newzedldnd potter vol l7/Q Ispiin31975

Contents

Canterbury potters world 2 Canterbury raku firing 8 My biggest pot 10 China, Korea, Japan 12 Otago museum collection 14 Red wares of China 16 Natural gas catenary arch kiln 18 :-, Roy Cowan’s wedging machines 20 Problems with stoneware clay bodies 22

‘-,'{ Potter’s geography 24 a} - Cristobalite problems in New Zealand stoneware bodies 26 it57 The Davis’s return 28 5' (i3. First national earthenware exhibition 30 .I. 1 323‘: Tihei Mauri Ora 31 h J 3 Warwick Lidgard 33 Preserving Ascot Terrace 35 High fired copper glazes 36 r . :3. .3; Wilf Wright — collector 37

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editor: Margaret Harris adminstrator: Esme Marris layout and design: Nigel Harris, Barry Ellis editorial committee: John Stackhouse, Nigel Harris, Audrey Brodie, Jim Brodie, Auckland correspon- dent Ruth Court, Christchurch correspondent Nola Barron. editorial/subscription/advertising .COVZr PO. Box 12-162 Wellington North. New Zealand printed by Deslandes Ltd, Wellington Storage Jar, Shino Glaze by Lawrence Ewing, Rangiora. shown at National Exhibition,‘ 1975. Photo Stan Jenkins. New Zealand Potter New Zealand Potter Page 3

aim is to build a communal workshop. beach firings, ropework and the usual despair. One can only survive if one This would be a focal point for visit- workshops. We are very fortunate in remembers that clay is the master and Canterbury ing potters and hopefully a place having a pool of informed help from respect it as such. And then the hon— where young potters could come to the Canterbury Potters Association. esty and simplicity one strives for be- potter’s world gain experience. Adrienne Lamb gins to be revealed in the pots them- Margaret Higgs selves.” Paul Fisher Risingholme “I pot seven days a week, have a 25 cubic foot downdraft oil fired kiln Below. Hingbox, celadon green glaze, iron Risingholme Community Centre, which I fire to 1320°c. I see my rela- decoration. 50mm (2”) high. Store jar Opawa, has long been a teaching tionship with clay as an endless mat- celadon blue, with iron decoration 400mm centre for aspiring potters. The first ing of ideas which brings both joy and (16”) high by Paul Fisher. tutors were Doris Holland, better known as the painter Doris Lusk, and Margaret Frankel, now Lady Margaret Frankel of Canberra, who is still pot- ting and firing a gas kiln. From small beginnings in 1946 in what were the original stables of the Risingholme homestead (built in 1864 by George and Mary Reeves, the parents of Wil- liam Pember Reeves, who later be- came a Member of Parliament), clas- ses have grown to over one hundred potters enrolled in six evening and daytime classes working in a well- equipped workshop which has been extended this year. Equipment in- cludes two large electric kilns able to reach stoneware temperatures as well as wheels and ample shelf space and Clay storage. Beginners mostly work in earthenware in their first year. Those who continue, improve their skills and develop interests in various directions: stoneware glazes, kiln packing and firing. Some classes make occasional forays into raku and primitive kiln building and firing. Present tutors are Freda Newfield, Raynor Scandrett and Betty Ivan. En- rolments are taken in mid—February for a complete year divided into three terms. Betty Ivan University for the arts Pottery Classes Studio 3 Q 3 The University of Canterbury city The following classes are available Potters tend to form groups as Rangiora site is being put to new use to house as in Christchurch. There is a waiting amateurs and function in a supportive The Rangiora Pottery Group has many types of arts and crafts as possi— list for beginners. way. The emphasis is on amateurism been thriving since 1968. We have ble. For a rent which covers expenses, Risingholm Community Centre and those people who move on gener- been lent a two storied hundred year groups such as potters, weavers, bal- Springfield Road Craft Centre ally do so alone. Studio 393 is an at- old farm house in which we have all let dancers, the Court Theatre, are able Shirley Activities Club tempt by six established potters to our facilities. Fire, frustration and own rooms. The library Mt Pleasant Pottery Group come together to work, discuss, criti- to have their fellowship are provided by our oil is being altered to make a fine ex— Halswell Pottery Group cise and generally stimulate one fired drip feed two chamber kiln — and on Saturday morn- Bishopdale pottery class another’s ideas. The studio at 393 hibition hall the bricks being obtained by de- ings its wonderful to walk around and ,Riccarton High School Montreal Street, Christchurch, which molishing the local gas retorts. All hear the orchestras playing and other Shirley Intermediate School is used as a workshop and gallery is members are encouraged to learn to sounds of people rehearsing. Tiered Hornby High School open to the public on Fridays. The fire, and this sorts out the stayers from lecture rooms for talks, nearby kitch- group whose membership is Fre- In addition, some local established the players. As a result of our group ens and offices provide splendid derika Ernsten, Lawrence Ewing, De- potters hold classes for those who we have two members ofthe New Zea- facilities for the Christchurch Arts nise Welsford, Michael Trumic, Rex have reached a reasonable standard. land Society and two full-time Centre in a fine old building. Valentine and Margaret Higgs, has potters These are Paul Fisher 859—283, Peter plus a pottery equipment manu- The Canterbury Potters Association held one exhibition with invited pot- Bamford 324—307, Denys Hadfield facturer. has applied for space in the old ters and Phillip Trustrum painter. 324-307, Adele Mathews 750-22 Some of us have outgrown the maintenance block. We are looking Other exhibitions are planned with group having built our forward to having our own home for This information comes from the potters from further afield. own kilns, in fact there is a one mile stretch ofroad our growing library and the pots we Learning Exchange paper published The group has been going since at Loburn where there are four kilns. have collected over the years. in Christchurch. Subscription $2fr0m March and although a diversity of Our activities are varied. Monthly to- Denise Welsford. Box 8233 Riccarton. personalities must be catered for, the pics have included clay hunting, New Zealand Potter Page 5 New Zealand Potter Page 4

Right: Pair of porcelain pinched bowls by Margaret Hig gs Rosemary Perry shown at Canterbury Pot- “I make domestic ware because ters exhibition. Below: Bottles by Margaret technical skills need repetition to Higgs. maintain a standard, however I’m bas- ically more interested in pinched and slab forms. I’m emersed in porcelain work just now — making up Clays and discovering the effects of ash glazes on porcelain. Quite exciting — all this. Most glazes I use are ash glazes and I fire in an electric kiln. I work at The Studio away from domestic dis— tractions and teach night classes at Riccarton High School.”

Right: A group of pots by Micheal Trumic from an exhibition at Studio 393 Christ- church. The taller bottle is 43 cm high. All pots iron glaze fired in a reduced atmos- phere, coloured grey green to bright iron red. A white line encompasses the forms. Below: Pinched bowl 25 mm (10”) across thin ash glaze by Margaret Higgs. photos Keith Nicolson photo: Keith Nicolson New Zealand Potter Page 6 New Zealand Potter

are shared between exhibitor and gal- lery. The gallery takes 25% com- mission on sales. N0 rent is charged.

C.S.A. Canterbury Society of Arts 66 Gloucester Street, Christchurch opened in 1968, has established itself as a lively place for the visual arts. There are several exhibition areas. Three galleries are suitable for one man exhibitions at $20 a day rent plus $30 booking fee. Artists are responsi— ble for cost of invitations, catalogues and refreshments if required. Invita- tions posted, publicity and return freight paid by C.S.A.

Artists Quarter “Helping to form the Artists Quar- ter has been very stimulating. We are working alongside a blacksmith, a weaver, a printmaker. We have settled down to making basic domestic ware for our “Top shop”, but personally I find that creatively, raku gives me most satisfaction.” Denys Hadfield “The Artists Quarter which has progressed steadily since Denys and I set up our studio there, is now offer- ing a varied and interesting environ— ment for work. Its full potential is not yet realised but it is growing and al- ready it contributes to the artistic life ofthe city. Fifteen involved craftsmen and artists have found an ideal shared work place and have attracted a clien- tele which likes to buy in such sur- roundings.” Philip Hadfield

Denise Welsford “From a range of domestic ware I most like making tea and coffee pots. Assembling them is always a chal- lenge. Glazes are felspathic, talc and ash used with a little or no decoration as simplicity ofglaze and form appeal to me most. My suburban back garden provides space for workshop and kiln. Pots are fired in a ten cubic foot oil fired kiln to 1300° C about twice every three weeks. I feel compelled to keep practising an acquired skill for pottery. Beauty for me is expressed more clearly in the Rex Valentine Chinese and South East Asian pots in Several Arts form and shape of pottery than in any the Mcdougall Art Gallery. Last year other medium.” Full-time potter for five years. organised an exhibition of Hamada’s Teaches adult night Class. Present in- pots. Organising exhibitions seems to Several Arts Gallery Left: Rex Valentine is small —-— two Above left: Rex Valentine fluence Japan and the simplicity of be a hobby. Has 1 3 acres near Selwyn, rooms opening into each other and Above right: Denise Welsford their style. Also interested in early 25 miles south of Christchurch. Here one small overflow room. The area is Right: Storage jar pottery and has organised an exhibi— he works, grows vegetables organi- arranged so that 200 pots can be exhi- Denise Welsford tion of 11th and 16th century South cally and has an orchard. bited comfortably. Gallery expenses Photos: Keith Nicolson New Zealand Potter New Zealand Potter Page 9

Raku clay body. Canterbury raku firing 1. 70 pts fireclay [Must be white, no iron] On the Saturday morning potters 10 pts ball clay headed for Rex Valentine’s place at 20 pts sand Dunsandel on the Main South Road. 2. 75 pts fire clay The grounds around the old house are 10 pts ball clay well sheltered and everyone baked in 10 pts sand the sun while the pots fired, load after 10 pts talc. load, from 10 am. till about 8 pm. Raku glaze. Denys Hadfield and Rex were re- 1. 75% Calcium borax frit sponsible for the well planned firings. 10% Raku was Denys’s field of study when Soda feldspar 15% Lead bisilicate he received an Arts Council Grant. He Gum Arabic [1 has concentrated on perfecting a raku tsp) 2. 75% Calcium borax frit kiln which can be used in schools. 15% Soda feldspar The material he is now using is per- 10% Lead sesquisilicate fect for a portable bee-hive kiln and 1 tsp Gum Arabic. the one used at Dunsandel was cast in 3. 50% Borac a day at his studio workshop in the 50% Colemanite. Artists’ Quarter. It is oil-fired and a 4. 80% Borax frit front loader. This kiln took about 20% Feldspar. thirty five minutes to reach the re— quired temperature. Glaze 4 was the one used on the day were in short sup— Rex built an equally efficient wood as some materials firing kiln based on Japanese design. ply. Raynor Scandrett Each kiln chamber fired about six small pots or two large ones at a time, in some cases the firing time was only fifteen minutes. Raku bowl by Rex Valentine. The pots were lifted with tongs Photos: Keith Nicolson straight into one ofthree metal drums. One drum was filled with sawdust, one with straw and one with sawdust and oil. The time factor here was vital and as soon as the pots were covered with the combustible material, lids were placed on the drums and reduc- tion took place. Then the pots went straight into water to freeze the affects of the reduction. The smoky atmos- phere in the drums caused the body to turn black which is the trend in con- temporary raku ware. With a large number of pots to be fired the kilns were unloaded and re— loaded as quickly as possible. The glowing pots lifted about 8 pm. from the wood fired kiln had, we estimated, been fired at 1000 degrees C. This may seem high but there were no bubbles on these last pots which had a buttery, crackle finish. Raku was a new experience for. many and some forms were not suited to the medium. But it was a time for learning and discussion. And a time for a quick refire if the first was not a success! Because the firings were so success— ful readers may be interested in the clay bodies and glazes suggested by Denys.

