression. He could talk for hours and patrons to Besides these ceramics one can view their latest work. This annual could see work by Karl and Ursula Scheid, still find good (in English!) about the history and development of show together table Ware, well-executed work in traditional with private orders make up the skilfully and meticulously executed, in both some local pottery active during the 15th century. year's work. patterns and shapes, beautiful porcelain and stoneware. Karl had been a pupil slip-trailed An interesting morning was spent at the

10 Munich Folk Museum where he explainedthe remarkable by the fact that he produced very growth and later decline of the craft as simple, but lively, earthenware pots in traditional demonstrated by the huge collection of pots, shapes. collected mostly by himself over many years. The co-existence of art ceramics on the one THE DILLY MARK III A point of interest in this museum were a hand, and the traditional table ware on the other, WHEEL number of tiled ceramic stoves which can still be was one of the features which fascinated me. POTTERS foundin use in many houses all over There appeared to be Germany, little intermingling of these This sit down, low slung model, with toot operated Austria and Switzerland. two parallel movements, each of which was clearly variable speed (0 - 120 RPM) makes it the ultimate At Mr Stieber's suggestion l visited a potter, defined and vigorous. Since art is never static, it in the pottery field. The new adjustable (removable) Jorg von Manz, working in a tiny village in will be interesting to see how pottery will seat tor height and leg room is most suitable tor Bavaria near the Austrian border, who was develop in the future in these countries. D home—school—teaching studios and commercial applications. Motorised with 240V AC 1/4 HP vibration tree motor, having a maximum throwing load ot 25 lbs.

Table and stand up models also available.

Pottery iiln Australliia Agents—

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the magazine may obtained from the Editor ‘Pottery in PENROSE. NEW ZEALAND.

Australia,’ 30 Turramurra Avenue, Turramurra, NI.S.W. 2704, PO. Box 12-325,

Australia. PENROSE. Efia POTTERY KlLN PYROMETERS MINERVA BO'OKS‘HO'P are now looking for first class pottery to be sold in their shop in the Auckland City Art Gallery and also in their main shop in Commerce Street, “MODULE" Auckland. UNION ST. MILTON Both of these locations otter a large flow of interested purchasers and an experimental sale OTAGO of pottery in the Art Gallery shop proved most I HANDCBHI'TS & succesful. Any potters interested in supplying Minerva POTTERY should contact Nigel Faigan . . . NOVELTY GIFTS 8: 13 Commerce Street, Auckland, SOVENIEBS. PO. Box 2597, Phone 30-863. INDICATORS GARDSMAN PROGRAMME CONTROLLERS CONTROLLERS ;.,.-;i_..3

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i ORIGlN M ALDWELL. IDRAWN. GT. l 27AUG i973 us in 1966, learnt to be an expert directly responsible to the consumer years, i experienced a real spring, fireman on the big kiln, which he for what one made had improved the surrounded‘with blossom and budding Notes from a converted to a salt glaze kiln using whole standard of craftsmanship leaves after a frosty winter, l suddenly many of the Brickell techniques. At throughout~The Mill. And the family found a blue flower blooming in my the same time he built my present atmosphere and care which we all pots. Doubtless some throwback to kiln at Otane, Hawke’s Bay, which felt for each other helped many of us my Huguenot or English ancestors! Country Potter is an improved version of my Auckland through the incredible emotional crises l have heard some of the younger kiln, using the same burners, but with which seem to beset creative people. potters complaining of the monotony larger fireboxes which cut down Christmas 1971 at the Mill was of making pots, and i guess this is firing time, and is the best kiln booming, and i had been stockpiling true. But any of us try working at l have had yet. pots for some months in the hope some other job for a month or two, At the end of 1965 when i first moved that I could accumulate enough conforming to set periods of time to the Wairarapa i met up with Bill capital to put into operation the and filling our minds up with and Maureen Mason, who have a plan i had to get back to the greater other people’s thoughts, and i am sure screenprinting workshop at Carterton, simplicity of country living. Good we would soon be back to the and Audrey Sheridan, who is a spinner people were available to take over demanding but basically satisfying and weaver. We decided to try selling the pottery and also my stall at The rhythms of a potter’s life. slam/M our own work, and realised that if Mill so i left with an easy conscience, we were to catch the Christmas though i still miss that friendly trade we had to hurry. Finding a companionship of kindred spirits. vacant shop in High Street we were i found an old house in Central open a week later. The shop, which Hawke’s Bay which is beautiful to Helen Mason we called Turkey Red after a carpet live in though I must admit that the was the first editor “of the Potter...... Many years ago Professor Bailey and firing. This seems to suit my way once i succeeded with judicial help Audrey produced for the floor, was very necessary plumbing took more said in the New Zealand Potter of working, but can be speeded up if at critical moments, but the second open six days a week, and we were of my capital than i had allowed for, (Vol. 1 No. 2) that the pots he most the need arises and the weather time I tried to do it entirely on my each responsible for two of the days. and am enjoying living in the village of enjoyed were those made by people facilitates drying. in the ten months it all worked remarkably well once we Otane. it is good knowing everyone own was disastrous. | clogged the Most compact wheel available. ”primarily concerned with making this kiln was in existence It was fired whole thing up with huge smuts, and had sorted out the basic principles and being involved in the life of the Full variable speed control. something to hold stew, or to cash 16 times, but was never an easy had to stop after about six hours. of shop-keeping, and we were community, and I hope that after Constant speed in any position. in on the community’s love of stew. one to fire, and took an average of 15 Nev: day it was necessary for me to soon deluged with people wanting us a year the village has just about 'I/3 H.P. ball bearing motor. Or guts. Or the dried heads of hours to reach temperature, sometimes to sell their work for them, which accepted me (and my smoke) as part unbrick the door and clean out the Heavy welded frame. enemies. Or the family polecat skins longer. Due largely to lack of skill we did, if we all approved of it, on of the scene. There are several kiln with a vacuum cleaner. it took All sealed ball bearings. to keep from the moth. Or to hold and experience on my part, what i weeks to get the black out of my commission. Later we moved to a good craft shops within reach which Fibreglass tray. your estimable grandmother’s bones was producing was not worth all the skin. The best thing I could cottage further south on the Main Road will take up any surplus, but a large No maintenance. when dead.” Well, i hope one of the effort i put into it. do on firing day was to cook large to Wellington, and when I went proportion of what I make is sold Totally enclosed. younger potters will attend to the latter When the opportunity came to go meals and cheer on the firemen, to Auckland Audrey took over the from my own back yard. When i first Height 26" Length 28" for me in due course; i haven’t, yet, into partnership in an existing pottery but the rest of the time everyone whole business and has since came, l invited all the area pottery Weight 100 lb. had any requests for the middle three in the Waitakeres in Auckland i took took it in turns to cook. moved it to Greytown. groups to visit me, and also talked to Wheelhead 10" cast iron. containers; but We certainly been it smartly. The pottery was founded After two years, when the time The Auckland Pottery already had every Women’s institute, Country Speed-range 0 - 250 revs/min. able to eat by capltalising on the by Jeff Scholes, based largely on came for me to take over the several good outlets through the Girls’ Club and church group that Price $150.00 ex Auckland. first category for the past seven years. Brickell ideas, to whom he had been pottery, i decided to build another excellent craft shops in that area, asked me within a radius of 25 miles, J. B. PRODUCTS. When choice or circumstances apprentice for a year. The whole kiln, which was done to a plan 1 and l was able to dispose of my and this has given me a widening BOX 14229 PANMURE, force you into the situation of having system of working was well organised, evolved out of several kilns, the major own pots through these channels. circle of friends, and i enjoy the AUCKLAND. to make pottery pay, there are two pots turned out In amazing quantity influence being , though But towards the end of 1968 when involvement in the weddings, major considerations. First yourself, and quality; lids fitted, spouts poured, i had two fireboxes instead of his plans were afoot to start a Crafts birthdays, presentations and daily use and how you can produce enough handles felt and looked right, glazes four, fired with Major 82 burners, as Market, l was asked to the preliminary for which my pots are purchased. pots; second, the market, and what were well fired and durable, with the l was determined this time to have meetings out of which Brown’s Mill Some years ago i found i had you produce. The first Is a question good surface essential to domestic finger tip control with the minimum of Crafts Market, in Durham Lane just off evolved my own shapes for domestic of developing your own skill, and were. i have never worked so hard in manoeuvrelng with bricks and Queen Street, was evolved. Out of ware, and i keep pretty much within this takes time and intelligence. The my life before, largely i must say in burners. This kiln did major service, all the meetings men of us finally this, though they change slightly second is how to preserve your an effort to keep up with the young, though usually took some 14 to 15 coagulated into a group which got all the time. So many casseroles, integrity by arriving at a compromise and to see what I could do now that hours to fire, and it kept 41/2 of us the whole thing started on November ramekins, large bowls, small bowls, where you make what you like, which i had the opportunity. We each made in the necessities of life for some time. 221968, once again in a great hurry plates, teapots, vases and so on. you also know will sell, by the means our own pots, but combined for clay Three of us took it in turns actually to to catch the Christmas trade. i found i find my greatest satisfaction comes and in the place which brings you and glaze preparation and kiln work. fire the kiln, and there was great my experience with Turkey Red most from decoration. When in Auckland I useful the best return, financially i had never seen such a huge kiln— rivalry over how long it took and the in knowing how to deal had the opportunity to attend excellent with people, and emotionally. 2 chambered downdraught with eight quality of the results produced. This manage the stall, and lectures in Pacific Art and to study My first attempt at making pottery stacks of eight 18 x 12 shelves, fired era passed, the others all graduated keep it supplied. Friday and Saturday examples of it at the rich Auckland spent pay was in the Wairarapa seven with 6 drip feed fireboxes, three each to kilns of their own, and for a while at the Mill in the exhilarating Museum. l filled books with drawings big city atmosphere years ago using a two chamber side, which needed constant attention i managed the kiln on my own, selling of Auckland which i now draw on when making gives Cowan kiln built very cheaply by throughout the whole firing. Reduction all its output myself at Brown's one enough social life to get patterns of my own. it has all through friends out of mainly scrap material. was controlled by skilful use of Mill Market in the city, and making the other five hardworking given me a deepening appreciation days of There were four stacks of 16 x 14 bricks in the very high chimney. The a reasonable living from it. the craftsman's week, of the culture and skill of the Maori which can shelves, six in each stack in the glost quantities of smoke and the hard firing This kiln, which had been fired 64 often, out of necessity, race and of the Pacific peoples. be rather solitary. chamber. i worked, as lstili do, mainly (to at least 1300°C) amazed me. But times in three years, was taken over It was noticeable However, environment must play a to a three week cycle, two weeks the results were really good. I made and rebuilt by Andrew van der Putten after a year how the stimulus large part in pattern-making, because making, and one week glazing, stacking two attempts to fire the kiln myself— in 1972. Andrew, who had worked with of working to a deadline and being here, where for the first time for many