Denys Hadfield placing the pot in sawdust for reduction. New Zealand Potter Page 10 New Zealand Potter Page 11 MY BIGGEST POT

For 12 years I had worked with clay derstand in forming hollow ware The building was first modelled in the starters and formed the transverse in the laundry at home and Noeline apply. clay then modelled a second time in rods over the forms. 1A” M.S. rods had turned wood in a space hardly balsa and wire. The City Council in- spaced at 6” centres were used lon- larger than a cupboard. We decided to Ifwe had used conventional timber sisted on 8” concrete blockwork on gitudinally down the form. All open- use a small area of sloping lawn be- framing we would have ended up the side nearest our neighbours and ings were reinforced'with extra 3/8”% neath the Ngaio trees to build adjoin- with a shed about 20’ x 10’. In ferro we used this also as the undulating rods and all rods where joined were ing studios. We chose ferro-cement cement we were able to shape the dividing wall between the two spaces. lapped 4O diameters. Then two layers [concrete boat building construction] form to press into every square inch of 1/2” galvanized wire netting were W00 0 WORK to build in. It has the advantage of low available yet not disturb existing rock We dug a continuous foundation fixed both sides of the reinforcing. material cost yet gives complete free- walls, brick terraces and avoid a piece right round the perimeter and poured Each layer had to be stretched as dom in form. It is an ideal material for of poor made ground. We also a reinforced concrete ring with starter tightly as possible over the form. potters to experiment with as the finished with a floor space of about rods at 1 ’4” centres projecting from it. Thousands of wire staples were same structural principles they un- 400 square feet. 3/3 M.S. rods were securely tied onto pushed through the layers of mesh and twisted up on the inside to make the whole structure tight. At this stage it looked like a rather fancy bird cage. POTTEKY ———-——-—- It had taken almost two years of oc— casional weekend work with the whole family and often friends help- ing to this point. Then on the ap— pointed day — mercifully fine — our friends, many of them potters — got plastered” We supplied plaster, food and grog and in about 10 hours each studio was plastered in. The plaster was applied firstly with spatulas but as the day progressed hands were found to be more effective. There seemed to be a decided preference for working on the outside of the curves Overheard — “David when we’ve finished I’ll hit you over the head and then you can hit me and we’ll both loose our masks.” The droppings from the plaster formed the binding layer for the floor. We placed the damp course over it and poured the concrete floor. . ,/ The studios were finished off by screwing the perspex domes over the CROSS openings and then painting them SECTION white inside and out. The studios were very economical in material costs. Floor Area — approx. 400 sq. ft.v Materials Cost — approx. $1200.00 Invaluable reference is “Concrete Boatbuilding" by Jackson and Suther- land. \ .1 \I~‘ The studios are proving exciting I o places to ~ work in but as there is prac- K \ tically no insulation, this form ofcon- .11. struction is most suitable for temper- ate climates. E L EVATION

David Brokenshire New Zealand Potter Page 12 New Zealand Potter Page 13

We met the youngest potter ofthe vil- rooms or perhaps in the courtyard on an artifically built-up slope. They China, Korea, Japan — as I saw them lage, Sakamoto, in the process of stok- areas outside the buildings them- are wood-fired take about a week to ing his wood-fired kiln and learned selves. fire completely and hold thousands of Graeme Storm that his annual income was in the vic- pots, many of them quite large and time in museums and looking at pri— example. I could hardly suppress a I would mention here, the exhibi- inity of 20 million yen, that’s about requiring two men to carry them. The Where to start is the problem when vate collections of ceramics, being laugh to that one, surrounded as we tion of New Zealand pots which we $48,000. Not bad for a country boy! process of making the pots was a real trying to make something literate out taken to places of scenic and histori- were at that moment by the very es- took with us in the three specially de- joy to watch. They were all hand— of nine weeks absolutely crammed cal interest, including several ancient sence ofbig business. I felt often that All is not countrified and folksy signed cases which, when opened, built, coil and slab, with only the odd full ofsights, sounds and experiences. kiln sites and burial mounds, and our Japanese hosts in the various areas however. Potters belonging to the formed their own display area. There gesture towards throwing and smoo- No doubt the five of us will often have being entertained at theatrical and we visited did not really understand modern school crop up all over the were 50 pieces representing 22 pot- thing out the added coils on a rather quite different impressions and opin- musical performances. Throughout how it was that we could enjoy their country. An interesting group of peo- ters, and this gave our hosts an idea of slow, floor level footwheel. Each stage ions about the same place, or event, we were treated with the utmost work and yet admire and enjoy work ple exist over the hill from the city of what was being produced in the way of the pot was handled by a different and while to one member ofthe group kindness and generosity by our vari- from another different school. Kyoto where many of those who have of New Zealand Studio pottery. Com- person, from the beaten-out base to a a particular aspect will look large, to ous hosts and constantly plied with Perhaps this is what a long tradition, worked in the Kyomizu area moved ments in Japan varied considerably low side wall, to added coils, and so another it may have passed into the the most incredible variety of food of many hundreds of years does to when the old wood—burning kilns of from place to place, but it was always on, the piece being passed on from limbo of forgetfulness. So, on this and drink. China is a gastronomes one’s outlook. Narrows it, and makes that potters district were closed down obvious that any pieces with a de- one potter to another as it progressed. basis, I make no pretence whatsoever light, but that’s another story. it more inward looking? I don’t know, some years ago. We visited a number Japanese influence came in for close It was all very casual and yet very to cover the field, but rather to list a We had about three and a half I am conscious as I say these things of small studio workships there, and scrutiny, and as often as not, fairly efficient. This was a country pottery few of the impressions which stand weeks in Japan and covered a great that they are very broad and sweeping saw a remarkable variety of modern severe comment. A general feeling as yet unsullied by the hordes ofwest— out for me personally. deal of ground from Mashinko in statements but for what they are styles of pottery. would be, I think, that we are rather ern ceramic lovers and the tourist In Japan, our itinerary was put to- Honshu southward to the Saga Prefec- worth, they were the impressions that Further south in the Ureshino area too Mingei-oriented, and even here trade which has had such an effect gether by Professor Yoshida, Director ture on the island of Kyushu. Gener- were left with me. we met a woman potter, Mrs Ono, lacking somewhat in the genuine upon the Japanese pottery scene. It of the Museum of Modern Art in ally speaking, I was rather amazed Tamba is an area which I feel has who had developed an intriguing spirit. All the comments, whether at was good, honest, earthy stuff, made Tokyo, in conjunction with the New the growth of what I can only describe suffered from over-exposure to west- technique ofapplying and firing gold- praiseworthy or critical, were helpful for a specific function and will hope— Zealand Embassy, based upon sug- as the “cult” of pottery in Japan. I had ern visitors. It’s no longer the country leafon to her pots to achieve effects in and constructive and I think overall, fully, remain alive as long as the na- gestions from ourselves as to what we always been aware ofthe prestige and pottery area it was, making the type of combinations with high-keyed blue, there was a feeling of amazement that tional pickle continues to be pro- would like to see. We were then prices amongst certain well—known ware it used to. Prominent westerners red and yellow glazes which were New Zealand was producing pottery duced. Its demise does not seem im— hosted by various groups as we potters but somehow this aspect have lived there, written books on very untraditional to say the least. of this calibre in the relatively short the minent. moved about the country. In Korea the seems to have snowballed in recent place and now its very much on the Then in the Mino area where there time, which we are pleased to call our history. itinerary was organised primarily by years to the point where, on many oc- tourist track. are some 1300 ceramic factories clus- In China, things were entirely dif- the office of the New Zealand Charge casions, I had the feeling that the pots Onda has something of this again tered around Tajimi, in fact the largest We next moved to Korea, spending ferent from the other two countries. d’Affaires, again on suggestions from themselves had been rather edged out but to a lesser extent. There is still concentration in the world. Every time in Seoul, where we visited the To begin with there appears to be no us, and in China, the tour programme of the race in favour of the pre- some good, honest, unselfconscious type ofceramic product imaginable is ceramics departments of several uni- individual potters as we understand was worked out by the Chinese sentation and Showmanship part. work being done there I felt at one of produced. There too, are pottery versities. These, and some others we them existing anywhere. Logical I government, the Ministry of Light In— Now I hasten to qualify this remark by the potteries we visited. There is a museums specialising in ancient pro- visited on our trip to the southern part suppose when you come to think of it, dustries with broad outlines of our saying that this does not mean that I Leach influence in the pulled handles ducts of that area, like Oribe wares, of the country did not seem very ad- as such freedom of thought and ex— specific interests in mind. In the latter feel no one is making any pottery of and the English-type pitcher shapes the ruins of the old Motoyashiki kiln venturous or progressive to me. In pression would run counter to the sys— two cases it was not easy to plan in note in Japan — on the contrary — but but they are well assimilated which is some 500 years old, a pottery design fact, this could well apply to most of tem. A great shame though, when you advance as none ofus were too famil- rather the issue is often clouded by the not always the case with these things. and technical centre, and a ceramic the current pottery being produced in consider the long and illustrious iar with what the countries concerned reputation aspect, and one has to look I could not help feeling that Onda’s laboratory which provides data to pot- Korea, with one or two exceptions. ceramic tradition which the Chinese would hold in store, or what we beyond that to get back to the actual unique water-powered clay crushers, teries requiring that service. Modern ceramics seemed to be firmly have and the expertise of centuries would actually be permitted to see. pot again. I had not realised before thumping steadily away day and The porcelains of the Arita area wedded to the past with both potteries which could be tapped. What we saw Considering all this, the tour went off just how clearly defined are the vari- night, would fit very nicely some— were another eye-opener for me, com- and departments of ceramics at the then were factories producing mainly remarkably well and we had interest- ous schools of pottery and how into- where into the Coromandel scene. A ing as they do from an area steeped in universities, skilfully though domestic wares on an automated, or ing, if at times exhausting pro- lerant they often are of each other. strange aspect of Onda was the almost a long tradition of producing fine slavishly copying Koryu and Yi semi-automated, basis. It may be hard grammes, varying from meeting pot- Bizen, accusing Mashiko and the total absence of any pots to buy; all wares. A luncheon off that fine, hard, dynasty wares. Each university, inci— to believe but in our entire month in ters and visiting studios, spending Mingei of being too commercial for spoken for prior to firing apparently. and delicately thin ware decorated in dentally, has its own fine collection of China we came upon only one potter’s enamels ofblues, greens, reds and yel- ancient Korean ceramics set up in a wheel and that after much enquiring. lows was an enlightening experience. proper museum on campus. The pots This was tucked away in a research It was all hand—made and decorated, consisted almost entirely of Silla, institute and used, I suspect, only for and yet a world apart from the Mingei Koryu and Yi dynasty wares. We met roughing—out experimental shapes, type of pottery. only one studio potter in Seoul who which were then drastically turned. Tokoname was an area which pro- was making pottery outside this Most of these factories produced por- vided another pleasant surprise. A sphere, and according to him, there celains, in the main rather unexciting, traditional pottery-producing district would be only about ten others in except perhaps those around Ching te with many large factories, yet with a South Korea doing a similar thing. I Chen where, at their best, they rival- very lively group of young studio pot- gathered that it was not an easy road led good Scandanavian wares of a ters producing everything from tradi- this, to dare to be different. similar type. Decoration here was the tional to very modern work and obvi- The one bright and exuberant spot best we saw. Each factory has its ously hacked to the hilt by City Hall, on the Korean scene was the Kimchi showing room where we could see the who carried a comprehensive display potteries. They make rather coarse, finished wares before moving around of their works throughout the large quickly made wares for storing the na- the works itself and observing proces— and modern building. This I noted tional pickle dish, Kimchi. The pot- ses. It strikes me that Chinese ceramic was a feature of several areas — the teries we visited were rambling tin- production is at the stage at present official recognition by the City roofed, earthen-floored affairs, out in where it needs the technology and Fathers — and not only in displaying the countryside with the traditional sophistication of western machinery potter’s work but purchasing it on a Korean climbing kilns nearby. These in order to forge ahead and step up large scale for use in foyers, in murals are long, single-chambered kilns up production and design quality. The Ming celadon bowl and the lobbies on every floor, in the to 83 metres in length. One we saw, machines are often outdated, and in From Otago Museum council chambers and committee was really a chimney lying on its side some cases, of Heath—Robinson con- New Zealand Potter Page 14 New Zealand Potter Page 15 struction, having been designed by products looked for all the world as if Important examples in between are Centuries. It also possesses a large with a lidded cup in grey stoneware from South America are Inca, the factory workers themselves, to do they had been thrown, so regular were Romano-British ware, Mediaeval number of sherds from Fostat [Old from the Silla dynasty 5th to 6th Gen— Diaguita, Mochinca, Chimu and the job a bit more efficiently by remov- they yet a slow turntable or a person ware (a fine selection of jugs in this Cairo). What is most interesting in tury, examples are inlaid celadons of Nazca pieces. ing a hand process somewhere along walking backward around the pot, group), Tudor, English Bellarmines this section is to discover the influ- the Koryo dynasty 12th to 13th Cen- SE. Asia the line. I am not saying that this is not holding a wet cloth to the rim, was as and Delftware, a chamber pot dated ences that the great ceramic traditions tury finishing with pieces from the Yi Recently manufactured Thai vil- laudable — it is, and it has served a close as they came to anything 1725! Wedgewood, Chelsea, Derby of the Islamic and Chinese Empires dynasty AD. 1392 — 1910. The two lage pottery both kiln and open-fired purpose well up to a point, but the mechanical. In the same factory we and Bristol figurines, Martin Bros., had on each other. The display termi— techniques developed by the Korean pieces form the most important Chinese themselves now realise that saw the production entirely by hand Pilkington, Bernard Moore and so on. nates with excellent examples ofIsnik potters of inlaying with clay and fil- ceramic group in this section. there are even better ways of tackling of full-sized ceramic baths. Imagine Hall of Melanesia (Ground Floor) ware including tiles. ling stamped decoration with slip are Delftware these problems, and are sending their slab-building your own bath! Most of the archaeological work in Chinese section demonstrated at their very best in this The display consists ofContinental own people abroad to study more up- That the tour was successful and Melanesia to date has concentrated on Unfortunately this group of collection. and English Delftware together with to-date methods in the industry. What worthwhile, all five of us would the study of pottery and especially on ceramics is small but does contain Japanese section examples of Italian Majolica and happens to the idealogy of a classless wholeheartedly agree. Our grateful Lapita ware 1200 to 200 BC. This some superb examples. Ifceladons are A display not truly representative Talavera ware from Spain. society as more and more Chinese go thanks go to the Ministry of Foreign ware is of interest to potters for its considered the backbone of Oriental of the culture which has provided so Mellor Collection abroad to study and a new breed of Affairs for all its efforts in arranging incised decoration and forms. ceramics, then this section is well bal— much inspiration for New Zealand Sharing the same display case as technologists and specialists emerge, and sponsoring the tour. Its belief and In the Fijian section of the hall is a anced with examples of both North— potters. The section contains exam— the Delftware is a selection from the is anybody’s guess. The ever increas— trust in the future of the pottery display on the manufacture of Fijian ern and Southern Sung dynasty ples of Arita, Kutani, Hagi, Kiyomizu ceramics collection made by joseph ing contacts must, I feel, make in- movement in New Zealand will I am pottery together with many examples. pieces and one beautifully potted and Bizen were as well as examples of Mellor [1869-1938) the eminent roads, for better or worse, into the in- sure, be justified. The experience was, Ming bowl of that lovely bluish-green export-ware. chemist and ceramist. Some pieces sular society that China de Beer Display [Ground Floor) has created by a once in a lifetime occasion for those glaze obtained by firing celadon in a Modern japanese pottery from the collection are on display in closing herself off from the This small display has fine exam- rest of the involved, and one from which we reducing atmosphere. Perhaps in compensation for the other sections but this is the biggest world for so long. It is evident ples of Hispano-Moresque lustre that gained so much, both in the field of Apart from neolithic and early omissions ofthe japanese section, this group on display. The remainder is in both strengths and weaknesses ware. have pottery, and I think even more impor- dynastic pottery, this section and the display contains fifteen pieces by the reserve collections. This group is emerged from this policy and Egyptian section only tantly, in the business of understand— museum’s storerooms contain exam- Shoji Hamada which together with notable for the extraordinary variety time will tell how lasting A large number ofPre-dynastic pots they are — ing more about those with whom we ples of most Chinese wares. some Kawai pots form almost the en- of glazes as one would expect from a but I digress — back to the pots. share this globe. [5,000 BC.) are on display together with examples of early wheel-thrown Korean section tire display. leading pioneer in the scientific in- It was exciting to discover vestigation of the that there pieces, glazed wares [faience] up to This is also a small section but the The Americas nature and be— are still superb collections haviour of of pots ex- the beginning of the Islamic empire. ceramics in it make up for the lack of From North America there are Pue- glazes. isting in the principal museums Of interest to the potter are sherds quantity by their quality. Beginning blo, Hopi and Zuni examples and New Zealand section throughout China. Notably in the plainly showing the quartz-sand Palace Museum, within the Forbid— bodies of Egyptian faience and the den City, in Peking. And also in the thickness of the glazes. Shanghai Museum which has an ex- Otago Mesopotamia ceptionally fine collection of Shang This bronzes. One ofthe frustrating aspects display contains pottery sherds from Hassuna, of our stay in China was coming upon Museum Samarra, Halaf and sherd heaps connected with old kiln Uruk covering a period from 6,000 to 3,000 sites while out strolling near our hotel BC. Although these are collection only fragments in Yi Hsing, and observing later on they do show some surprising examples that the riverbank at Ching te Chen Although the Otago Museum’s of sophisticated decoration and fine bodies. were literally smothered with sherds pacific collections are well known at a place where the junks had tradi— both here and overseas, they only Classical section tionally loaded their wares for ship- form part of the wide variety of dis- The Otago Museum is renowned for ment to the coast. In both of these plays on the world’s cultures. Pottery its collection of Greek pottery. Al- places we, as foreigners were a rarity, is an intimate and tangible part of though ceramically speaking, it is to put it mildly. Sir john Addis, most cultures and therefore plays an only a refinement of techniques dis- former British Ambassador to China, important part in many displays, covered thousands of years earlier and an expert on porcelains had been some of which are almost entirely of with its soft earthenware painted in the last European to visit Ching te ceramics. But the visitor interested in earthy pigments without a proper Chen and at Yi Hsing we were the first ceramics should not ignore those sec— glaze, it does nevertheless offer a foreign delegation to visit for 25 years. tions where pottery forms only a very strong appeal to the intellect with its Needless to say we attracted consid- small part of the display for it is here mathematical precision of shape and erable attention, with crowds that clues can be discovered to some representational rather than decora- materialising from nowhere and our puzzling form or design in ceramics tive painting. The collection contains hosts felt distinctly uneasy about our by the examination of non-ceramic Early Geometric 10th Century B.C.. roaming around doing flippant artefacts. A good example is the metal Corinthian c.725 to 625 BC, Attic things, like fossicking for sherds. So vessel prototypes for Islamic moulded black-figured 6th Century B.C., red- we had to look with longing eyes as ware. figured 5th Century B.C., Etruscan 5th we sped past in our official cars. The museum does not publish to 4th Century B.C., Hellenistic and Roman pottery. In Yi Hsing county we came across guides to its collections so this article a factory producing, amongst other should serve as one to the ceramics Islamic section things, large, very large, about 4 ft by 4 oriented Visitor. From ancient beginnings Islam ft, hand-built storage jars. These were Association of Friends ofthe Museum created a new world of glazed pottery. made in several operations. The sec- Hall (Ground Floor] Examples of most of the technical ad- tions being placed outdoors to stiffen This hall contains a display on En- vances made by the Islamic potter are up in the sun between times. Huge glish pottery beginning with a recon- on display in this section. A wealth of coils were beaten out into curved slab structed Early Bronze Age beaker c. colour, painted and other decoration sections, then stood on edge on a pre- 1800 BC. and ending with pieces by can be found here, much of it from the viously beaten out base. The finished Bernard Leach and Michael Cardew. great period between the 9th and 13th New Zealand Potter Page 16 New Zealand Potter Page 17