16 17

th‘—._— , Some Christchurch Potters

by eaynor Scandrett Frederika Ernsten

Christchurch potter Frederika Ernsten came to New Zealand from Holland in 1960. While training as a kindergarten teacher she did drawing and modelling in clay but she had no thought then that clay would come to mean so much to her. Rosemary Perry For three years she attended evening classes at Riccarton High School where her instructor was A good deal has been written about the potter Michael Trumic. Then members of this class and his environment. Women potters who run a decided to form a group of their own. home and bring up a family often find a This was the beginning of the Studio in Montreal conflict of interests in their own particular Street. Access to the upper floor of the disused domestic environment. A husband can become bakery studio is by way of an outside staircase jealous of the clay. which sways like a swing bridge. When the For. Rosemary Perry pottery is both relaxation Canterbury potters have a do there, it pays and hard work. Good potting time passes in the to wear something warm. summer while the family gets to the country The original group disbanded and the studio camping and tramping. And even in the winter is now used by Frederika, Margaret Higgs and to the mountains for skiing. The time that Rosemary Michael Trumic. Here they teach small groups Perry as a family woman can give to her pottery and often work together. has been secured by good organisation. And At the same time Frederika has been working she has her priorities right. Her suburban house at home where she has a small electric kiln. is full of beautiful furniture and paintings. Eventually she'll get an oil fired kiln, not because She enjoys gardening and the casually arranged she's motivated by the usual compulsion to move garden is there to be used. As we sat on the on to oil firing. Recently she's had some firing terrace in the sun a blackbird was perched difficulties during the power shortage and she’s on a water sculpture beside us. been held up by a shortage of elements, but In her childhood at Dunedin she was encouraged she considers that the electric kiln is the to take an interest in all forms of art and she Cinderella of the pottery world. For her it provides took painting lessons with Doris Lusk. Later, in a different challenge and she thinks it's a field 1957 their paths crossed again and Doris Holland, where there could be much more experimenting the potter was her first tutor in pottery at the and development. Risingholme Community Centre in Christchurch. Frederika makes high quality domestic stoneware Besides attending these classes Rosemary was a as well as thrown forms which she does for her part-time student in sculpture for two years at the own pleasure. Her income as a solo parent with Canterbury University School of Art. She’s keen two children comes from her pottery teaching. on the sculptural aspect of the work—- She then feels free to go her own way sculpture with water having the most appeal. with the pots she makes. Apart from domestic stoneware, over the last Her interest is in the basic pots not so much in four years she’s been doing research in porcelain. the glazed finished product. When you see She mixes her own clay body which must vitrify at Frederika working on a teapot—one of her the the lowest possible temperature because she favourite forms—she assesses critically lose fires in an electric kiln to cone 9. After leather-hard product and then seems to the rare experimenting with dozens of mixes she has finally interest in the next stages. She is one of excited about found one sufficiently plastic to throw as well as potters who says, "I am never very being translucent. The forms are simple opening a kiln." and with whether they are thrown, press moulded or hand She’s a severe critic of her own work built. about two hundred pots on hand she feels there to ”Sometimes I think I will take a year off and go are only half a dozen she would be prepared back to painting,” she says, "but the clay is show. She has no plans for the future— always there with the compelling attraction of just form, form and more form. what the next kiln will produce.” Above left: Susan and Richard Perry modelled in clay by Rosemary Perry and cast in polyester resin and fibreglass. Below left: Teapot by Frederika Ernsten. On this page liquid and dry storage jars, by Rosemary Perry,

photos: Keith Nicholson

z“... ”93" {-

21 Left: Porcelain oil bottle, Rosemary Perry. Centre and right: Frederika Ernsten.

photos: Keith Nicholson

‘ .K. may -.-v ._'.. A“...

23 22 Nola Barron

The main line of Nola Barron's development is in sculptural pieces. They are big decisive forms, often austere in matt white glaze and perhaps looking their best in an outdoor setting. "The most recent series of ceramic sculptures We invite you to come in and inspect the largest developed from land rhythms and environment pat— range of pottery materials and equipment avail- terns. The theme started when l was doing a able In New Zealand. course in printmaking. Other pieces in fibreglass photos: Nola Barron and a cast bronze sculpture have also been based New items are constantly being added to the on rhythm and tension yet some of this was made range. in 1968, so it seems that there is some unconscious stream of development, hopefully." Discuss with us any pottery problems you Nola Barron is primarily a sculptor who finds clay might have or write in for advice by our expert a convenient medium. Her work has been featured staff.

previously in the Potter, Vol. II/ I.

[1

uuu Hull]

Above: Landform 1972. Big Landform pot bought from the 1972 New Zealand Potters' Society Ex- hibition by the Department of Foreign Affairs. Left: Ceramic sculpture exhibited in the 1971 New Zea/and Society of Potters' Exhibition and broken when sent to the Queen Elizabeth Arts Council.

'f MITH & SMITH LIMITED ' AUCKLAND WELLINGTON CHRISTCHURCH DUNEDIN lNVERCARGlLL Box 709 Box 2196 Box 22496 Box 894 Box 137

Materials and equipment for Pottery, Metal Enamelling, Painting. Ask for our free catalogue and price list.

24 25 EXHIBITIONS

The NewZealand Academy of Fme Arts Reviewed by Edward C. Simpson.

Looking over the pottery one could not help Anneke Borren. Flight: Carol Wilson, set of bottles. concluding that it was dull and colourless. Below: Four piece earthenware condiment set by No doubt this is the fashion. In every other art Rayeburn Laird. form since the French impressionists colour has come into its own. Prismatic colours have been photos: Terence Taylor in vogue since Matisse, and “Les Fauves" showed I how they could be used. So much has colour come into our lives that it is part of architecture, furnishing and decoration. Why then is there a lack of colour in New Zealand pottery? It seems that the use of slip is not fashionable. If a slip had been used on some of the work in this above: Squared stoneware vase by Stephen exhibition, many of the interesting designs highlighted would have made the pots seem less McCarthy, sombre. below: Joyce Young. Another weakness 1 found in much of the pottery shown, was that it looked both heavy and clumsy. The New Zealand clays are stoneware clays, but it seems absurd to make very small objects in stoneware. Things like a tiny box with a lid of a size that would only accommodate small items or finger rings. Again a dish that was designed for sandwiches or savouries looked good, but it would have needed two hands to hold it. Surely one of the prime demands of a container is that it should be functional. Some of the best pots, by Mirek Smisek who shows real genius, were all large, and for large pots stoneware is just right. By contrast the ponderous look of much of the stoneware domestic pottery makes it unsuitable to stand beside the refined forms of glass and cutlery on the f dinner table. A lot of the pottery that was modelled in conventional shapes fof use with food I and drink had a surface that was distasteful for the presentation of food and could be repugnant to the Auckland Stll(ll()1’()’[’[Cl‘S 11thAnnual

The 300 or so pots by 70 potters include a little something for everyone—a handsome chess set, teapots and casseroles, salt pigs and spice sets, wine jars and goblets, trinket boxes, a bird bath and bird feeders, along with bowls and vases in every possible shape and size. The range is from the incredibly amateur to the highly professional; from fumbling banal beginnings to sensitive, superb pots. And some of the pots are superb. Guest exhibitor Jim Greig, from Matawara (Wairarapa), shows a series of photos: Terence Taylor growth forms in beautiful Chun glazes that have Set of six ramekins, turquoise glaze earthenware by reference to Maori canoe bailers, and to opening fern fronds. Pat; Meads, and bottles by Lawrence Ewing. This subtly New Zealand flavour is seen too in Chester Nealie’s handsome slip-cast patu, which still remain pot-like, and in Brian Gartside's exuberant fern frond decorations on his large shallow bowls. fancy drinking from touch of the lips. Does anyone Gartside's fern—form white pot, No. 115, is one of the a vessel as thick as a railway refreshment room most beautiful in the show. cup? Or taking a fine wine from a jam jar? Very different in size and style but equally handsome The function of the were showed a lack of are Charles Holmes' delightful blue-green tiles and Don Thornley’s tablet vase with its beautifully handled thought by potters. There were of course exhibits Shino glaze. fault could be found. for which no such There are many other competent and lively pots. They are Mention must be made of Anneke Borron's well grouped so that it is possible to see and compare the exhibits: some of the few original shapes, gay work of individual potters. it is probably one of the most and lighthearted, affording an almost irresistable diverse and controversial exhibitions for many years." temptation to get down on the floor and The New Zealand Herald, September 27, 1973. play with them. Of the other work exhibited we cannot say that there was anything to move us deeply except the screen prints by Guy Ngan. And we found the lithograph “Night kiln firers" by Juliet Peter attractive. An overall observation on entering the exhibition room was that the number of exhibits was small. At the same show in previous years you had to thread your way between stands of pottery and pieces of sculpture. There seems to be two reasons. That the selectors have been more discriminating. And that more potters and artists are showing in the private galleries and are not exhibiting at the academy. [1

Mr Simpson has been editor for many years of the Association of New Zealand Art Societies newsletter. He has recently resigned.