further slabs were added to form the ing room and were put through the Yvonne Rust’s summer top half and the tub was moulded and harrowing account of the slave girl’s pottery school patted into final shape. The factory beatings by the wicked landlord for also made Chun ware on a dark fer- not handing over the goods. Through The dates for the three schools are: ruginous body. The shapes were de- ten reels we watched her escape to the 3rd. January to 13th. January 1976 cadent and the glazes fruity. mountains, her hair turn white, her 17th January to 23rd. January 1976 Then we visited a factory making rescue by heroic Red Star soldier and 27th January to 3rd. February 1976 the traditional Yi Hsing ware. Until her final qualification for office in the Part ofthe course is to look at north- now we had not seen a potter‘s wheel Red Guard. ern clays and carry out salting tests in any pottery. All wares were made We returned to Soochow and at the and generally thrash out the problems by moulding, pressing or slip cast- entrance to the lake were sampans of clay — there is then to be a voyage ing. Here we looked forward to seeing loaded with cormorants sitting on to the Poor Knights Islands which will water pots and other domestic wares outriggers — fishing. For how many provide the inspiration for the second being thrown. hundreds of years has that scene been part of the school which will be de- The factory was agog for our visit h the same. We stopped for another of voted to large pots and sculpture. You the first foreign delegation ever to those continuing banquets. A main are promised some solid potting. visit Yi Hsing, and there was little course was fish from the lake done up good food, good company and plenty work done in the factory that day. like a suckling pig with sweet and of swimming and sunshine in beauti- Notices at workroom entrances wel— sour sauces. ful surroundings. comed Our New Zealand Friends. Looking back at the red domestic There is only room for 10 in each pottery wares, there are many favour- After the usual short rest in a recep— school. able comments to be made. tion room drinking green tea and The entire Further information from Yvonne process is by hand although the smoking the usual cigarettes and lis— final — No.4 R.D. Whangarei. use of the press mould would elimi— tening to the usual introduction by nate most evidence of this. the equivalent of our factory manager, There is work satisfaction as each worker we were taken to the show room and has a task with variation. The work saw some really well designed and tempo is not high pressure. The conditions finely crafted teapots, coffee jugs and are pleasant and the workers Coming potters “do” vases. Then to the workshops. To our are in chatty little groups in small work— surprise all the wares we had been Driving Creek shops. There is a reasonable examining were made by a combina- amount Coromandel of good design in the work tion ofslab work and press moulding. and well developed technique. The red clay is beaten flat and re- In January the potter’s Trevor Bayliss is Curator of do will ctangular strips begin again and circular pieces Ceramics at the Auckland Institute on the 7th. From hence— are cut out and stock-piled beside the and Museum. forth the date will remain the same potter. A slab is luted into the cylinder and the events will take place from and with fingers inside pressing out, 7th to 14th of January. People are the cylinder is paddled into a bulbous welcome to stay on for a further week shape. The circular piece is luted on or so, but nothing will be organised. to form the base. A small advance party would be wel— Jugs from back left, Shoji Hamada, Ber- The work is now placed within a comed to help set up camp. nard Leach. split mould and the fingers are Potters in Britain The main pottery workshop will be Front left 19thC Milton Pottery 16thC Lon- Trevor Bayliss Red wares of China pushed out against the mould to pro- in normal use at the don. At Otago Museum time, and vis- The kilns oi Hsing have been fir- our wall and crossing this was a most duce the finished shape. the foot ring A hundred and forty seven full itors will be requested to respect the This is divided into two parts, one ing for ten centuries. They are known beautiful camel-backed stone bridge and the rim. The spouts are made by members ofthe Craftsmen Potters As- sanctity of the workshop and kiln of which deals with the Milton Pot- principally for the red bodied bur— built during the Sung dynasty. Beside passing a flat steel needle through a sociation are listed in a revised direc- area. I would like to see the do be tery which was established in 1874 nished wares they still produce. Yi the bridge was a kumara processing conical piece ofclay of the spout size. tory just published. With a photo- more or less self sufficient. There is and lasted until 1971. The Pottery Hsing is five hours driving time in- factory with an unsolved pollution This is then rolled on the table graph of recent work is a biographical work space available in the barn and produced a wide range of products land from Shanghai. problem which precluded tarrying producing in a second a tapering note written by the potters them— wood fuel, and terra cotta Clay (for a from sanitary were to table and de- European importers believed that near it. The bridge was being crossed spout with parallel walls. The handle selves. Also included are marks and small charge) for those who must corative pieces. the little Yi Hsing red spouted pots constantly by peasants carrying loads is press moulded. the names and addresses of the make pots. For others there is the The second part of the display is sometimes accompanying con— of produce. And water buffaloes with Decoration is of several kinds, potter’s workshops and the times whole of the Coromandel district to devoted to New Zealand craft potters signments oftea were for infusing tea their minders seated nonchalantly on mainly sprigging and incising. The when showrooms and workshops are explore. Proposed features include a beginning with some 1953 pieces by and they led to the teapot. The first their rears. We were allowed to stroll finished pot is fettled and smoothed open. maritime picnic as usual, a copious Len Castle with the most recent addi- European teapots were unglazed and across the bridge and scuff round in with damp cloths very thoroughly Published by the Craftsmen Potters hangi and a technical discussion. tions (made in 1973) being Doreen burnished like their progenitors. the fields beside the canal. Every- and then burnished with a piece of Association of Great Britain, it can be Again no charge will be made, but Blumhardt, Doris Dutch, Lawrence The members of our party — Mar- where there were sherds of blue and horn. A lot of time is spent on these obtained from William Blake House, only those people and their families Ewing, and Graeme Storm. The garet Milne, John Fuller, Graeme white porcelain dating back to early last two operations. Incising is done Marshall Street, London W.1. for a who are genuinely interested in mak- museum has a policy to add to this Storm, Len Castle and myself, to- Ming. after the burnishing. L1.10p international money order or ing, collecting or teaching pottery collection regularly both the work of gether with our entourage of five From sunrise loudspeakers around In discussion with the factory offi— a sterling cheque. will be warmly welcomed. To assist new potters and of those established drivers, our permanent travelling the commune sent jolly revolutionary cials I learnt that Yi Hsing wares have Craftsmen Potters Association also in preparations I would appreciate a but omitted so far. hosts Mr Cheng, Mrs Lee and Mr Wu, music across the fields and into our always been made this way. What ob- publishes Ceramic Review six times a note in advance if you want to come. The museum is open seven days a Michelle from the embassy and six bedrooms. servers have believed to be throwing year. It has contributions from well Bring your own camping gear. week, apart from Good Friday, officials from Soochow and Shanghai We visited a pottery making large marks are finger marks from pressing known potters on techniques, gives Food is available in our town only a Christmas Day and Labour Day. The stayed at a small brick hotel within a red ware. Tubs with a capacity for half the walls against the mould while on opinions and shows trends in mile away. We will provide fuel for hours are 10 am. to 5 pm. weekdays, walled garden which a few years ago a ton of liquid were made by joining the turntable. ceramics in Britain and elsewhere barbecues, hot and cold water and Saturdays 1 to 5 p.m.; Sundays 2 to 5 had been the home of a landlord. two huge slabs to a circular base. Our evenings at the hotel were en- For further details write to the editors, camping sites. pm. Linden Cowell Yi Hsing is a picture of old and new These were joined and shaped into livened with films. Together with our 7 Marshall St, London, W1V 1FD. For Good springtime potting, Barry Brickell. Technical Officer, Otago Museum. China. A canal from a lake ran beside the bottom half of the tub, then two officials we collected in the hotel din- an annual subscription of £4.00. New Zealand Potter Page 18 New Zealand Potter

F.E.I. [Flexible Equipment Insula- long to increase the temperature from tion]. We also used the insulation 1100°C to 1160°C. 7/ II Natural gas material to help muffle noise from the An extra brick in the grate might help. So we did this for the next firing. {:4r burners.* catenary We had a full bisque for the second Gas Installation firing. We started in the same way al— fig/.2. The local gas authority was very lowing the pilot to take the tempera- arch kiln encouraging at first — promising to ture to 200°C. With natural draught make available high domestic gas and then with the burners and air on pressure of 110 kilopascals (16 lbs per in a balanced measure she soared up Jane and Don Capon sq inch] which we have at the gate. to 700°C, started gasping and finally Consequently we had natural gas in- stuck at 820°C. stalled into the house and to the kiln The perfect bisque was unpacked shelter. The next time the gas depart— the next day and the grate spaces were ment was contacted, only 55 kilo- measured. There was only 57 square pascals [eight lbs per sq inch) pres- inches of area instead of at least 81! sure was available. Later, even that Two bricks were hauled out. The bis- was whittled down to 4.5 kilopascals qued pots were rapidly glazed and the [5/8 ofa lb per sq inch), which ofcourse kiln repacked. Never have pots been made natural draught impossible. glazed so quickly. Forced draught was necessary. Even Nick Brandon helped with this normal household gas pressure is 1.7 third firing. He stacked while I to 3.4 kilopascals (1/4 to 1/2 a lb per sq loaded. He had some of his big inch]. beauties which helped fill this largish The gas engineer assisting us, kiln. At 1 pm. with the kiln stacked Robert Mong, has had considerable and ready we lighted up. At 300°C we experience in industry changing over turned on both burners to full gas and from oil to gas, commissioning, air. There was no holding the kiln this manufacturing and installing bur- time. It romped away and the firing ners. He has also installed other pot- was completed by 8.45 pm. which tery kiln burners, but not for gas as included a soaking period of 3/4 of an low pressured as that we had been hour. Cones 9,10 and 11 were down at alloted. However he was confident we the top and bottom of the kiln. could reach 1300°C with forced We found the kiln easy to reduce, draught with two burners. and yet it still climbed rapidly. Nick simply turned the air back and placed Meter Box a brick over the chimney. There is no We had a long wait for a larger than mistake when reducing with gas. Lit— domestic size meter box which would tle tongues of flame come out of the The kiln we built in New Plymouth take 1 1 kilojoules per hour at top heat. spyhole and every small gap in the is a conventional catenary arch shape, arch. We didn’t realise how many 1.200 metres at the highest point, Installation gaps there were. 1.200 metres wide at the floor and Finally the meter box, the gas sup- The result of this firing was excel— 1080 metres deep. ply and the kiln were ready, the gas lent. We got plenty of good Papa rock I has a 231 mm by 231 mm chimney engineers were on the site and the glaze, copper red, blue and a good flue, a 3.660 metre chimney, but the pipework was connected to the main Chun glaze. grate flue which is an underground gas pipe. The gas was ignited with Nick spent the time he wasn’t reg- channel has been enlarged to make it pilot lights for a trial. It looked and ulating gas/air sunbathing and saying 240 by 380 mm deep. [We felt we sounded fine. how easy it all was. lcan’t help feeling could fill it in later if necessary]. Firing that the kiln knew Nick wasn’t going There is a small bag wall, only 231 to stand any more nonsense and re- The kiln was quickly packed with mm of bricks high — adequate — as sponded to the hand of the more ex- big terra cotta pots, the wicket was the burners fire from alternate ends. pert pyromaniao. The shelving arrangement consists Closed and the pilots lit. The tempera- So now we have a low pressure ture rose to 200C in two hours with no of eight tiers of four 300 x 450 mm natural gas kiln of moderate size trouble, so one burner was turned on shelves. We will probably need a cou— operating successfully. with a little air. Firing continued to ple of 500 X 500 mm shelves for the What you need (as from the quote top. We no not have a damper. A brick 600°C and the second burner with a from Robert Mong.) is simply pushed across the chimney little air was ignited. The kiln was Scope: Supply all burner equip- incredibly easy to operate and within during later stages of firing. ment and install on kiln and com— eight hours had reached 1100°C. We mission. It is generally agreed that a felt it had reached its maximum three Construction maximum input of between 11 and 15 hours later at 1160“ so it was turned We used second hand firebricks of kilojoules an hour is required. Con- off. various shapes from the local gas trols to be manually operated. works redundant since Kapuni, and The result ofthis firing proved to be only one layer had to be hand cut. The oxidised and some of the larger pots Supply: One R.M.L. (Robert Mong outside layer has insulating bricks on had cracked. We had not reduced at Ltd] single stage turbo fan complete it [also ex gas works) and over this for all during the firing. Didn’t know if with 0.75 kilowatt single phase motor extra insulation we put 25 mm of450 we could. We also felt there was not to deliver maximum 3.5 cub metres a °C “White Wool” and 75 mm of 343°C enough “pull-through” as it took so minute at 2.5 kilopascals. New Zealand Potter Page 20 New Zealand Potter Page 21