28 7744” W‘m Bax-4y Kai/L44 «22 MW VIM

New Zealand women potters and printmakers. This was the theme of an interesting exhibition held at New Vision Gallery in September. We wish we’d seen it. Listed in the catalogue of contributors are Susan Allpress, Auckland; 56%.n NANCY AND Ann Ambler, Auckland; Marjorie Bayliss, Auckland; Nancy Beck, Auckland; Doreen Blumhardt, Wellington; Anneke Borren, Wellington; Rosemarie Brittain, Auckland; Merle Brynildsen, Auckland; Ruth Court, Auckland; Doris Dutch, Auckland; Rowena Elliot, Auckland; Molly Findlay, Gisborne; it seems that the controversial element of the O the potter MARTIN BECK Frances Fredric, lnvercargill; Mary Hardwick-Smith, show arose was given no idea of why his from ’s approach to his Auckland; Hazel McCaughern, Christchurch; Estelle Martin, work was selected or rejected; this task as sole selector. This is what he wrote Hastings; Pat Meads, Wellington; Margaret Milne, Auckland; mysterious secret in the catalogue forward. being retained by the Tui Morse, Auckland; Sally Oscar, Auckland; Rosemary judges. A method of selecting. Perry, Christchurch; Patricia Perrin, Auckland; Yvonne 0 when committees Perrin, Auckland; Juliet Peter, Wellington; Yvonne Rust, ln being asked are set up a "cushioning" to select or judge work for this Whangarei; Una Sharpley, Papakura; Margaret Symes, exhibition, of ideas is liable, so limiting the creativity l have tried to put into practice some Auckland; Marie Tothill, Christchurch; Ann Verdcourt, ideas and participation of the judge. I have had in mind for years, I felt that Pahiatua; Janet Wright, Waikanae. I have~tried to base my criteria selection systems of the'past on: “The pottery is a fairly middle-of-the-road survey of have been inhumane O and the spirit of the work what is going on in pottery here. It’s competent well-made unsatisfactory for the following reasons: 0 clarity, purity and manner of execution of and generally dull, with only a fine, fat casserole by Ruth the idea behind the work Court representing some of the toughness that New Zealand pottery seems to have temporarily lost." 0 degree of craftsmanship or technical skill Hamish Keith in the handling of the material “This exhibition is interesting and tremendously varied, Using these factors I made up seven rough ranging from Yvonne Rust’s rugged stoneware waterfall categories (a full functioning garden fountain), into which I fervently hoped that every to delicate porcelain boxes. item would fit. These categories were indicated The real delight of the show is Margaret Milne with a by a number against each pot for reference to mere handful of pots. They are beautiful—the tall crackle the list in the catalogue. From time to time’my vase, the large stoneware bowls, the delicate porcelain system would fail—some pieces would not one and the incredible little lidded boxes." E] properly fit. In this case I gave the nearest The New Zealand Herald September 10th 1973 appropriate number and added my comments to the entry form. Occasionally this required the invention of new words to cope with the situation. The categories are not necessarily in descending order of merit (1 to 7). My hope is that each potter will forgive my biases, and l remain answerable for all my judgments. The basic categories are: 1 personally liked in every way "To hold branches, twigs, blossoms or grass, or to 2 good craftsmanship and feeling but lacking in hold nuts or ash or fruit.” fineness of form in some way Nancy and Martin Beck exhibit at New Vision Gallery, Auckland. 3 good craftsmanship and feeling but spoilt by decoration 4 good craftsmanship but banal feeling or slick 5 ideas more important than anything else at expense of clay feeling and/or unsympathetic to the medium Bowl by Arie Van Dyke is picked out by PatIMeads 6 straight derivative work—moderately well as one of the outstanding exhibits from the Wel- executed but unexciting lington Potters’ Exhibition at Fi’othmans Gallery in 7 poor work. Needs more practice and June. attention. El Photo: Evening Post 30 Milestone for New Plymouth Potters Com m. “'7.s We're off the ground. The aim of New Plymouth poflfwflm potters for the last four years was to have our own home. With this in mind we became New Plymouth Potter's Incorporated in 1972. David Carson-Parker and Ruth Copeland Scott joined their In an age of extreme specialisation it was refreshing to ' HGWS Our eye was on the Te Henui Vicarage, built in 1845 talents to stage a most satisfying exhibition at Rothmans see Juliet and Roy Cowans’ exhibition at the GSA. Gallery from river stone with a shingled roof. It had been restored Gallery in Wellington last month. David was keen to show Christchurch—October 73. Here are two artists displaying by the Historic Places Trust, but was empty and unused. how pottery could be used, and in Ruth Scott he found a painting, drawings, printmaking, sculpture and pottery. Hamada and Leach in London This could be the display centre for finished work. The willing colleague with whom he could work in sympathy. Each person's work stood completely on its own—Juliet’s workshop could go on land available just On opening night every flower and bit of foliage was at its pieces being placed on the mezzanine floor and Roy's on “The Art of the Potter"—not a new title but a new behind the Vicarage. freshest best. One could only wonder how it could be the main floor immediately below the mezzanine. Juliet's film about Hamada, world famous Japanese potter. As with all projects of this nature, there were months done. Sadly a day or two later the heating was left on large pots were magnificent and some of the small ones Mr and Mrs and Mr and Mrs Bernard of negotiating and planning before a dream became a throughout the night. In the morning all was dead. And Ruth delightful. However it was her evident concern with the Leach were present at the theatre of the Royal College of reality. Club members raised funds. Grants were received Scott had to do her work again. demolition of Bolton Street Cemetary which came across Art, Kensington for the premiere of the film, an from the Queen Elizabeth ll Arts Council, the Taranaki David’s pottery lends itself to holding flowers and he most forcefully. It was good to see her drawings and the occasion organised by the World Crafts Council. Savings Bank and the New Plymouth City Council gave achieved his objective in this exhibition by showing how the imaginative fantasy in her prints. The film is concerned with the message of East meeting a ten year interest free loan. This assistance made the right container can display blooms to their best advantage. There can be few potters in NZ. who have not benefited West, unchanging Oriental thought acting as a brake on calling of debentures unnecessary. at some time or other by Roy’s generously shared know- galloping Western technology. This is the philosophy In May 1972 the City Council granted the lease of the ledge of ceramics. His immense technique was forcefully which Bernard Leach brought to Europe at a time when Te Henui property with the proviso that a local architect displayed by the impressively scaled sculpture and giant a few lone potters and weavers were making a last stand approve the plans for the workshop. Then plans were put platter. For me porcelain is seen at its best when it is against the tide of the machine age. New values into concrete form—literally. After the floor was poured the translucent, and apparently fragile. When extreme subtlety were found through this first real appreciation of Oriental remainder of the work has been voluntary. Members have of form is combined with a jade like duality of glaze, ceramics. spent weekends helping with the building, some taking porcelain can be completely moving. Apart from the glaze From his sitting room in St. lves, Cornwall, Bernard time off from work. Others have been on the site almost quality inside some of the small pieces, the harsh form of Leach talks about a few favourite pots and introduces fulltime. most of the porcelain gave a very cold impression. Hamada. ln Mashiko the humanly circumscribed work cycle The workshop is nearly completed for opening in Strangely this cold impression was also carried across into is observed. Hamada folds himself down to his wheel, October. many of the prints and paintings. It was a privilege for stirs it round by jabbing a stick in a hole in the wide head Nora Banks folk to see this exhibition in Christchurch. and between frequent stirs gently opens out a bowl. Four David Brokenshire or five people help to produce pots and fire the huge climbing wood burning kiln. The attitude is a negation of self-expression but the tradition is firmly based and dependable. The firing cycle has evolved to a point of perfection for ”classic" reduced stoneware. After the film an attractive Japanese girl acted as interpreter to Hamada although his command of English is firing improves with really very good. Like a prophet of old he spoke in parables. Then Leach and Hamada answered questions. Hamada better fuels said he might try a power wheel when he got too old, and Leach, challenged by his grandson Jeremy about his high prices said one was forced into it by dealers, and in any case his pots fetch four times as much in Japan as in Britain! Janet Ham? 10, The Orchard Ponthir, Monmouthshire.

The choice of fuel for heating a kiln is very important to work SEVERAL ARTS done on the wheel. Shell market . two basic fuels for this purpose. Shell Diesoline—a fuel for maximum heat 809 Colombo St., Christchurch output. Shell Thermol—a blend of Shell Diesoline Specialising in New Zealand and illuminating kerosine with excellent vaporising qualities for initial lightvup. Ask your nearest Shell Depot about fuel delivery. Shell ARTS AND HANDCRAFTS Kitchenware by Roy Cowan, Nga/o. The stoneware coffee pot and cassero/e were She/l fired at 7300. 7350 C and the porce/ain sugar bow/ at 7350-7400 C. 401 particularly POTTERY OF GOOD QUALITY

33 How I got hooked on pots Gisborne group getting on by Averill Brandon Both Madelaine Aldwell whose design for a kiln appears In 1963 I went to Christchurch This was a supremely happy time in this issue, and Molly Findlay whose work from a for a family wedding and stayed for us. Friends gathering in the Wellington exhibition was bought by Nova Interiors with my brother Ron O’Reilly who was kitchen. Scraping the clay off the for the New Zealand Embassy in Peking, are members librarian at the Canterbury Public table at the last minute to make of the Gisborne Pottery Group. Library at the time. He took me to room for the meal. The Gisborne potters started six years ago and have the Durham Street Art Gallery Then again with the cussedness their own workshop. They try to run a school every second to look at an exhibition of pottery of an inveterate drug taker | year—Doreen Blumhardt was this year's instructor. Every and painting. scrimped and saved for a shed Geoffrey Logan so often they hold an exhibition of work by a prominent And there I got hooked. In particular 18 x 12 to house my wheel. Or New Zealand potter. Last year, four of the more on a lovely bowl by Juliet Peter. It rather our wheel because by this experienced members, Lesley Armstrong, Madelaine was only four pounds. I wanted it time so many people were in its Aldwell, Joan Sinclair and Molly Findlay held a successful badly. It had taken me a great deal radius of power. Then son Nicholas exhibition at the Gisborne Art Gallery. 1:] of juggling to get my airfare down to came home. He sat on the wheel, Christchurch and I didn’t have any pulled up pots and said, Thank you Juliet and Roy money to spare on what some would “This is what I want to do." call “life’s frivolities.” So with the commitment of a novice This is the first Potter for ten years with no I went back and back to the he gave himself completely to his contribution from Roy and Juliet Cowan. They have gallery to look at the pots, and my craft. He took himself off to worked hard for the Potter, Roy on the technical side and bowl in particular. My brother offered Mirek Smisek for guidance. Now Juliet editorially and with the layout. There was a time to lend me the money. My after a year with Mirek his dedication when the Cowans virtually were the Potter. Thev are independent nature refused the offer. is getting its reward by recognition. busy people with their time fully committed. So now they are So I just treasured the memory I feel by his own efforts he will go on getting on with their own work and some new people of this lovely bowl and pledged that to greater strength. And I can’t help are helping to run the Potter. 1:] I would learn to make my own pots. wondering what he would be doing now So I came home and joined a night if I hadn't got hooked on pots in 1963. Too many uninspired pots? class. This led to my really getting hooked. By counting every penny and Nicholas Brandon was accepted into "Almost twenty years have gone since the pottery with encouragement from my son the New Zealand Society of Potters movement began to blossom and it seems to have Jeremy I set up in the kitchen with last year and promises to be become jaded in the last few years. a Leach Wheel. 3 good potter_ Craftsmanship it seems is no longer enough to inspire Editor our appetite for fired clay and rich glazes. We hope some inventive young potters are lurking in the wings ready to rush on and supply the angry inspiration the pottery scene so badly needs." E] Molly Findlay Auckland Star 25.8.73 New Pottery Films To North Staffordshire

Exhibition of work in various media Readers of the NZ. Potter will be interested to note Geoffrey Logan is the first holder of the David Con Hutton that the film ”Abuja Pottery" which was recently shown Memorial Scholarship awarded biennially to holders of Roy Cowan's exhibition held at the New Zealand on national television has been bought by the Education the Diploma of Fine and Applied Arts from Otago Polytechnic. Academy in September was a tremendous showing for one Department and presumably will be available Apology to Mr Nees man. For once even 3 foot high ceramic pieces were through the library service. David Con Hutton was the first principal of the Otago School overshadowed because this was mainly a painting This film, made in colour in Nigeria, is the first from of Art founded in 1870. The reviewer of the 15th Annual Exhibition of the Geoffrey Logan was exhibition and the eye was taken at once to the walls. Alister Hallum "(brother of the Ceramics Tutor, Otago educated in South Otago, and New Zealand Society of Potters in the last issue was attended The paintings, in primary colours and green, made strong Polytechnic) who wrote from Darwin for the NZ. the School of Fine and Applied Arts at the Geoff Nees, Director of the Industrial Design ,Council. Otago Polytechnic statements on our insensitivity to our natural Potter when he was assisting Michael Cardew on the Bagot from 1969 to 1971. He has attended Mr Nees was responsible for the layout of the 8th the Auckland University surroundings. Pottery scheme where, under a University of New South Extension's Summer School in exhibition also held in Wellington. His review was based on 1970, the Potter's Guild The theme of the exhibition could be summed up by the Wales project, aborigines were being introduced to the School at NeISOn in 1971, and the differences between pots then and now. In the light assisted Yvonne title of an iron sculpture ”iron tree for a craft. On Michael's departure from Bagot, Rust at her Whangarei Summer School of this knowledge it might be worth Alister was for a concrete jungle.” reading the review this year. He has gone overseas to E] time potter in charge of the scheme but left to take up a continue his ceramic again. We are sorry we omitted Mr Nees name from the studies at the North Staffordshire Churchill Fellowship which enabled him to travel through Polytechnic, the leading article. :13 institution for ceramics training the East, Africa and Europe and view pottery training in Britain. [:1 To study at Royal schemes, and to make the Abuja film. Readers will be College of Art For those going to the Bay of Islands at Christmas familiar with Abuja from Cardew’s excellent book, John Parker whose work “Pioneer Pottery" published by Longmans. was featured in the last issue Art and craft exhibition, at Waitangi marae, Pahia from Gone to live in Fiji of the Potter has been given a research Another scholarship has taken Alister to the Royal grant at the 7-10th of January 1974. There will be displays and Royal College of Art in College of Art, London to further his interest in film making. London to study with Hans Coper. E] demonstrations of pottery and other crafts. Of special Neil Grant has taken While there, with financial backing from the B.B.C. and a teaching position for three years interest to families on the 10th of January will be at Queen Victoria Potters in protest the British Arts Council, Alister has made his second School, 48 miles from Suva. He says demonstrations of Maori crafts—carving, tukutuku,(weaving). he wanted to take a break film, a biography on Cardew with fresh footage from to think out new directions he may take Peter Yeates and his pregnant wife Petula, spent some There will be opportunities for learning action songs and Nigeria and with his pottery. There is a village with long England, and this film is in its final cutting bleak weeks at established pottery traditions sea in French waters this winter. hakas. stage at this moment Hopefully we will see it before near where he'll be working. The native They were part of the complement of the ”Fri" This is a Rotary organised effort with profits very long. craft is struggling for survival there protesting against the French nuclear programme and Neil would like to assist—and learn. in the going back into the community. D Lyall Hallu‘n D Pacific. l:l 34 35 Collection of Arts and Crafts Tutor The Origins of the Canterbury Museum's 31 Using Local Clays, Elizabeth Matheson Modern Pottery, Wyn Reed 35 Barry Brickell Pottery in Christchurch, Doris Holland Drat That Kiln, 37 Kiln Plans Craft Centre Inc., Christchurch 40 Story, Constance Erdbrink Industrial Design Competition Napier Pottery 44 Earthenware Slip Glazes, Hilary Thurston Art and Design Centre, Jack Laird 45 The Biggest Pots in the World? Peter Stichbury Sixth NZ. Potters Exhibition 46 News News The Work of Craftsmen Needed 49 Plan of Kick Wheel 51 index Gallery 91 Christchurch, Winifred Hunt Exhibitions 53 Exhibition Interchange of Letters Third NZ. Potters' 56 A Studio Potter’s Point of View, Mavis Jack Book Reviews In 1957 Oswold Stephens organised the first 58 Another Slice from a Potter's Diary, C. L. Bailey , Peter Rushforth New Zealand Potters’ Exhibition in Dunedin, then Thumping Big Pots, Barry Brickell at the end of that year came to Wellington and VOLUME 4 NO. 2 1961 firmly stated to Lee Thomson and me (Helen VOLUME 2 NO. 2 1959 Editorial 3 Mason), that we must do something about carry— Editorial Pottery in Uganda, Michael Gill Pottery, Les Blavkebrough 15 ing The Souvenir, W. B. Sutch Clayworking Plant at Sturt on the tradition he had begun. Council, Auckland Studio Build your own Kiln, Mirek Smisek A New Zealand Potters' 20 We called in Doreen Blumhardt and Terry Bar- Letter from a Potter, Graeme Storm Potters Sydney Exhiibtion 1961, Mollie Douglas 22 row, and the committee to organise the second News 29 to the Editor Fifth NZ. Potters Exhibition Letters 39 New Zealand Potters’ Exhibition was in existence. Earthenware Slip Glazes (Part Two), Hilary Thurston Potters 44 at the World with a Potter's Eye, Elsie Inkersell Pottery at Mt Pleasant, Betty Wright With little experience and no funds, but plenty of Looking 49 Abuja Pottery Training Centre Opening an Exhibition, Denis Glover 50 enthusiasm, we sent off a circular to every potter The Abuja Scene, Peter Stichbury News Fearnley 54 we knew, asking for ten shillings with which to NZ. Studio Potters' Third Exhibition A Plea to Potters, Charles The Willeston Exhibition Galleries run the exhibition and produce a newsletter both Comments from the Selection Committee, Len Castle before and after the exhibition so that everyone A Critical Appraisal, Jack Laird 5 NO. 1 1962 Exhibitions VOLUME would know what was going on. Doreen said “Why The First NZ. Potters Exhibition, 0. C. Stephens not make it a magazine?” and so Vol. 1 No. 1 of How to Open an Exhibition, Denis Glover Editorial of Bernard Leach to New Zealand 4 Book Reviews Visit the New Zealand Potter, August 1958 was born. To New Zealand Potters, Bernard Leach 5 Introduction to an Exhibition, Michael Cardew 8 VOLUME 3 NO. 1 1960 Arts Advisory Council 10 Stoneware Bodies, R. R. Hughan 14 Editorial Japanese Experience, Mirek Smisek 22 Earthenware Glazes, Jack Laird Exhibitions 25 Consolidated Table of Contents Pleasing Ourselves, Michael Cardew News 26 Photograph Titles Earthenware, John Wood 28 Australian Potters Crowan Pottery in New Zealand 30 News Potters 33 Ideas from the World Design Conference