Showing kiln stacked, wicket opened, pots which can be purchased as a unit. on grate mature, position of burner. Front To secure 8 to 1, a 10-in. pulley is pyrometer and probe inserted each firing fixed to the mill shaft, belted to a Back pyrometer and probe left in situ. PULLEY Blower behind wooden posts at right back. 21/2—in. pulley on the countershaft (4 t0 1), and from there, 6 in. down to 3 in. [2 to 1]. Both motor and counter- shaft mountings will need sideways adjustment to tension the belts. If the motor power is increased to at least 3/4 hp. and preferably 1 hp, a single-stage belt drive, 2 in. on the motor and 12 in. on the shaft, giving 6 to 1 and shaft speed 240 r.p.m., is pos- sible. This represents about the high- est speed at which this type can be driven without unduly heating the clay. Owing to the short arc ofcontact on the 2—in. pulley, the belt drive must $8» be doubled. Should a stone be fed in with the clay, slippage 4 will occur at wg‘ t the small pulley. ‘ 'f «t _3 I’ \‘ An alternative drive may be ar— z x "N s I} ranged using a light car rear axle unit Two 50 mm R.M.L. Butterfly valves tery kilns for ease, cleanliness and for closed around the shaft at the top, (Fig. 2]. One axle shaft is removed and With handle and graduated scale. excellent effects in reduction glazes. but not to form a bearing, and the the outer casing on this side is cutoff and sealed. On the other side part only it Two 32 mm R.M.L. butterfly valves The cost is competitive with oil now top blade sweeps about 1/8 in. below. Fig. of the 2. Left, dimensions for with handle and graduated scale. oil costs have increased. A bisque and The lowermost blade is placed so casing is removed and a new vertical type pug mill. Inset, the Two R.M.L. gas/air proportioned glaze firing costs about $18.00. that it sweeps 5/8in. below the foot of bearing is fitted, to leave enough of shape of a blade, and a blade cut from angle steel. Above, mixers, sized for 6.3 kilojoules max— F.E.I. is fibreglass. It comes in large the shaft. The other three blades are the axle shaft projecting to form the a auger. The blades detail of this design carried out imum and nozzles. pale gold bats 1500 x 1200 mm and fixed at equal spacing above to pro— are welded in place. in wood. Two R.M.L. gas/air pilots. 100 mm thick. It is flexible and we duce an interrupted screw, two A motor mounting may be con— Fittings and pipe work bent it over the arch of the kiln. We blades to one side, three on the structed on the ex-axle. This Labour (Fuel must be installed by used chicken netting to keep it in other. This particular arrangement arrangement produces a very robust gas engineers). place. I have found it excellent to in- makes cleaning of the casing easier. machine, and the actual power ab- Gas Department sulate the kiln and help muffle the The casing is open for 6 in. at the sorption of the driving parts is less Install pipe from road frontage to noise created by the forced air system. top front, and is formed outward to than that of multiple belts. The axle kiln White wool also a fibreglass from make a feed ramp. At the top, a sw- should be lubricated with grease for Provide meter box capable of 11 Winstones comes in large bales and inging trapdoor is hung upon a vertical operation. One example of kilojoules can be bought by the pound for withdrawable pin. The trapdoor car- this type with an axle of 5 to 1 ratio, : Provide regulator for 5.0 kilo— around 60 cents. I used this over the ries a firmly fitted arm, made of and an overall ratio of 71/2 to 1, will pascals. top part of the arch of insulation 3A—in. steel bar or equivalent pipe, 15 deliver up to 700 lb. an hour, with a bricks — the F.E.l. over this. It will in. to 18 in. long, ending in a cross 1/2-h.p. motor. Mounted on a wall, the Safety Requirements: Because this stand temperatures of 450°C. tee of about 8 in., a handle. machine produces a fair volume of kiln is built with a shelter over it (no Noise. There is some noise created The trapdoor and arm are set up so noise, which should be a considera— solid walls] the only safety devices by the ignition of gas when using a that, as the handle is drawn down- tion in siting. required by the local authority were blower system. The blower has been wards, pressing clay on the ramp Construction Details pilot lights. These are kept on at all insulated with “Bats” fibreglass insu— into the mill, the movement is stop- Successful versions have been built stages ofthe firing. We also keep a fire lation and a box built around it. We ped by the arm touching the ramp, in wood, the casing being in 1-in. extinguisher handy, too. use F.E.l. over the burner ports and before the door swings within range plywood or coreboard, with main of the rotating blades. Never push We recommend gas as a fuel for pot— this has reduced the noise too. members in 4 in. x 2 in., and large clay into the mill by hand! wood screws and black steel nuts and bolts for fastenings. If a welder is not The Drive available, the auger blades may be cut Roy Cowan’s wedging machines The power source is assumed to be from 1-in. x 1/3-in. angle steel [sketch] an electric motor turning at 1440 and be secured to the shaft by 1/4—in. Potters must have the ability to plied to speed, because of the inten- r.p.m. If the vertical plan is adopted, engineer’s bolts, 8 small flat being hand-wedge clay, but after the first sity of the plastic flow problems. this must be a ball-bearing model first filed on the shaft to improve the few tons they may become resltess! Fig. 2 isolates the basic dimen- the sleeve-bearing type is not suited seating. Where there is the space (and. sions from constructional details in a to running on end. Where the clay The least costly form of bearing is perhaps, a suitable pair of feet), the vertical feed machine. in essence, a requirements are not large, the motor the plain bronze plummer block, but shallow concrete saucer four feet ac— 1-in. shaft, driven by belting to a can be as low as 1/3 hp, and the the pair must be well aligned and be ross, the Clay Tramping Pit [Fig 1) large pulley fixed at the top, and drive belts should be arranged to bolted to a hard surface. A 1—in. shaft- may suit. firmly held by two well-spaced bear- give a reduction of between 10 and 8 ing collar is fixed below one ofthese The machines described below ings, passes downward on the centre to 1, so that the mill shaft turns at to prevent the auger being forced up- may be built in a choice of methods line of a 4-in. bore tube or square from 144 to 180 r.p.m. At such ward. A shallow indentation should Fig. 3. Steel design with axle, motor mounted above. The entire according to resources available, and casing. Within the tube the shaft car- ratios, two stages of belt reduction be drilled in the shaft to receive the set front of the casing unbolts for cleaning. Centre, steel,horizontal, will be needed, with a countershaft, screws of the collar. Likewise, built from standard rolled sections. Right, large vertical mill, in a range of capacities, but care ries five blades cut from 1-in. x 1/8'ln. the set self feeding. must be taken over the basic design or 3/1ti-ln. steel, fixed at 35 to 40 de— a unit which can be assembled from screws ofthe pulley at the top should and over the relation of power sup- grees inclination. The casing is stock shafting and bearings, or be inset into the shaft, since they may New Zealand Potter Page 22 New Zealand Potter Page 23

be dragged under the heavy torque fireclays associated with coal seams as it is much quicker to turn out in the local content in due course. The loads, scoring the shaft and rendering Problems with stoneware clay in the Waikato and is supplied in bulk. We have evolved two crock increased proportion of FG fireclay disassembly difficult. The bronze ground (PG) or air floated form. The bodies, one light coloured and the provides the texture. bearings should be fed with grease ground form contains particles rang- other a darker firing one, which I Finally we pug a terra cotta clay when operating. bodies Driving Creek Pottery ing up to 1/8” size whereas the air hope will suit salt glazing when we body of the following mix: At a rather higher cost, the bearings floated grade [AF 30) is very fine. get the kiln built. The formulae are as local yellow clay 6 12 Naturally one wants to use the clay These problems bring to mind my may be a standard ball-bearing unit The particles do not easily slake follows: Hyde ball clay 11/2 or 3 very down in the paddock right beside the experiences of some years back with such as the SKF Unit Pillow Block down in the blunger and what is re- white crock body approximately workshop. I assumed that the fine, salt glazing. Again I had little trouble number SY100. These are free run- tained in the seive we re-cycle 10 Hyde [wet] Tiki river sand [local)3 6 white, plastic clay in my new place with the local clay, presumably be— ning, less troublesome as to lubrica— through the pug mill for bulk crock 5 Huntly FG [dry] All these body mixes are at last would be like the yellowish white cause there was no biscuit firing. The tion, and self-aligning. and planter mixes. 3 Tiki river sand (local) pretty well resistant to dunting. The clay I have been using successfully pots were raw glazed and taken up to As a smooth sliding surface is re- I feel that there is much offering for 1 NZ Feldspar Hyde ball clay is a splendid material for over ten years. It took us a year to full temperature in the one firing, quisite inside the casing, the wooden the potter in the Waikato fireclays, as dark crock body to use and slakes down well with realise the hard way that with some eliminating the dunting problem. type should be lined with metal, they contain slaking and non slaking 16 local yellow clay water. local clays beauty is only skin deep. I believe that as the ware is sub— either aluminium or the thick zinc kaolinite of good purity although 8 Hyde We do not yet sell clay or clay We began to loose larger pots from jected to the higher temperatures, used by photo engravers. It is not usually coloured dark grey due to 1 Huntly brick grog bodies. The information giyen now is biscuit “dunting”, i.e. much of the free silica combines necessary to line a steel casing with fine radial with carbonaceous matter. Again as with the blunged body, offered in case it may be helpful to cracks forming especially around the the alumina to form mullite, non—ferrous sheet, but the inner sur- and this Nevertheless our experiments with we are cautious with the use of local others. base and sometimes right up one is a stable substance. The free silica face should be smooth and free from local Coromandel clays will continue siliceous clays, and hope to increase side. Sometimes the cracks would be can also cause the ware to be very corrosion. as we get to know more about the Barry Brickell visible only on the outside. They brittle [hard yet fragile] The limitations of wood lies in the after firing technical limitations, and as I get claimed between fifty and eighty per— due to an enemy called christobalite. amount of twisting that occurs in the around to installing more machinery cent of all large pieces such as cas— The path then is laced with snags more highly powered models, and for for crushing, grinding and mixing seroles, crocks and large bowls. and regrettably I have these steel is more suited. A construc- to admit my the raw materials. As our machinery Everything was tried. We read of ignorance in this field. I must tion is shown for a steel model which have is steam-driven, using wood fuel, it is silica phase changes causing sudden sold a good number of pots which can be carried out largely in standard al— pleasant to work alongside and the volume increase at about dull, red though perfectly well fired, 4—in. x 2-in. channel section, with were power may be infinitely varied ac- heat, but had difficulty in proving more brittle than they should some 3—in. x 1/4—in. flat strip. This one have cording to the job to be done. this to be the cause. been due to the formation is designed to work horizontally, with We tried a wide of variety christobalite at the trapdoor swinging sideways. The of different grogs, some high glost temperatures. Pugged bodies A radical change plate covering the out—going portion in alumina, some based on river of approach to the The above stoneware body recipe is sands; clay bodies we From an exhibition of tiles at Alicot Gal- of the casting is made removable to all with the same results. I were using was now of course put through the blunger obligatory. lery Auckland, Charles Holmes on wall allow cleaning. The bearings shown made dozens of test bars for compara- We discussed the problem and slip direr, and is without ques- tive at length and finally left, Howard Williams table front, and are called Unit Flanged Housings, but shrinking analysis, threw with ordered several tion a dense, strong body for domes- techniques to avoid possible throw— tons of raw Hyde ball clay from Cen— Jeanne Holmes zodiac sets above. Free the cheaper bronze plummer blocks tic ware. For larger items such as shaped tiles at the back Iim Greig. Wall ing stresses, made large test pots by tral Otago. Also we began to use may well be used. bread crooks, big jugs and storage plaque left Ted Dutch. Huntly so called As the inside dimensions are in- the dozen and still the biscuit dunt- “fireclay” to replace pots. We tend to prefer pugged clay photo Gay Stewart ing plagued us. local clays. This fireclay creased, the feed and flow problems We observed that the is evidently a low silica ease, and machines can be built which cracking seemed to be taking place kaolinitic type material during the cooling which shows more will accept clay without ramming. rather than the vitrification than a , heating cycle, and also discovered our local white The final sketch shows a vertical type clay at 1300°c. that by increasing the temperature of The Hyde clay is also of heavy construction, powered at low silica, high alumina material from 1 hp. upwards, with a casing the biscuit firing cracking was sub— which vitrifies stantially reduced. We also observed at cone 9 and has tapering from 10 in. to 6 in. Clay is a pleasing small that our fine, white, plastic clay left iron colouration, thrown into the top in lumps, and is and above all is beautifully self-feeding. The machine is made up out in the rain for long periods, silky and soft to throw due to the fine with large—size standard pipe sec— would break down on the surface mica particles. Our present domestic tions, a substantial axle unit, and with the exposure of fine white sand. ware body mix then structural steel. So began a new approach H the is as follows: local clay When first started, these machines gradual replacement of the local clay 40 (white) tend to throw out chopped clay. If the by known, proven ones such as Huntly fire— 240 1 M» outlet is covered for a moment, a solid Huntly fire clay and Hyde ball clay. L 1.33.34 W! Over the next clay PS. plug will form and smooth feeding months crocks were Hyde ball 120 will follow. Any roughness, espe- made, gradually reducing the local parts by dry clay cially accompanied by high feed pres— clay content to find out just how weight New Zealand sure, will probably be the result of much we could get away with. 80 feldspar roughness within the casing. Normal Again, after many failures we found that to include grog [pot 60 plastic clays should feed smoothly, more than about 10% sherds) but a breaking tendency may occur of local clay was risky. This with very short clay bodies. Strangely enough our local yellow body causes no problems in terra cotta clay was not so badly be— the firing or drying and is pleasant to haved. We can use 80-60% of this in handle in the workshop. It’s local bodies fairly safely. despite the fact clay content is just under 10%. that it does carry free silica. Perhaps For smaller domestic ware the the iron helps to reduce the cracking blunger is fine seived, but for larger problem by partially combining with pieces we find the best textural ef- the silica. Cardew adds quartz grog to fects to be given by the choice of This article is reprintedfrom vol. 9/2 some of his bodies, so maybe the de- fireclay particle size rather than grog. because we have received many re- gree of fineness of the silica particles The Huntly fireclay is a dense almost quests for the influ‘mation. is the major factor. rock-lime material as are many of the E %§%®&@ 8a mfigfigm