Palmerston North Pottery School 34 VOLUME 1 NO. 1 1958 Early Potting in Auckland, Olive Jones Sixth NZ. Potters Exhibition 39 Pots in Spain, Graeme Storm What a Potter can see in Melbourne, MoIIie Duncan 41 Editorial Hausa Pottery, Peter Stichbury Trends, Helen Mason 43 New Wine into Old Bottles, Barry Brickell Book Review The Kenneth Clark Pottery, London, Helen Mason 50 Thoughts from a Potter, Lee Thomson Saggar Making, Carel C. Vendelbosch In Search of Kilns in Japan, Doreen Blumhardt 52 Slices from a Potter's Diary, C. L. Bailey The Hillsborough Group, Jean L. Morland Pottery, ”H.A.W." World Design Conference 5 NO. 2 1962 News East-West, Helen Mason VOLUME Shoji Hamada, Terry Barrow Craft Centre Incorporated Editorial VOLUME 3 NO. 2 1960 The Design Centre, Jacqueline Kennish 3 Exhibitions Ceramics in England Today, Kenneth Clark 11 Second New Zealand Potters' Exhibition Editorial Craftsmen Potters Association, David Canter 13 Notes on Bristol Glazes, Mary Hardwick-Smith Crafts Centre of Great Britain 15 VOLUME1 NO. 2 1958 Remarks, W. B, Sutch Igneous Rocks as Glaze Materials, Ivan Englundi 16 A Letter from America, John Kingston Living National Treasures, Doreen Blumhardt 22 Editorial Festival of Wellington Ceramic Competition Ceramique Internationale Praha 24 A Change of Emphasis, David Driver News Experiment in Feilding, M. McCorkindiaIe 26 Thanks Visit to Japan, T. Barrow Sixth NZ. Potters Exhibition 31 Thoughts from an Architect on the Studio Potter Fourth NZ. Studio Potters' Exhibition, Helen Mason Design in New Zealand, Geoffrey Nees 36 Today, E. A. Plishke Comments from the Selection Committee The Craft Shop, Tine Hos 38 An English Exhibition, C. L. Bailey Guide for the Arranging of Future Exhibitions Mineralogy for Potters 41 NZ. Studio Potters 2nd Exhibition (illus.) Review of Exhibition, Hamish Keith Crowan Pottery in New Zealand 42 Exhibition Balance Sheet Pithoi Pots in Crete, Robyn F. Wallis Design: JapanvNew Zealand, Doreen Blumhardt 44 News from Peter Stichbury John Chappell, Helen Mason Fourth Crafts Conference of Society for Education Schools The Value of Locality in Art, M. T. WooIIaston through Art 51 News News 52 Advice from a Senior Potter, K. PIeydeII-Bouverie VOLUME 4 NO.1 1961 A New Zealand Potters' Guild? Editorial Committee 56 Exhibitions Schools of Thought, Roy Cowan Editorial 6 NO.1 1963 Extract from VOLUME a Letter, C. L. Bailey Clay Resources, Roy Cowan Notes on the Preparation of Clay, Mary Hardwick—Smith Editorial VOLUME 2 NO.1 1959 Canadian Pottery, Helen McKenzie Patricia Perrin, Beverley Simmons 3 Development of a Potter, Dorothy Hope The Voice of America, David Campbell 5 Editorial Obituary—Dr Soetsu Yanagi, Terry Barrow Crewenna Pottery, May Davis 6 Kiln Efficiency, Peter Stichbury The 'Visit of John and Anja Chappell, Helen Mason Kiln Firing Developments, Roy Cowan 9 From a Traveller's Notebook Potting in Japan, John Chappell Potters 20 The Electric Kiln, Jim Nelson 37 36 How to Blow, Roy Cowan News from Japan World Crafts Council Kanjiro Kawai 17 De-airing pug mills, Harry Davis Changing Climate Crafts in the U.S.A., Mary Hardwick-Smith World Craft Council 18 The Large Single Piece Our First Major Overseas Exhibition Function and Form, Barry Brickell 21 Briar Gardner, Margaret Milne Cowan Alan Meisel, Californian Potter Changing Climate 26 Wedging Machines, Roy World Craft Exhibit Hans Coper 27 Lee Thomson VOLUME 12 NO. 1 1970 of a Journey Round the World, N.Z. Society of Potters Eighth N.Z. Potters’ Exhibition 29 Some Impressions The State—Patron of the Arts Visit of Shoji Hamada 41 Harry Davis Editorial Palmerston North Art Gallery Correspondence 44 Reviews The 13th Exhibition, Margaret Milne and Dennis Hanna News Book Review 45 Jim Greig, Helen Mason About the Guest Artists, Helen .Mason Seventh N.Z. Potters' Exhibition A Kiln Design, Roy Cowan 45 Potters Potters Symposium, Bruce Martin Potters in Otago, O. C. Stephens N2. Society of Potters 53 Entrainment, Roy Cowan Otago Museum Potters 57 VOLUME 10 NO.1 1968 Domestic Ware: Discipline and Scope for Imagination, Looking at the Old World, Minna Bondy Margaret Harris Travelling Exhibitions of New Zealand Art VOLUME 8 NO.1 1965 Industrial Design in New Zealand, Keverne Trevelyan Ceramic Murals Medieval Pottery from London London Letter, Kenneth Clark Hall of Asian Art, T. J. Bayliss Letters The Eleventh NZ. Potters Exhibition A or P? A question of Status Editorial 2 Twelve Potters, Ma-vis Robinson Hazards of Buying, Nancy Martin Newcomers Photo Credits 2 The Arts and the Crafts, Roy Cowan The Potter and the Market, Patrick Pierce After the 13th, Ivan McMeekin Exhibitions 3 News News of People, Pots and Events Kiln Management, Roy Cowan 10 Raku, Isobel Rodie Engljsh Studio Pottery Today, Wyn Reed VOLUME 6 NO. 2 1963 London Newsletter, Kenneth Clark 11 Thai Pottery, Doreen Blumhardt Changing Climate 20 Book Reviews Editorial Queen Elizabeth II Arts Council 25 VOLUME 12 NO. 2 1970 Industrial Design and the Potter Changing Climate Shoji Hamada 27 Ceramic Wall Panels and Murals, John Kingston Book Review, James K. Baxter The year we built the kiln Editorial The Social Function of Craftsmen, Teruo Hara Glazing of Earthenware, O. C. Stephens 40 Nelson Potters, Margaret Harris Potters Life Members 43 Thermal Shock Resistance and Thermal Failure, Takeichi Kawai N2. Society of Potters Inc. 47 VOLUME 10 NO. 2 1968 Bob Munro Exhibition in Finland, Graeme Storm Auckland Scene, Martin Beck 48 Make your own Filter Press, Chris du Fresne All These Trust in Their Hands Ninth NZ. Potters' Exhibition Editorial Expo: From Inside, Elizabeth Mace Nelson Minerals for the Potter Two Schools of Thought, Helen Mason 51 Fiji, Jeremy Commons World Crafts Council A Visit to the Ancient T'ing Kiln Site, Rewi Alley Potters 56 Exhibition of Industrial Design, Keverne Trevelyan Book Review, John Colbeck Kiln Firing Developments, Roy Cowan Letter from Darwin, Alistair Hallam Should Pollution by Pottery be Amateur or Professional? Australian and New Zealand Pottery VOLUME 8 NO. The Art of the Potter, Michael Cardew Toby Eas-terbrook-Smith Seventh N.Z. Potters Exhibition 2 1965 Peter Knuckey Returns from Japan Letter to the Editor, Helen Mason News Yvonne Rust Exhibition, Nola Barron A Gallery Viewpoint, Maureen Hitchings Editorial Potters 2 11 + 1 Exhibition Arts Conference 70 Ninth N.Z. Potters' Ninth International Exhibition of Ceramic Art— Exhibition 3 Pots from the NZ. Academy Harry Davis pug mill Ceramics at Faenza Washington 9 Claire Bunby Potters Materials Dissected and Examined, J. R. Rooney 40 Stability of Ceramics, First Study-Conference for the Promotion of Crafts Roy Cowan 12 Letter from Dunedin, Beryl Jowett Earthenware Glazes, Gwyn Ace English. Pottery, A, R. in New Zealand, Gerald Wakely Mountford 19 Salt Glazing with Coal, Barry Brickell Three Potters in Profile, Margaret Harris Pottery in Kuching, Ray Book Review Rose 25 The Breathing Kiln, Roy Cowan Doreen Blumhardt Pots by Len Castle Notes on a Stoneware Jar, Terry Barrow 29 News of People, Pots and Events Graeme Storm Len Castle, Terry Warren Tippett, Yvonne Rust Barrow 35 Anneke Borren Roy Cowan, Conference in Peru NZ. Society of Potters W. Easterbrook-Smith 37 Kenneth Clark The Arts Council and Education, Doreen Blumhardt 39 News of People, Pots and Events New Vision 41 VOLUME 11 NO. 1 1969 VOLUME 7 NO. 1 1964 Elizabeth Lissaman, Margaret Milne 42 Potters 43 Editorial VOLUME 13 NO. 1 1971 Editorial Exhibitions 47 Education in Ceramics, Kenneth Clark Smisek Returns, Barry Brickell John Chappell 54 Education at an early age, Doreen Blumhardt Kenneth Clark Speaks Earthenware, O. C. Stephens A Small Kiln, Peter Stichbury 56 Student Patronage If you can write you can draw, Margaret Harris Incense is Good for Toothache, John Stackhouse Teaching Pottery, Ian Smith For the new generation of Potters, Roy Cowan Basic Design Teaching, VOLUME Art School Patterns, Kenneth Clark Primitive Firing, John Parker Shoji Hamada, Terry Barrow 9 NO.1 1966 An Approach to Teaching at Advanced Level. Lead Glazes, Jack Laird London Newsletter, Kenneth Clark Page Doreen Blumhardt An electric kiln mystery, Raeburn Laird Editorial Queen Elizabeth II Arts Council 2 Internationale di Ceramica The school on the Coast NZ. House London Art Exhibitions Gwyn Hanssen 3 Educating the public Selling through the Gallery, John Stackhouse Potters Exhibitions 4, 20, 42 Michael Trumic Len and Ruth Castle Pottery Academie Internationale de la Ceramique in New Guinea, Margaret Tuckson Nola Barron Book Review, Esme Marris Crewenna Pottery The Queen Elizabeth II Arts Council, Julia Mason 11 12th Annual Exhibtiion, Tom Esplin Warren Tippett and Jeff Scholes Visit of Takeichi Kawai Minikiln, Roy Cowan 14 John Stackhouse revisits Mexico, John Stackhouse Colour and Clay, Eileen; Latham John Chappell, Helen Mason Kenneth Clark, David Carson-Parker 22 Firing in the Bizen Tradition, Ian Smith Lorna Ellis, Margaret Harris World Crafts June Black Council 25 The Customs are Coming, Roy Cowan Muriel Moody, Margaret Harris Pottery Muriel Moody, K. M. Hancock in Fiji, Helen Mas-on 26 Newsletters John Papas Pots from Nigeria Waimea Pottery, Jack Laird 33 Books, Roy Cowan The Stuff Potters are Made of, Margaret Milne Michael Doreen Blumhardt Cardew, Helen Mason 36 News of People, Pots and Events An Arts Crawl Through Australia, Doris Holand Changing Climate Art and Craft Shops 41 Peter Yeates Correspondence Book Review 45 News of People, Pots and Events Container VOLUME 11 NO. 2 1969 Medieval Pottery and Contained, Pete Smith 46 True Confessions, Muriel Moody, Janet Wright Two Japans, Barbara White Potters Editorial N.Z. Society of Potters Pottery from a Fijian Excavation, Lawrence and Ceramics in Architecture 13 NO. 2 1971 John Kingston Helen Birks 56 VOLUME The Potter’s Role in Buildings, Page VOLUME Manawatu Potters, John Fuller Editorial VOLUME 7 NO. 2 1964 9 NO. 2 1967 The Development of Pottery The Fourteenth, Michael Trumic Page Culture for the Next 10 Years—the NDC Wheel, Roy Cowan 10 Editorial A Power Editorial 1 Exihibitions Pottery, Doreen Blumhardt 12 Extracts Oriental Photo Credits from "The Craftsman Today" 2 Gallery, Kees Hos Another Mans Poison, Nigel Harris 18 Tenth Exhibitions Exhibition Potters of Great Britain, Ina Arthur Doris Dutch Criticism, International Success for Sung Kilns of Chun and Ju, Rewi Alley John Simpson 5 New Vitality—Mirek Smisek China Cabinet Ceramics 24 The Art of Cabbage and Beancurd, Rewi Alley Firing, Barry Brickell 11 Are we Judges Exhibitions in Wellington: London Glazing of Earthenware, O. C. Stephens Newsletter, Kenneth Clark 15 Fire on the Coast, Jeremy Commons Denys Hadfield 26 Primitive Potter’s Wheel, Roy Chapman-Taylor Exhibitions 19 Books, 0. C. Stephens and P. Stichbury Ceramics Yvonne Rust and Colleagues, Jeremy Commons NZ. Craft Conference of Korea, Gregory Henderson 25 News of People, Pots and Events Roy Cowan and Juliet Peter 3O Why do we make pots? Helen Mason 33 38 39 This is New Zealand VOLUME 15 NO.1 Craft Centre Inc., Ch.Ch., 1/1223; 4/1237. Academy Sculpture, Pottery and Kampala Technical Institute, 4/223. Potters Materials Dissected and Examined, J. R. Rooney 1973 A Teapot is a Teapot Craft in USA, 7/2218. Graphic Art 65, 7/223. N.Z. Artist Kawai, Kanjiro, 6/2:71; 9/2236. Editorial Craftsmen Potters Association of Great Potters, Palmerston North 65, 8/2247. Kawai, Takeichi, 6/2219; 6/22712 7/1225; What are they doing to our Greenstone? Yvonne Rust Unspoilt Bali, Theo Schoon Arnaud and Gail, Margaret Harris Britain, 5/2213. NZ. House, London, Art, 7/1219. N.Z. 7/2244. News of People, Pots and Events Barraud, Margaret Harris Craft Shops, 5/2238. Potters Guild, ist 71, 13/2242. N.Z. Kenneth Clark Pottery, 5/1250; 9/1222. Repaying our Debt to Man's Culture, Harry Davis Craft Promotion Conference 63, 6/1r58. Potters Guild, 2nd 72, 14/1242. N.Z. Kilns — Building, 10/1260. Design The Project in Peru, May Davis 63, 6/2263. 64, 7/2216. Pots to Australia 63, 6/1231. Ninth (Brickell) 2/1211; (Cowan) 7/2245; VOLUME. 14 NO.1 1972 Irene Spiller Crawford, John, 14/1241. International Ceramic Art, Washing- (Cowan!) 9/1214; (Cowan) 13/129; Salt Glazing, Roy Cowan Cretan Pottery, 3/2237. ton, 6/2260. Otago and Southland (Greig) 14/1212; (Smisek) 2/225; Closely to the Land, Margaret Harris Revolution Unrolled, Juliet Peter Crewenna Pottery, 5/1230; 6/126; Potters, 8/125. Otago Potters 72, (Smisek) 14/1252 (Stichbury) Freedom to Live where you want, Margaret Harris Pottery in Australia—Book Review, 7/1224; 14/2217. 15/1238. Perrin, Patricia 58, 1/1225. 8/2256; (—) 10/1262. Electric, 2/127; Preservmg a house to make a home, Margaret Harris Toby Easterbrook-Smith Crowan Pottery, 3/1215; 5/2242. Portrait of Mexico 72, 15/1222. Red 13/1221. Firing, 2/123; 6/129; 6/2229; Paul Melser, Roy Cowan For the Fun of It Rose Guild of Craftsmen, UK. 58, 8/1210; 9/2211; 10/2249; 11/1240; Potter and Environment, Banry Brickell Portrait of Mexico Davis, Harry, 5/1230; 6/126; 12/2214; 1/2210. Reikorangi Country 65, 8/127. 11/2240; 12/1213; 15/2214. More About Lead Glazes, Gwyn Ace How to Make a Chicken Brick, Audrey Brodie 14/2217;15/128. Rust, Yvonne, Several Arts 68, Kingston, John, 3/228; 7/1250. Fifteenth Exhibition ' Ceramic Tiles (Gen‘nie de Lange) Davis, May, 5/1230; 6/126; 12/2214; 10/2232. Sydney Pre-lndustrial 61. Korean Pottery, 9/2225; 14/225. New Zealand at the V & A Pollutionist’s Guide to the Atmosphere, Roy Cowan 14/2:17. 4/2122. Ten invited Potters, Palmers- Is Pottery Designed? Roy Cowan The Weavers, Dorothea Turner Design Centre, London, 5/223. ton North 66, 9/2219. Twelve N.Z. Laird, Jack, 3/2217; 12/226. Galaxy of Ceramic Planets Very Summer Schools Design, Decoration, 13/124. Industrial, Potters, Canberra 69, 11/2228. Van Lawrence, John, 14/2218. Primitive Pottery in Thailand, Angela Stapleton Exhibitions 10/121; 10/1251; 10/2216. Teaching, der Sluis 72, 14/1239. Victoria and Leach, Bernard, 4/1253. Visit to N.Z., Exhibitions 15th Annual Exhibition. 7/1211. General, 5/2236. Albert 72, 14/1223; 14/2237. Welling- 5/124. News John Parker, Margaret Harris Design Council, N.Z. 10/1252. ton Potters Association 65, 8/124 , 2/2210; 6/2243. On assembling a mural, Roy Cowan 10th Annual Auckland Studio Potters Exhibition Design of Pottery, 2/2212; 3/1:43; West Coast Pottery 69, 11/2223. Lead Glazes, 2/1221; 13/1219; 13/2218; 4/1:40; 5/2244; 6/1232; 6/1236; 6/2245; World Craft Council, Asian, 12/2227. 14/1220; 14/2236. VOLUME 14 NO. 2 1972 VOLUME 15 NO. 2 1973 10/1213; 10/1251; 14/1227; 14/2233; World Craft Council, Wellington 72, Lissaman, Elizabeth, 3/1216; 6/1221; 15/1248. 14/2:44. World Craft, Washington, 8/2242. Du-Fresne, Chris, 12/2212. 