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these pots can be snapped with sur- silica ‘hungry’]. Confluently with Huntly 5 (30% alum— Cristobalite formation in New Zealand prising ease. mullite, forming enough cristoba- F.G. 30 ina content] To sum up: Some of the causes of lite to give a good glaze fit. NZ. Ball 25 [30-60% stoneware bodies excess cristobalite formation are: 3. Base clays should not contain clay alumina con- 1. Too much free silica present in the more than an absolute maximum tent] However, there are some brighter Silica glass is dimensionally very sta- clays. of 4% iron. Silica sand Ian Firth aspects to this very real problem of ble at all temperatures. 2. Proportion of montmorillonite or 4. If the problem is minimal, a more [through 40 compounding good stoneware bodies Not all of the free silica converts to halloysite clays too high. rapid heat rise from 1050°C to mesh sieve] 5 from New Zealand clays. cristobalite in any firing schedule. 3. Too much iron in body. maximum, and rapid cooling Yellow

Mullite, which forms from 4:. [keeping up the air blast after ochre 1/4 There are two basic causes of dunt- the dis— Excess cristobalite manifests itself . The presence of lime. sociation turning off fuel] NZ. Feld— ing [cracking or shattering] in New of kaolinite from 1000°C at best by ‘chittering’ of the glaze, at 5. Too slow heat rise from 1050° down to 950°C up, is spar 10 Zealand stone body clays. in the form of needle-shape worst by shattering. It is the result of and/or too slow cooling from top may suffice. crystals, which Instead of Firstly the ‘quartz inversion’ which act as reinforcing, enormous strains set up within the temperature down to 950°. feldspar/syenite, the use adding greatly to the fired of rhyolite [pumice] can be benefi— The quarter of one percent addi- is the volume change in the crystal of strength fired body due to shrinkage. The answer lies in — toast silica (1%) which occurs instantane— of the body. Sometimes this shattering will 1. Using base clays with a high ratio cial, acting in the raw state somewhat tional iron content gives a warm The fluxes in the form of feldspar occur immediately upon opening of alumina [about 30%) or those as a grog, giving a mechanical as well colour in reduction. ously at 573°C. Too rapid heating or . . the kiln. Occasionally, hours, with a high mica content. [Mica as chemical benefit, and increasing This recipe makes a high quality cooling at this temperature is the and /or nepheline syenite absorb or even . . some of h ' ' vert days later, the extra strain of a bump, converts readily to mullite also]. the safe firing range. ‘basic body’ to which other favourite cause here, and the answer is obv1— . . .t. e free 511198} and con ous it into Silica glass. Silica glass may the expansion from hot water or the 2. Together with enough feldspar A recipe which has proved satisfac- clays may be added to further im— heat of an oven, will and/or nepheline syenite to form tory with great fired strength and prove throwing qualities, but the The second cause, and the one to be thOUght Of as the binder flowing trigger off the collapse of a pot, even though it may silica glass. [Nepheline contains glaze fit properties is: basic body content should not fall which this article is devoted, is the m between and around ll”? pa?” have appeared quite sound when only two molecules of silica to Huntly 55 [30% alum- below about 70% of the total, to formation of excess cristobalite, cles bringing about Vltrlflcflllgn which has a volume change of 3% and the shrinkage that goes With it. taken from the kiln. The pieces from each feldspar’s six, making it more H.F.30 ina content) maintain fired qualities. within the fired body. This volume change is an expansion, on heating, ‘Left: Group of pots by Chester Nealie of and contraction, on cooling, at a Auckland on display at Alicat Gallery. temperature of 220°C. Right: Adrian Cotter’s exhibition atAlicat Cristobalite is a crystalline form of Gallery Auckland. silica which starts forming during fir- photos: Gay Stewart ing from 1050°C to maximum temper— erature and during cooling from top temperature down to 950°C. It con- verts from the ‘free’ silica in the body — the ‘free’ silica being that part which is not intimately combined with other materials such as it is in feldspar and kaolinite. Some free silica is present in most clays, but many New Zealand clays contain an exceptionally high per— centage. The finer the particle size of the silica the more readily it converts to cristobalite. Coarser and sandy grains do not readily convert. Some cristobalite formation is necessary to obtain a glaze ‘fit’. (The contraction of this material at 220°C on cooling makes the body ‘shrink’ throwing the glaze into compression —— glaze having good strength if in compression, but none if in a state of tension). Other factors relevant to the forma- tion of cristobalite are: ’*‘ The presence of iron or lime acts as a catalyst in its formation. Montmorillonite (bentonite) type clays, being of very fine particle size, release enormous quantities (up to 60%] of free silica. Halloysite clays, which are quite common in New Zealand, are great cristobalite formers. Reduction firing increases the for- mation. The longer and harder the firing, the greater the conversion. :“ During the formation of mullite [3A1203.ZSi02] New Zealand Potter Page 28 New Zealand Potter Page 29

Harry hastened to assure his audi— vited schools and the general public a New Zealand Government grant of ional potters groups was indeed im- . and for our part we thank you The Davis’s ence that the desired result was to join us and contribute to the pro— $3700. pressive. Harry Davis — hundreds of interested achieved much more easily and ject. As a result all our advertising was As a personal experience it was also Everywhere I went I met sympathe- people throughout the country have watching you work and bene- return quickly than they were likely to ex- sponsored by interested local bodies a momentous event in terms of tic and attentive audiences and I was enjoyed pect. outside the society. generosity and hospitality and friend— pampered at every turn so that at the fitted from the demonstrations ofyour we have Now that he had the means of cut- To watch Harry at the wheel and see liness. At the outset many com- end I was not at all exhausted and skill and experience — and ting up steel plate into usable pieces, the harmony between the man, wheel miserated with me for the intensity of after a short rest I was ready to repeat marvelled at your stamina and your Peruvian be his next requirement was to shape and clay was an experience to re- the schedule that lay before me. I was the performance in Australia. dedication. We were pleased to Technology them to suit his needs as parts for as- member. The afternoon’s demonstra- not too alarmed at this, having done I can only say on behalf of May and able to help in some small way and sembly into blowers, pugmills, pul- tion drew a crowded gallery of 300, this sort of thing before. In fact the Nina and myself and the Izcuchacinos wish you, May and Nina every suc— Harry Davis Style leys etc. He described how he made a and Harry was so gentle and generous kindliness and generosity that I met as well — Thank you all very much — cess in your venture. three roll steel rolling machine from towards this audience. One came with was a gratifying experience and you were all quite wonderful. one inch diameter bar in wooden away with the feeling that there was a to New Zealanders, as was With best wishes for Potting in New G.W. Billington a tribute bearing blocks and the handle of an dedicated person who was prepared also the efficient organising effort Zealand — old wringer. The completion of this to give not only of his time, skill and which lay behind it all. The preparat- To listen to the Harry Davis lecture Iohn Fuller machine meant that he could now roll money but his very self. He practiced ory work of organisation done by the Sincerely on engineering technology as applied the steel into circles and tubes for the beliefs he held so deeply. Society of Potters and the various reg- Harry Davis. for New Zealand Society of Potters. by the practical potter under the se- pugmill barrels and pulley rims. When in the evening, again to a vere limitations of rural Peruvian The assembly of the various bits capacity audience, he stood before us sculptural piece conditions was, to a present day Hight: Nola Barron’s local and pieces was Harry declared, quite a without a note in his hand and pro- White matt glaze with engineering 270mm (11”) high. lad such as myself, a problem. Many of the items required claimed with the voice of a modern blue overtones on top surface, exhibited at deep breath of fresh air. welding and the nearest welder was prophet that we, the privileged owe a Canterbury Potter’s Association 1975 ex— His direct and uncluttered ap- in the nearest town with a blacksmith, debt to the world, one felt humbled hibition. Below: Casserole with spoon proach to manufacturing in metal something like 150 miles away. Obvi- and honoured to be able to share in holder and warmer from Yvonne Rust’s without the benefit of modern tools ously these trips could only be made even a small way in such a project. exhibition in Christchurch. Below right: glaze and torn edges by and machines was like the persistent occasionally when the necessity ofes- The heart of Harry’s and May’s desire Pot with iron drop of water that wears away the David Brokenshire 270mm {1 1") high. The sential supplies warranted the cost is to restore to these exploited peas— branch of pine needles was an ap- stone. This persistence, associated single and time. When these occasions came ants the dignity of labour with a just for a vase for with his gleeful and happy propriate embellishment des- around, Harry would gather up his recompense for their work, to teach mid-Winterfloral arrangements, the theme criptions of his methods and accomp- bits and pieces for welding which he them the skills of producing a product of an exhibition at Several Arts Gallery, lishments, made a notable and enter- would have previously prepared. acceptable to the residents of Lima, Christchurch. taining lecture. How? By glueing the various parts to- thereby creating and restoring a bal— The Davis approach was not that of gether as they would be when welded ance between the privileged and these the mariner, shipwrecked on a desert with Araldite. Thus he had no great peasant people. To Harry and May island coping with the situation, but difficulty instructing the Peruvian this is not only a dream but a workable rather ofthe mariner who is fully pre- welder and no time was wasted. scheme bought to near completion by pared for the day when he may be If round steel shafting required re- their vision, skill and sacrifice. shipwrecked, for Harry Davis had ducing in diameter, the lack ofa lathe The films showed clearly what has tried and tested all his methods at did not daunt this persevering potter. already been done and endured before home in Nelson before his Peruvian He devised a means of using a grind— funds ran out and they returned to adventure. ing wheel of the “cutting off” variety New Zealand to carry out this lecture He knew he would need a means of and with guides clamped into place tour. cutting steel plate 1/3” thick and 8’ fed the bar while rotating it by hand, As a follow up we had our Raku long by 4’ wide into panels, strips and past the spinning emery wheel, con- field day at Frankley School to add the circles for the manufacture of blow- tinually adjusting his guide blocks to proceeds to our contribution. Perhaps ers, pulleys and pugmill parts. reduce the shaft diameter until the de- something of the spirit of Harry rub- Conventional methods being inap- sired result was achieved and he bed off on us for everyone worked to— propriate due to the lack of facilities could get his bearing or whatever was gether with one thought in mind and and prohibitive costs, Harry reverted required. the fund was greatly enriched. We to the age old practice of“weaken and Harry concluded with a description realise how important it is that the last break”. To cut straight pieces he ofa roofing tile press he had made. He stages of the project are successfully would score the plate along a line on told us he was never stuck for a die but completed with enough people both sides of the plate using a file if he required a longer thread on a bolt trained to carry on supplying pottery sharpened as a tool and using angle he simply filed a cutting edge in the and roof tiles. iron for a guide. Circles and discs side of a steel nut and case hardened were similarly prepared using a dril- it. led hole as a centre point, a short length of angle iron as a radius arm Dear Potters, with a file tool clamped to the re- YOU HAVE OUR SUPPORT May and I have been back at Iz- quired radius. Patience and care were cuchaca for one week and it is high required to cut the grooves up to one Agnes Pelham time I wrote something in the nature third the thickness of the plate. The of a report on my tour offourteen New weakened plate was then gripped For those of us who had the good Zealand towns in March and April of firmly in a vise, close to the groove fortune to see and hear Harry pot and this year. and then flexed to and fro until a frac- lecture, the experience will remain As a fund raising effort on behalf of ture started in the groove. Continuing long in our memories. the Izcuchaca project it was an un— in this manner, repositioning the When the visit was mooted, the questionable success. About $7500 plate so that further flexing would fi- New Plymouth potters decided that were raised, and as the project has nally fracture the plate for the full the wider Harry’s and May’s message been accepted as a voluntary aid pro- length of the grooves. could be spread the better. So we in- gramme this figure forms the basis for New Zealand Potter Page 30 New Zealand Potter Page 31

woven tukutuku panels. As well there ant evening enjoying and identifying lst National Earthenware Exhibition TIHEI MAURI are several family maraes which I the patterns of the tukutuku panels all haven’t seen, used mostly at Christ- round the walls, woven most skilfully had meaning for Invercargill, August 1975 mas or on special family occasions. in flax, all of which ORA! For the uninitiated, a marae consists the people in the hall. Even the cream of a piece of land dominated by the and green painted kitchen had a riot in— Helen Mason meeting house, where meetings are of “korus” [bulbed motif probably “The Southland Potter’s Associa- Tokomaru Bay, East Cape held and visitors sleep on mattresses spired by tree fern) over the door tion was formed in 1971 to foster and on the floor, with head to the walls so panels where someone had used the promote ceramics in the province. Have you ever looked at a Maori that the middle is clear; and a dining two colours with great freedom. there Owing to the remoteness from the meeting house purely as a work ofart? hall and kitchen, where incredible Shortly after this I realised one of general potters’ scene, one of the We are so blinded by familiarity that it quantities of food to feed great num— was much activity going on at past association’s aims is to broaden out- takes quite an effort to realise just how bers of people are produced with most the smaller maraes I walked looks and stimulate activities. To this much skill and artistic sensibility go efficient team work. On many of the every day on my way to the shops and end it has invited New Zealand Soci- into the making of such buildings. older maraes there is also a pleasant that what I had thought was a newly ety Potters, who work in earthenware, Here where I live in the Village of little church [usually Anglican here] built hall, was in fact a new meeting to exhibit collectively for the first Tokomaru Bay on the East Coast ofthe surrounded by a graveyard reserved house and was now blossoming with time. These members have selected North Island in Ngati Porou country, for the kin of the marae. The whole red, black and white panels, new set in their own exhibits, and a most colour- we pakeha are a 10 percent minority place has a most intense meaning for pieces of carving were being ful and interesting viewing has re- In those who belong to it. position every day, and tukutuku Pots by and we have to mind our manners. sulted.” this small area there are three maraes Recently I attended a school func— panels woven in black, red, yellow Olwyn Dykes. a So reads the catalogue introduction in constant use, each with its own ex— tion held in the dining hall ofthe large and white plastic were being used in to this exhibition in the Southand cellent carvings, painted rafters and formal marae here, and spent a pleas- way I had never seen before. The Museum, and the Southland potters Charles Holmes’s tiles were excel— Ikebana pots were well conceived and are to be congratulated on the concep— lent; showing competent design and executed, though I feel the oxide and photo: Ans Westra tion and presentation of this first-ever control of earthenware glazes. crackled clays of these would proba- nationwide collection of earthen- Anneke Borren was outstanding for bly have been better in stoneware. The ware. Organisation was good and the her total individuality, and in- lower temperature of the earthenware opening functions went very ventiveness with form that was car— firing and lack ofreduction, left them smoothly, helped by the warm south— ried out with precise throwing and just a little too raw to be completely ern hospitality, whitebait and Bluff superb brush decoration of overglaze happy- oysters. oxides. Her design sense, balance of Nancy Barnicoat also showed com- The 171 items were displayed on positive and negative areas, and petence in her glazing and attention areas of dark brown textured fabrics relationship of decoration to pot to details of finish, and all her work and circles ofwhite polystyrene, with shape, is something all potters should was high fired enough to give a good plenty of room between each piece. look at very carefully before going ring when tapped. There is nothing Each potter’s work was set out in its into brush decorating. worse than earthenware which is left own space and well labelled; in all, a Olwyn Dykes showed pots of a porous and chalky in the body well designed display. A mistake, one more conventional nature, but strong through underfiring. that is too often seen at pottery exhibi— in form, and well complimented by Victor Middlemiss gave his usual tions was the height of the display equally strong wax resist decorating. examples of excellent technical con- stands at below knee level. It obvi- Her attention to detail was good to see trol, but for me his combination of ously means more work and money to — her corks topped off her storage jars high-gloss finish and classical style in build some of the stands higher, but perfectly. Elsewhere in the exhibits shapes leaves the total rather sterile many pots must be seen side-view, one saw corks used merely as bought- and impersonal. His “bottle family" not looked down on. in stoppers, without much thought was more interesting and his ideas in The colour was provided by the being givento the aesthetic totalofthe that direction are worth extending. pots themselves, or should I say, pots requiring them. There were other worthwhile pots much ofit was provided by Podmores, Francis Fredric also displayed a in the exhibition, Dorothy Ewart’s Wengers, Blythe & Co. Stoneware ad— strong feeling for thrown shapes. She feathered slip-trailing; Mari Tothill dicts decry the too often slick com- had a most successful casserole, had some wellvglazed plates, though I mercial look of earthen wares; the sherry set, curry set and platter. All felt her cups were spoiled by the strap high gloss, toffee colours, lack of tex— her pieces are well thrown and well handles; Margaret Radford’s matt tural subtleties, or a certain factory glazed. Other earthenware potters glazed spice jars were good. blandness that does not excite the would be well advised to look at her At the'bottom end there were cer- more clayey clay-users. This exhibi— glazes, and then re—evaluate their tainly many pots that would not have tion certainly had a fair percentage of own. Good pots can too easily be visu- been in the show, had it been selected. this commercial feel. ally destroyed by the multiple reflec— I hope not to be over-critical, but I do It was intriguing to discover that tions from high—gloss glazes. These feel that many potters in the New Zea- the pots which were interesting in need to be handled with great sen- land Society would benefit if they concept, decorative treatment and sitivity to work well. were much stronger on self- glaze innovation, were also the best Patti Meads produced the highlight evaluation of their work, before they pots technically from a craftsman’s of the show for me in her two small send it in to an important exhibition point of view. In general it was those spherical boxes. These were made in a such as this one. pots with the easy commercial glazes way which Hiroe Swen recently made Thank you Southland for so ably that also showed heavy throwing, bad popular in this country, Patti has organising and presenting this show turning, ungainly shapes or ill pro- adapted the technique in a very pleas- of Invited N.Z. Society Earthenware portions. It also proved that earthen- ing manner. Her goblets. bowls and Potters. ware has far more potential than many tea set demonstrated her fine throw- potters would credit. ing and glazing.andthefree—form and Howard S. Williams New Zealand Potter Page 32 New Zealand Potter Page 33 whole effect was lively, modern, and Cheerful, and quite surprising. I was delighted one day to be invited in to Warwick help with the painting of one of the rafter boards with black and white Lidgard kowhaiwhai pattern. The work was all being done most efficiently in the dining hall behind the new meeting at house. There were cardboard guides for the patterns to make sure they Media matched up, plenty of good brushes, paints and tools; there was a carver from the city lending a hand; and the Gallery caretaker ofthe marae, who up to then I had only seen actively mowing lawns, was making sure everything was done correctly and was obviously photos Ans Westra an artist in his own right. There were people coming in and out. much cheerful chatter and cups of tea. but the actual workers were concentrat- ing on the job in hand with real dedi— cation. I found this most necessary when I worked my way down the 12 foot panel — the pattern was intricate but most satisfying to do, and they all said I must bring my “mokopuna” (grandchildren) to see it when it was placed in position. It is good to live among real crafts— men, the skills and knowledge are still all here, brought out when there is need to use them. As I work at my pottery spinning and weaving, the people are really interested, and can fascinating. Life here is dynamic; no- arrogance belittle what they do we quickly pick up the finer points of thing is ever neutral. Most contacts will be the losers. There is much they what I am doing. In fact, the crafts as consist of little tests to see what game can teach us about family relations usual, are a means of real com- the pakeha is playing. and then, ifyou and togetherness. and many other munication. pass. a great gust of laughter. Did you things. The other day I heard one It has been a long trail that had led know that it’s good manners to take handsome old lady stand up on a me to this village. First Japan (through your shoes off at the door of most marae and say to a group of pakeha Leach) and the incredible impact of Maori houses, and always in a meet- visitors in ringing tones “You have Japanese pottery on this untutored ing house? Have you ever seen a pakeha-ised usallthese years—made colonial mind. Then actually getting woven flax floor mat actually in use? us learn your customs — now let us to that country and experiencing the Have you heard the Maori language try to Maori—ise you!” “Quite a job", I depth of such a foreign culture. After with all its vigor and intensity used thought, “but we will be the richer if that Fiji, and the surprise of uncover— for daily communication as it is here? they do!" As I see it, what is needed is ing such skill in handling clay and It is the family link that makes the an acknowledgement by us that the making pots in the same ways that home village so important to the Maori people are different, and have a had survived since the Stone Age. Maori people living in the cities. In right to that difference; an under- And here again this strangely familiar the Christmas holidays everyone standing and appreciation of the culture which seemed a less sophisti- comes home — the place is overflow— thingsthey do betterthan us;andalot cated version of many Japanese cus- ing with relations. Tired grand— of what the Maoris call “aroha” — toms — shoes off at the door, sitting mothers complain bitterly about the love in the broad human sense. and sleeping on the grass mats on the number of “mokopuna” landed on Helen Mason held an exhibition in floor, and drinking Kava in a way them [and love every moment of it too the Centennial Hall, Pakiri Kiri which reminded me of the Japanese —~ “they are my heart” says one old Marae, Tokomaru Bay, East Coast in tea ceremony. Back to New Zealand lady as she shoos them outside with September. “I have long been in- and the realisation that here we had in her stick.) “There’s always a bed and a terested in patterns that have real our midst what was to me a foreign welcome here” says another old lady meaning. I began to study Pacific art culture which I little understood. For— as her grandson calls in on his motor and have come to the realisation that tunately,Aucklandwherelwasliving bike. here in our own country we have peo- at that time, is a mine of useful infor- You can see how important it is that ple who are aware of and are still mation, and I was able to glean these roots should stay healthy and making patterns of significance. I enough background information to the people here in good heart. The enjoy living with the Ngati Porau make me aware of what I wanted to Maoris as a race can still use their people whose patterns are a direct find out by actually living in a pre- hands. and unlike most of us. the link with their past. I decided to put dominantly Maori community. I’ve work of their hands comes straight my work to the test and see if it had been here ten months now and find it from the heart. If we in our pakeha any meaning for them.” New Zealand Potter Page 34 New Zealand Potter Page 35 move, not only because it protectsw Albany village pottery Capricorn office staffI arranged to meet one of the most respected potters in the dis- Preserving Ascot Terrace small domestic buildings, but also be- Capricorn Gallery in Gloucester trict. He would lead me to that little cause it is designed to save a whole Albany village, just a few miles Street is well lit with electric beacon shop. area — to have people living in a dis- north of Auckland, on the main high- lights which can be directed to the In the dull and smoggy morning I trict of history book houses. way, has recently seen the opening of display. Exhibitions are held regu— was greeted with all respect and for- Many potters live in old buildings and washouse added on. The lean-to The houses vary in condition. a new specialist pottery shop. Eleven larly. The cost is $25 a week and the mality. A tea ceremony was followed which they cherish. Conservation of is the norm in the area. But it has There were some unfortunate altera- well-known Auckland potters, have gallery takes 20% commission on by a long chat about mutual acquain- what is worthwhile is part of the charm. And it has survived — five and tions after the 1920’s when the photo- combined their individual talents to sales. Opening night costs are also tances amid a collection of pots craftsman’s makeup. We asked Gil- a half acres of it — from the motorway graph was taken. Restoration in the form the Albany Village Pottery. met by the exhibitor. worthy of a museum. It was an enjoy- lian McGregor President of the and property redevelopment. Close to style ofthe original building is taking Potting still in their own studios, able morning and I left in high spirits Thorndon Society to describe what is the city, high density housing on a place slowly. The owners are restor- they are supplying their work to this after taking photos of all the families being done in a corner of Wellington small scale, historic, predominantly ing by different means. One couple did theirs themselves, added on to it co-operative and are personally at— Bay of Islands of people and pots. Down the road I to preserve a whole urban area. 1870 — 1880 construction. A rem— tending on a rota basis, so that each realised the ommission. Brushes. The “village within a city concept” nant. on small scale using demolition mat- with workmen day, one ofthe potters is available, not The Bay of Islands Arts Festival will Where? is what it is called. Its a new label and In this part of Thorndon there is erial, others started then picked up the skills to carry on, only as sales staff, but also to discuss have its third exhibition on the Back at the hotel I dashed to the it fits. It always has fitted one small vital community feeling. Neighbour— and yet another used only pro- pots or pottery in general with their Waitangi Marae from January 19th to phone to get the Vital information. But area of Wellington —— Thorndon. liness extends to stray cats becoming people. customers. In this way they hope to 22nd 1976. The festival attracts big the ready help I’d received previously Thorndon is a surprising suburb. At pets, a washing machine shared and fessional Trust, a property buying have more personal contact with the crowds of holiday makers and resi- was strangely lacking and Iwondered one end it still has grand, really grand dried out between times to make sure Thorndon trust that was formed to people interested in their craft, and at dents. Established potters have sup- if the solemn and imposing gentle- old houses. That’s the northern end. it doesn’t rust, a food buying co—op. charitable the same time provide a selection of ported the festival. Anyone wanting man standing bebind the clerk could Wooden and “pretentious stone” — a The Thorndon Society is the com— save the area from imminent commer- redevelopment five year’s ago pottery ofhigh standard. The first two information should write to Martin be a reason. I soon found out that he label for the technique of applying mittee end. Not that the place needs it cial Cooper’s cottage. That’s months would seem to indicate that Visser, R.D Ohaeawai, Northland. was the hotel manager — but he was moulded concrete over brick to make to function, its the fighting-trying—to- owns Granny the venture will be a success. also a potter! outer walls look as though chiselled save end, and frankly it hasn’t saved being restored using professional The potters concerned in this Three minutes later with a slip of from mother nature. At the south end anything yet. But its a changing group workmen for the major work and group, who spent much time and paper bearing the address I was dash— is a polarisation. Here close packed on of people who keep on working, re- Thorndon Society working bees. creative effort in preparing their pre— For sale ing across the city in a taxi — my goal a “whaleback” [geological term. Have storing and paving, demolishing, So there it is. Some see the area as a in sight. After we had travelled up and the with the Wellington lot of old houses full of borer. Others mises, and in formulating a workable Onewhero you signed the petition to save working Closely down the same road three times, I Planning Depart- appreciate its charm and warmth as system of operating the co-operative, 12 acres excellent land, half whale?], are a number of worker’s cot- City Council Town paid the metered fare and continued part of our heritage to be retained. are Peter Lange and Peter Oxborough gently sloping north, balance in tages — originally all wooden. Armed ment. the search on foot. I saw a dark shop Zone E is a new zone proposed by Thorndon, Wellington, 1975. from Kaipara Flats, Howard Williams one paddock of steeper contour. constabulary houses, two rooms, with bags of something inside — and A great Gillian McGregor from Silverdale, Barbara Hockenhull Pottery in converted herring toilet added on, bathroom added on the Wellington City Council. then a glaze sieve — and Ian Smail from Redvale, Margaret bone cowshed, approx. 2,300 sq. and stilts — and cones! Hopes were high as I entered. I Symes whose studio is in Albany, and ft. on concrete with 1000 sq. ft. was shown six large brushes. from various North Shore suburbs, enclosed. 80 cubic ft. single Mary Harwick-Smith, Later after some furious sign lan- Charles chamber catenary kiln plus 30 guage I had a map and I was racing Holmes, Warwick Lidgard, Chester cubic ft. salt kiln, 3 phase power, down alleyways Nealie and Ray Rogers. high pressure water. Four bed- and across bridges, dodging stalls bearing tasty morsels, On its opening day the group staged room house, garage, separate confident that I was near a “happening” which included de- sleepout, large old weatherboard my goal. Food must wait for more important monstrations of throwing, and a con- barn plus excellent disused pig- things. I stood at the door of a little tinuous raku firing which produced gery, orchard. One hour drive shop much sought—after medallions, de— south of Auckland. and entered with reverence to find a counter covered with signed as souvenirs of the day. A. and G. Barraud, Parson Rd, a wider range of brushes than I’d ever, Howard Williams Onewhero RDZ. Phone One- seen whero 836. before. Sign language enquiries told me that some were from a horse’s mane but where others originated from was beyond the scope of our lan- guage. I hailed a taxi for the hotel where I Auckland studio potters There’s a little shop in enjoyed a large drink feeling tired but craft centre: Kyoto triumphant. The hotel manager strol- led over to enquire about the success For years I have been told by New of my quest and after viewing my Work has been under way for some Zealand potters visiting Japan about purchases said, “You can get those time now in an effort to provide the the little shop in Kyoto which sells an anywhere”. Auckland Studio Potters with a home incredible range of pottery brushes. My spirit was consoled by the of their own. A house has been trans- On a recent visit to Japan, as my knowledge that I had bought excel- ported to a' site in Onehunga to obtain time for leaving approached, Ibecame lent brushes at a fraction of today’s committee rooms, library and work- feverish thinking about this potter's normal price in Japan even if I had shop space. An ambitious programme mecca with its walls lined with boxes failed to find THE little shop. is being organised to provide day and of brushes, Japanese writing pencils, If you are going to Japan and are evening classes in pottery, lectures, mops, dogs hair, soft camel hair, visiting Kyoto, and someone tells you demonstrations, seminars and springy pony mane. Imagination was that there’s a little shop in Kyoto that weekend schools. The Centre will be running riot. sells the most wonderful pottery open to members of the A.S.P. and to So I travelled the route from Tokyo brushes, don’t listen unless he will the general public, starting this Sep— to Kyoto on the New Main Line. A lead you by the hand to the door. tember with Doris Dutch and Brenda quick shower at the hotel and straight Turner as its first part—time tutors. to the telephone. With help from the Gwyn Ace New Zealand Potter Page 36 New Zealand Potter Page 37