6/1239. As others see us, Janet Mansfield Full time Courses in Ceramics, Lyall Hallam Dowse Gallery, , 14/1231; Expo 70, 10/2253; 12/2224. New_ Korean Collection, Peter Rule Manawatu Pottery Society, 13/2254; Does your kiln comply with the Act, W. Milne 14/2239; 14/2240. Wellington Craft Market, Harry Seresin Potters and Pottery 14/1239. in England and Germany, Dutch, Doris, 13/2:22. Feilding Experiment, The, 5/2226, 1/1214; 8/1244; Roll on Revolution, Paul Melser Flora Christeller Matheson, Elizabeth, Dutch Pottery, 10/1241. Fijian Pottery, 9/1226; 9/1256; 9/2233; 14/1246. Marketing, May Davis Town gas stoneware kiln, Madelaine Aldwell 10/224. Alan, 6/1236. Out of a different tradition Some Christchurch Meisel, Potters Earthenware, 5/1228; 6/1:67; 7/125. Filter Press, 12/2222. 14/2213. Background for a Potter, Margaret Rosemary Melser, Paul, 14/1215; Harris Perry, Gaynor Scandrett Education in Ceramics, 11/122; 11/124; Finnish Pottery, 2/2211; 6/2:21. Peter Stichbury, Margaret Harris Frederika Mexican Pottery, 9/1254; 11/1238. Ernsten, Gaynor Scandrett 11/128; 11/1210; 11/1212; 11/1215; Fraser, Lawson, 14/2230. 5 from Otago Potters Group, Flora Robinson Exhibitions Miller, H. V., 6/1259. 11/1218. Fraser, Thelma, 14/2230. To Make Interesting Teapots, Roy Cowan News Mitchell, May, 12/1244. Exhibitions Ellis, Lorna, 13/1238. Fulford, John, 10/1227. Mineralogy School, 5/2241. Environment of the Potter (Brickell), Fun Pottery, 15/1221. Go ahead Gallery, Margaret Harris Moody, Muriel, 7/1235; 13/1240. 14/1219. Galleries—Gallery 91, Ch.Ch., 2/1231. 12 Potters invited to the Dowse, D. P. Miller Moon, Milton, 10/1249; 12/127. 40 Ernsten, Frederika, 15/2219. Willeston Galleries, 2/2229. Potters on the prowl in Java, Audrey and Jim Brodie Milne, Margaret, 12/1216. 46 Exhibitions, How to open, 2/2245. Gandy, Annia, 14/1215; 14/1240. Mount Pleasant Pottery Group, 4/2244; Exhibitions, N.Z. Potters, First 1957, Gardner, Briar, 3/1219; 6/1157; 9/2240; 5/2253; 12/1242. 1/1211; 2/2243; 9/2248. Second \1958, 13/1247. Murals — Barron, 11/2235. Cowan, 1/1227; 1/221; 1/223; 1/2217. Third GIazes—Ash, 1/2231. Bristol, 3/223. 12/1222; 14/2246. Hadfield, 12/1246; 1959, 2/1234; 2/2227. Fourth 1960, Crazing, 7/2254; 8/1222. Earthenware, Kingston, 6/228; Melser, 12/1220; 3/2223; 3/2232. Fifth 1961, 4/2229. 3/1232 7/2211; 8/1240; 12/2242. Storm, 14/1233. Sixth 1962, 4/2221; 5/1239; 5/2231. Earthenware Slip, 2/1220; 2/2216. Seventh 1963, 6/1259; 6/2243. Eighth Hamada, 8/1234. Igneous rock, McClymont, Ian, 14/2:11. 1964, 6/2280; 7/1248; 7/2229. Ninth 5/2216, Lead, 2/1221; 13/1:19; McGlashen, Royce, 12/229. 1965, 8/1249; 8/223. Tenth 1966, 13/2218; 14/1220; 14/2236. Nelson McMeekin, Ivan, 11/2229. 9/223. Eleventh 1967, 10/127. Twelfth minerals, 6/2224. Rapid calculator, 1968, 11/1234. Thirteenth 1969, 14/2232. Salt, 10/2247; 15/1214. Sta- Napier Pottery Group, 2/1217; 4/1248; 11/2228; 12/1222 12/1239. Fourteenth bility, 8/2:12. 11/1252. Subject 1971, 13/2z3. Fifteenth 1972, 14/1222: Gray-Smith, Ian, 14/2:31. National Development Conference, Index 15/1242. Gazzard, Marea, 12/1:7. 11/2216. Exhibitions, N.Z., Guide for, 3/2230. German Pottery, 15/229. Natural Gas, 10/1264; 11/1251; 12/1213; Exhibitions, a selection, Auckland Festi- Gisborne Pottery Group, 11/2237; 13/1216. Castle, Len, 8/2235; 9/1251. val Craft 65, 8125. Auckland Provin- 15/2235. New Guinea Pottery, 9/125. Abuja Pottery, 2/2219; 5/128; 10/2228; Central American cial Potters 61, 4/2246. Auckland Gill, Michael, 4/223. New Plymouth Potters, 15/2236. 15/2235. Bagot Pottery, 10/2221; 11/2229; Pottery, 7/127; 9/1254; 15/2 35 11/1235. Studio Potters 4th 64, 7/126. Auck- Greek Pottery, 5/2252. N.Z. Potters Guild, 13/1237; 1st Exhibi- Academie Internationale de la Cera- land Studio Potters 10th, 15/1250. Greig, Jim, 9/2z54; 14/1211; 14/1245. tion, 13/2242; 2nd Exhibition '72, Barnicoat, Nancy, 12/2213. Ceramic Tiles, 15/1z28. mique, 7/1223. Auckland Studio Potters 11th, 14/1242; 1st Resident School, Barron, Nola, 11/1227; Chappell, John, 3/2:39; 4/1222; 5/1234; Adams, Luke, 4/1:35. 15/2224. 15/2234. Australian and ML Pottery Hadfield, Denys, 13/2226. 14/1246. Bairraud, family, 15/126. Chappel, John, 3/2239; 4/1222; 5/1234; Alexandra Pottery Group, 13/2255. Victoria 63, 6/2237. Blumhardt, Hanssen, Gwyn, 9/123. Pottery, 72, criticism—(Melser) Barraud, Gail, 6/1223; 7/1129; 8/2255; 14/1:8. N.Z. American Craftsmen's Council, 15/122. Doreen, 60, 3/226. Blumhardt, Doreen, Hamada, Shoji, 1/1217; 1/2233; 1/2238; (Peter) 15/1218; (Rolley) 6/125. Barrow, Chicken Bricks, 15/1226. 14/2213; Arabia Pottery, 2/2211. Terry, 8/2245; 10/1239. Napier 61, 4/2229. Canterbury Potters 3/2218; 7/1212; 7/2241; 8/1227; 8/1234: 15/1219. Beviiis, Adrian, 12/2210. Chinese Pottery, 2/1238. T'ing, 6/2225. Arts Advisory Council (see Q.E. II Arts Association 64, 7/224. Canterbury 15/2236. New Zealand Society of Potters, 5/2256; Big Pots, Sung, 7/228; 14/2246. Council), 5/1210; 6/1251. 2/1240. Potters Association 69, 11/2222. Hill, Maisie, 10/2253. 6/1241; 6/2277; 7/1248; 7/2253; (Life Black, June, 9/1250; Christchurch Pan Pacific Arts Festival, Arts Conference 70, 12/2237. 13/1255. Central School of Arts and Crafts, Hausa Pottery, 3/1227. Members), 8/1243; 8/1:47; 13/1226. Blumhardt, Doreen, 7/2241; 8/1227. Arundel Pottery, Maine, 3/228. 7/1238; 12/2244. London, Touring, 10/1219. Crawford, Hillsborough Group, 2/1239; 4/1236. (See also ”Exhibitions"). Borren, Anneke, Christchurch Potting, 2/1239; 3/1239; Association of New Zealand 12/2248. John 72, 14/1241. Fiji 72, 14/1226. Potting, 3/1219. Nigerian Pottery, 2/1223; 7/2216. Art Soc- Brickell, 4/1235; 4/1236; 11/2238. History—Auckland ieties Fellowship Award, Barry, 1/123; 2/1240; 14/123. Fourteen N.Z. Potters, 9/1220. Gandy, English Pot- 1/2:26. Brokenshire, Clay, Earthenware, 7/125: Firing defects, Otago Potting, 6/1259. ASIan Pottery, 12/1223; 13/2212. David, 11/2248. Anna 72, 14/1240. Graphic Arts 65, tery, 8/2219. Oamaru Potters Group, 12/2253. Bunby, Claire, 10/2241. 8/2z12. Local, 2/1210; 4/123. Mineral- Auckland Museum Pottery Collection, 7/223. Graphic Arts 69, 11/2224; Hope, Dorothy, 4/1218. Obituaries—Chappell, John, 7/1229; Burial Urns, ogy, 5/2241. Preparation of, 4/127; 12/1223; 14/225. 3/1242. Graphic Arts 73, 15/2228. Ikebana 72, Gardner, Briar, 13/1247; Hill, Maisie, 4/2215; 4/2251; 9/2:43; 11/2243; Auckland Studio Potters, 4/1248; 14/2238. Industrial Design 61, 4/1240. lkebana, 14/2222; 14/2238. 10/2253; Kawai, Kanjiro, 9/2236; Mit- Canadian Pottery, 12/2238. Stoneware, 5/1214. Thermal 4/2220; 6/2257; 10/1224; 12/1243; 4/1213. Industrial Design, 10/2216. Inter- Indonesian Pottery, 13/2249; 14/2246. chell, Mary, 12/1244; Thomson, Lee, Canterbury shock resistance, 12/2219. 12/2252; 13/1252; 13/2254; 15/2228. Museum Collection, 4/1231. national Ceramics 62, 5/2224. Inter- Italian Pottery, 5/1245. 9/2248; Verboeket, Constance, Canterbury Clark, Kenneth, 12/2250; 13/122. Australian Pottery, Aboriginal & West Coast Potters national Ceramics Faenza, 8/229; Yanagi, Soetsu, 4/1221. (Bagot Clean Air Act, 15/1:31; 15/227. 6/2215; Pottery). 10/2221; 11/2229; Association, 6/1257; 6/2256. 13/2222. International Craft 66, Japanese Pottery, 3/1245; 3/2218; Otago Potters Group, 12/1245; 13/1253. 15/2:35. Cardew, Coker, Lila, 14/2230. ReView, 15/1220. Michael, 2/2221; 8/1256; 9/1226. Manawatu Pottery Society 72, 4/1224; 4/2241; 5/1222; 5/1243; 5/1252; Pottery, 6/1261. Sturt Pottery, 9/1236; Coper, Hans, 7/2227. Otago Museum 4/2z15. General, 3/1213; 10/12202 1.0/22212 11/2236. 14/1239. Mason, Helen 58, 1/1225; 5/2:22; 6/1222; 8/1251; 10/1249. 5/1241; Caruso, Nino, Cowan, Roy, 8/2237. 13/1248; 14/223; 14/224. 11/222. Medieval Pottery, 6/1265; 7/1245. Jones, Olive, 3/1220; 8/1245. North Art and Design Craft Centre, London, 5/2215. Palmerston Mingei Ceramics 61, 4/1250. N.Z. Jowett, Beryl, 14/2229. Centre, 4/1244; School 62, 5/1234;

40 4] Campbell, David, 6/125. Jenkins, Stan, 10/1252, Smisek, Mirek, 2/225; 5/1222. Conference, 6/1258. World Crafts Council, 7/2217; 8/1:26; Campbell, Marjorie, 13/2256. Jensen, Owen, 6/223. Smith, Bernard, 6/2238. Palmerston North Art Gallery, 6/1255; 9/1225; 10/2254; 12/2227; 14/2:44. Canter, David, 5/2213. Jones, Olive, 3/1219. Smith, lan,11/1:8; 11/1240. 11/2213; 11/2214. World Design Conference ’60, 3/1243. Cardew, Michael, 3/1211; 5/128; 10/2124. Jowett, Beryl, 10/1222; 10/2z45; Smith, Pete, 9/1246. Papas, John, 13/1244. Wright, Janet, 14/127. Carson-Parker, David, 9/1222. 11/1247; 11/2z37; 12/1245; 12/2253; Snyder, Gary, 8/2254. Parker, John, 15/1244; 15/1247. Wright, Wilf, 14/127. Castle, Len, 2/2231. 13/1254. Stackhouse, John, 6/225; 7/127; 11/1238; Perrini, Patricia, 6/123. Chapman-Taylor, Ray, 7/2216. 13/1225. Perry, Rosemary, 15/2218. Yanagi, Soetsu, 4/1221. Chappell, John, 4/1224; 5/1234. Kawai, Takeichi, 7/2244. Stapleton, Angela, 14/1236. Peruvian Pottery, 15/1211. Yeates, Peter, 13/1250. Christeller, Flora, 15/229. Keith, Hamish, 3/2232; 9/1245; 15/2236. Stephens, O. C., 2/2243; 61/1259; 7/125; Peters, David, 9/1211. Clark, Kenneth, 5/2211; 6/1227; 7/1217; Kennish, Jacqueline, 5/223. 7/2:11;8/1240;11/2236. Pioneer Potters—Fulford, John, 10/1227. 8/1215; 9/2215; 10/123; 11/1:2; Kingston, John, 3/228; 6/228. Stichbury, Peter, 2/123; 2/1223; 2/2221; Gardner, Briar, 3/1219; 6/1257; 9/2240; 11/1210; 13/122. 3/1227; 8/223; 8/2256; 11/2236; 13/1247. Jones, Olive, 3/1220; 8/1245. Colefax, Humphrey, 14/1248. Laird, Jack, 2/2233; 3/123; 4/1244; 12/1231. Lissamain, Elizabeth, 3/1216; 6/1221; Commons, Jeremy, 10/224; 11/2c34; 5/2231; 9/1233; 13/1219. Stott, Beryl, 12/2253. 8/2242; 11/2236. Matheson, Elizabeth, 13/2230. Laird, Raeburn, 13/1221. Storm, Graeme, 2/229; 3/1224; 6/2221. 1/12 14; 8/1244; 14/1246. Miller, H. V., Cowan, Roy, 1/2233; 4/123; 6/129; Latham, Eileen, 13/1236. Sutch, W. 8., 2/223; 3/226; 6/1225; 6/1259. Rancich, —, 3/1220; Stephens, 6/1272; 6/2229; 7/2245; 8/1210; 8/2212; Leach, Bernard, 5/125; 10/1249. 6/2245; 7/2235. 0. C.., 6/1260; 8/1243; 14/2231. The 9/1214; 9/2243; 10/2249;. 11/1250; Leighton, Margaret, 10/1224; 11/1249. Feilding Experiment, 5/2226. 11/2240; 12/1213; 12/1228; 13/1292 Lusk, W. 8., 13/2253. Thompson, Keith, 5/2234. Pollution, 15/1231; (Clean Air Act) 13/2210; 14/1215; 14/1227; 14/2233,‘ Thomson, Lee, 1/125. 15/227. 14/2:46;15/1:14;15/1231. McCahon, Colin, 3/2225. Thurston, Hilary, 2/1220; 2/2216. Pottery Style, 3/1211. McCorkindale, M., 5/2226. Trevelyan, Kev‘erne, 10/121; 10/2216. Pug Mills, 9/2243; 11/2243; 12/2238. Davis, Harry, 9/222; 9/2250; 11/2243; McCulloch, Alan, 6/2239. Trimble, M., 12/2254. 12/1231; 15/128. McKenzie, D. F., 6/226. Trumic, Michael, 13/223. Queen Elizabeth II Arts Council (see Davis, May, 6/126; 14/2217; 15/1211. McKenzie, Helen, 4/1:13. Tuckson, Margaret, 9/125. Arts Advisory Council), 6/223; Degen, Steve, 6/1z69. McNamara, T. J., 13/2246. Turner, Dorothea, 15/1232. 7/1218; 7/2226; 8/1225; 8/2236; 8/2239; de Lange, Gennie,15/1228. Twiss, Ted, 8/1248. 9/1211; 11/2228; 12/2238; 14/1245. Devine, Frank, 8/1235. Mace, Elizabeth, 12/2z24. Douglas, Mollie, 4/2222. Mack, James, 9/2219; 10/127. Vendelbosch, Carl C., 3/1236. Raku, 10/1240. Driver, David, 1/223. Mansfield, Janet, 14/223. Rancich, —., 3/12202 Du—Fresne, Chris, 12/2222. Marris, Esme, 13/1231. Wakely, Gerald, 6/2263. Roman Pottery, 14/1231. Duncan, Molly, 5/1241. Martin, Bruce, 12/1211. Wallis, Robyn F., 3/2237. Rout, Stewart, 12/2216. Dutch, Doris, 12/1243; 12/2252; 13/1252. Martin, Nancy, 10/1213. Warren, Alan, 2/6237. Rismgholme Community Centre, 3/1239; Mason, Helen, 3/1245; 3/2239; 5/1243; Weir, Jean, 7/2233. 4/1235; 11/2:38. Easterbrook-Smith, Toby, 8/2237; 5/1250; 7/1229; 8/1251; 9/1226; 9/1236; White, Barbara, 7/1246.- Rust, Yvonne, 9/2255; 10/2232; 11/2234; 12/2232;15/1:20. 9/221; 9/2233; 9/2248; 10/1249; 12/127; Wood, John, 5/1228; 6/1268. 13/2227; 13/2230; 14/1245. Englund, lvan, 5/2-16. 12/2236. Woollaston, M. T., 3/2241. Erdbrink, Constance, 2/1217. Mason, Julia, 9/1:11. Wright, Betty, 4/2244. Saggars, 2/124; 3/1236. Esplin, Tom, 6/2243; 11/1234. Matheson, Elizabeth, 2/1:10. Wright, Janet, 13/1256. Sales Tax, 69, 11/1246. Meads, Patti, 14/2238. Wright, Wilf, 12/1230. Sarawak, Pottery, 8/2225; 9/2251. Fearnley, Charles, 5/2232; 4/2254. Melse'r, Paul, 14/2213. Smisek, Mirek, 5/1222; 6/2216; 7/123; Finan, Frank, 9/1254. Millar, D. P., 14/2240. 11/2232; 14/124. Forsythe, Pam, 5/1234. Milne, Margaret, 8/2242; 9/2240; 12/122; Smi‘sek, Janie, 14/124. Author Index Fremaux, Lee, 6/1232. 13/1247; 13/1252. Soldner, Paul, 13/2253. Fuller, John, 11/1248; 11/2210. Milne, W., 15/227. Southland Ceramic Club, 3/2216; 6/2255. Moody, Muriel, 8/1247; 13/1254; Souvenirs, 27223. Abraham, Dorothy, 10/1224; 10/1:60; Gathercole, Peter, 6/1261. 13/1256;13/2:55. Spanish Pottery, 3/1224. 11/2213. Gill, Michael, 4/223. Morland, Jean L., 3/1239. Spiller, Irene, 15/1212. Ace, Gwyn, 14/1220; 12/2242. Glover, Denis, 2/2245; 4/2248. Mountford, A. R., 8/2219. Aldwe‘ll, Madelaine, Stephen‘s, Oswold, 6/1260; 8/1243; 15/2214. Munro, Bob, 12/2219. 14/2231. Allen, Jim, 6/1227. Hacking, Josephine, 11/2237. Stichbury, Peter, 14/2223; 14/2224. Alley, Rewi, 6/2225; 7/228; 7/229. Hallam, Alister, 10/2:21. Nees, Geoffrey, 5/2236; 6/1232; 7/2229; Anderson, Storm, Graeme, 7/2257; 10/1228; Freda, 2/2249; 4/1257; Hallam, Lyall, 15/222; 15/223. 7/2139. 12/2246; 14/1233. .10/1249. Hamer, Frank, 14/2232; 11/1249. Nelson, Jim, 2/127. Studio Pottery, 1/227; 1/2233; 2/1r35; Athfield, Ian, 11/228. Hamer, Janet, 15/2237. 4/1'58. Arthur, Ina, 11/2231. Hancock, K. M., 7/1235. Parker, John, 13/1217. Sturt Pottery, 4/2215. Hanna, Dennis, 12/122. Peebles, Don, 7/1211. Bailey, Summer Schools 72, 15/1237. C. L., 1/126; 1/2210; 1/2238; Hara, Teruo, 6/2:8; 6/2210. Peter, Juliet, 15/1218. 2/1238. Hardwick-Smith, Mary, 3/223; 4/127; Pierbe, Patrick, 3/2226; 10/1215. Te Mata Potteries, 10/1127. Baldwin, Gordon, 6/1267. 7/2z18. PleydelI-Bouverie, Katherine, 1/2231. Banks, Nora, 15/2237. Thailand pottery, 1/126; 10/1244; Harris, Margaret, 12/1216; 12/2z4; Plishke, E. H., 1/227. 14/1236. Barron, Nola, 10/2232. 12/2:44; 12/2:46; 12/2248; 13/124; Prime, Alan, 6/2223. Thomson, Lee, 9/2248. Barrow, Terry, 1/1217; 3/2218; 4/1221; 13/1238; 14/124; 14/127; 14/1211; Throwing, 12/2230. 6/2271; 7/1212; 8/2235. 14/2223; 14/2224; 14/2239; 15/1:2; Tippett, Warre-ni, 6/2274. B'ayliss, T. J., 12/1223; 13/2243. 15/126;15/1:44. Read, Herbert, 6/1229. Baxter, Trumic, Michael, 11/1223. James K., 8/1237. Harris, Nigel, 13/2218. Reed, Wyn, 4/1231; 6/2250; 12/1251. Beadle, Paul, 6/1226. Hastings, Eveline, 11/1212. Roberts, J. L., 7/2236. Uganda» Pottery, 4/223. Beck, Martin, 8/1248. Heinz, Valerie, 4/2235. Robinson, Flora, 14/2229. Bendall, Zoe, 13/2254. United Kingdom Pottery, 2/2218; 4/1231; Hewett, Judy, 14/2236. Robinson, Mavis, 6/1270. Bird, Peter, 10/124. 5/1250; 5/2211; 8/2219; 9/1222; Hitchings, Maureen, 12/2236. Rodie, Isobel, 10/1240. Birks, Lawrence, 9/1256. 11/2231; 12/1251; 12/2250; 13/122; Holland, Doris, 4/1235; 4/2231; 11/1248; Rooney, J. R., 12/2240; 13/2237. 15/229. Blakebrough, Les, 4/2215. 12/1242; 12/2252; 13/1t48; 13/1254; Rose, Ray, 8/2225. Bland, van der Sluis, Mellis, 14/1239. Peter, 7/2235. 13/2z54. Rule, Peter, 14/225. Vendelbosch, Carl, 12/228. Blumhardt, Doreen, 5/1252; 5/2222; Hood, Kenneth, 6/2240. Rushforth, Peter, 4/1258. 5/2244; 6/2251; Verboeket, Constance, 6/2215. 8/2239; 10/1244; Hope, Dorothy, 4/1218. Rust, Yvonne, 6/2274; 13/2247; 14/1240. Verdcourt, Ann, 14/2218. 11/124; 13/2212; 13/2227. Hos, Kees, 11/2230. Vine, Christopher, 12/224. Bondy, Minna, 6/1262. Hos, Tine, 5/2238. Borren, Anneke, 10’/1:41. Scandrett, Gaynor, 15/2218; 15/2219. Hughan, R. R., 5/1214. Schoon, Theo, 13/2249; 14/224. Brickell, Barry, 1/123; 2/1211; 2/1240; Waimea Potteries, 9/1233. Hunt, Winifred, 2/1231. Scott, Ruth, 14/2222. Wallace, Bob, 12/2210. 6/1228; 7/123; 7/2:21; 9/2z11; 10/2247; 12/1229; 14/1219; 15/1237; 15/2234. Seresin, Harry, 14/2211. Weaving, 15/1232. lnkersell, Elsie, 2/2218. Simmons, Beverley, 6/1:3. Wellington Brodie, Audrey, 14/2246; 15/1226. Potters Society, 13/2255. Simmons, D. R., 6/2247. Wheels, Brokenshire, David, 7/224; 8/1227; (Nigeria) 7/2216; (Leach) Jack, Mavis, 2/1235. Simpson, Edward C., 15/2228. 4/1253; (Cowan) 13/2210. 10/1258. Jeannerat, Pierre, 9/124. Brown, Simpson, John, 9/225. Potteries, 2/2218. Vernon H., 3/2227. Burr, Mary, 15/1237. 43 42 Tom and Jill Barton 150 Karori Road, Wellington 5. Telephone 769-126.

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Pottery and Fine Prints

PETER SINCLAIR’S COUNTRY ARTS

One of New Zealands widest selections of pots from some of the country’s finest craftsmen . . . everything from huge bread-crocks and decorative pieces down to the tiniest trinket-boxes. There’s a special display of terrace and patio pots in our own courtyard, and a choice of container-plants to go with them.

OPEN '1 DAYS 81' MURIWAI BEACH, JUST OUTSIDE AUCKLAND.

Phone 69!! Waimauku.

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