HIGH FIRED COPPER paste. In the latter method the copper craze too readily because of the high the Horowhenua and subsequent migrates from the walls of the saggar coefficient ofexpansion with sodium. drainage of swamps there is less GLAZES Betty lVin into the glaze during reduction firing. Some lepidolite or petalite substi- water to provide breeding places for The famous ceramic chemist, tuted for feldspar would be more native ducks and the once common Generally there is a lack of colour in Seger, gives formulae for Sang de likely to give a satisfactory result. The white-faced heron. So the Wrights New Zealand pottery. Why is this so? Boef, and one is listed below. (NB. the formula of petalit is got a bulldozer in and made a lake 70 Perhaps because iron is an abundant first part is a batch recipe; the second li20 A1203 83l02 metres wide and planted the edges material, and iron glazes easily part given for the flux is a molecular This 1 to 8 ratio of base to silica is with grasses. “The only way native achieve reliable results. Or do our pot- formula which must be converted to a rather less likely to craze than soda birds can survive is to make the right ters lack curiosity and the desire to batch recipe before arriving at the feldspar which has the formula Na20 conditions for them to breed in cap- succeed with other metal oxides? percentage to add to the recipe’s first A1203 68i02. As with all high tem- tivity with a measure of protection.”* For the potter using pale firing part]. peratur copper glazes, this colour can So itinerant wild fowl join the other stoneware or porcelain bodies, a migrate to the surrounding pale glaze birds under the Wright’s care. Janet much broader palette is available and where it may give a delicate turquoise always knows what to buy Wilf for one has only to see some of our early Sang de Boef shading to the pale glaze. Christmas. Last year it was a pair of Chinese ceramic museum collections % An interesting hypothesis in this peacocks. to realise how delightful such colour Clear porcelain glaze (matur- connection has occurred to me. Were Our potters have absorbing in- A newspaper advertisement sends On their 13 acres 60 kilometres can be. ing at a temperature to suit the beautiful bluish green Chinese terests apart from their craft. Starting him following a scent to Foxton. north of Wellington the Wrights have Copper reds are not too difficult to your needs 75.00 celadons a fortuitous result of ash with Wilf and Janet Wright of With an engineer friend, a truck and an enviable situation. They get their achieve in a reduction atmosphere. Copper oxide 0.15 glazed pots being exposed to copper Reikorangi near Waikanae, we are a trailer he returns at 11pm. loaded livelihood by work they both enjoy Pots need to be contained in saggars if Tin oxide (SnOJ 1.00 vapour drifting through the latter going to run a series of illuminating with windmills and horse—drawn doing. But further they have the fixed in a mixed kiln, or the well Red iron oxide chambers of a multi-chambered kiln? articles. equipment. And so it goes. The word scope and the time to maintain known tendency of copper to migrate (F8203) 0.50 In this type of kiln, the most strongly Wilf Wright’s neighbour tears is spread and people pass on colonial worthwhile projects like the ecologi- to other pots can give unexpected and Barium flux 23.35 reduced results come from the down an old farm shed. The shed has farmhouse furniture and kitchen cal conservation scheme. The way unwanted green specks to the rest of The barium flux formula is chamber nearest to the main firebox, been in the same family for years and utensils and a butter churn. All find a most of us live today makes it impos- the kiln setting. It is also necessary to N820 0.5 and this is where these knowledge- it contains horse operated seed drills permanent home at Reikorangi. Vis~ sible for ideas like this to become start to the rest of the kiln setting. It is B203 2.5 able potters would have set their re- and hay derricks too good to toss itors to the pottery are always wel- more than a dream even if we have also necessary to start reduction at a BaO 0.5 duced copper glazes. The following away. Wilf takes them home to his come to View the museum collection. the vision and the zeal to carry them lower temperature than is the case Aubergine colours can also be chambers being exposed to the alter- place. He decides to convert a cow Another conservation project of out. with iron glazes. The calcination achieved under reduction conditions, nating reduction and oxidation of a byre to house them. He is mindful Wilf’s that Janet is equally keen about Ducks Unlimited, is an organisa- temperature for copper colourants is combining copper with cobalt. Used wood fired kiln could possibly result that you can’t have a museum in the is the bird sanctuary they’ve estab— tion to which the Wrights belong. BSD-890°C and it is easy to miss some discretely over an opaque white high in oxidised or neutral atmospheres country. Museums are for towns. He lished on their property. For a long It has members throughout the reactions by starting reduction at too alumina glaze containing some mag- giving blue to greenish turquoise understands his land is not zoned for time they’ve kept native parakeets, country and has backing from the high a temperature. There are two dif- nesium, this colour can be pleasant. glazes. References: museums. But he has the nucleus of a keas and kakariki in enclosures. Since Wildlife Division. ferent categories of copper red glazes. Use not more that 23 parts copper Oriental porcelains discovered in the collection. the recent development throughout Margaret Harris Sang de Boef, which has copper oxide oxide and 1/4% cobalt (bear in mind Philippines — Ceclilia and Leandro in the glaze itself, and Rouge Flambe that one part of cobalt in 5000 will Locasin where a porcelain glaze is used and give a pale blue] in a glaze which will Ceramic colours and pottery decora- the pots are fired in a saggar coated give an alkaline response, preferably tion — Kenneth Shaw Glazes for the inside with refractory copper lustre not a sodium fluxed glaze. This would craft potter — Harry Fraser. PETER SINCLAI R'S COUNTRY ARTS In a delightful bush setting, only a short Screenprinting 6: drive from Auckland, we offer one of _. Southern Ceramic... New Zealand’s largest selections of pottery.

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