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January to March 2018
SOUTHERN CERAMIC GROUP NEWSLETTER www.southernceramicgroup.co.uk/ Email : [email protected] Contents Editorial • Group & Members News Welcome to the January/March edition of the SCG Newsletter. The • What’s On newsletter is published electronically quarterly to members of the South- • Hey Clay ern Ceramic Group and is more widely distributed to associated pottery • Clay Group groups. • AGM • Glaze Group Meeting Notes We always welcome your contributions to the newsletter from events to • Members Profile technical articles to profiles. This edition is a great example of the varied • Demonstrations interests of the group, we hope you enjoy the newsletter and will consider • SCG Committee contributing in the future. Keith Menear Group & Members News New Members A very warm welcome to new members: Gael Emmett from Chichester Francheska Pattisson of Winchester Trish Marshall also from Chichester Nigel Hobbs from Bordon Membership is now 152 Next Committee Meeting. The committee meets every few months or so and our next meeting will be on Next meeting. 5th March 2018, 7.15 pm at Neil’s house. "Hilston House" Hambledon Road, Denmead, Waterlooville, Hampshire PO7 6HB . If you have anything you would like to bring to our attention please contact Sandie Dixon [email protected] or any other member of the committee. 1 SOUTHERN CERAMIC GROUP NEWSLETTER What’s On Su Cloud Ceramics. Workshops January-June 2018. The beginning of a new year and the perfect time to start a new project. Is your garden in need of a focal point? I have some new workshops on offer and some old favourites, which I hope will inspire you to come and create, in my purpose built ceramic studio. -
Long Gallery Educator’S Pack This Pack Contains Information Regarding the Contents and Themes of the Objects in the Long Gallery
Long Gallery Educator’s Pack This pack contains information regarding the contents and themes of the objects in the Long Gallery. On our website you can find further activities and resources to explore. The first exhibition in this gallery, ’Reactions’ focuses on Dundee’s nationally important collection of studio ceramics. This pack explores some of the processes that have created the stunning pieces on display and shares some of the inspirations behind the creation of individual ceramics. Contents Reactions: Studio Ceramics from our Collection Introduction and Origins 01 Studio Pottery - Influences 02 The Process 03 Glossary 05 List of Objects - by theme What is Studio Pottery? 10 Influences 11 Ideas and Stories 14 What on Earth is Clay? 16 Getting your Hands Dirty 19 The Icing on the Cake - Glaze and Decoration 21 Fire 24 Artist Focus Stephen Bird 27 Reactions: Studio Ceramics from our collection Introduction- background and beginnings 'Studio Ceramics' or 'Studio Pottery' - can be best described as the making of clay forms by hand in a small studio rather than in a factory. Where the movement in the early days is referred to as 'Studio Pottery' due to its focus on functional vessels and 'pots', the name of 'Studio Ceramics' now refers broadly to include work by artists and designers that may be more conceptual or sculptural rather than functional. As an artistic movement Studio Ceramics has a peculiar history. It is a history that includes changes in artistic and public taste, developments in art historical terms and small and very individual stories of artists and potters. -
CELSIUS a Peer-Reviewed Bi-Annual Online Journal Supporting the Disciplines of Ceramics, Glass, and Jewellery and Object Design
CELSIUS A peer-reviewed bi-annual online journal supporting the disciplines of ceramics, glass, and jewellery and object design. ISSUE 1 July 2009 Published in Australia in 2009 by Sydney College of the Arts The Visual Arts Faculty The University of Sydney Balmain Road Rozelle Locked Bag 15 Rozelle, NSW 2039 +61 2 9351 1104 [email protected] www.usyd.edu.au/sca Cricos Provider Code: 00026A © The University of Sydney 2009 This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this publication may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the copyright owners. Sydney College of the Arts gratefully acknowledges the contribution of the artists and their agents for permission to reproduce their images and papers. Editor: Jan Guy Publication Layout: Nerida Olson Disclaimers 1. The material in this publication may contain references to persons who are deceased. 2. The artwork and statements in this catalogue have not been classified for viewing purposes and do not represent the views or opinions of the University of Sydney or Sydney College of the Arts. www.usyd.edu.au/sca/research/projects/celsiusjournal CELSIUS A peer-reviewed bi-annual online journal supporting the disciplines of ceramics, glass, and jewellery and object design. Mission Statement The aims of Celsius are to - provide an arena for the publication of scholarly papers concerned with the disciplines of ceramics, glass and jewellery and object design - promote artistic and technical research within these disciplines of the highest standards -foster the research of postgraduate students from Australia and around the world - complement the work being done by professional journals in the exposure of the craft based disciplines -create opportunities of professional experience in the field of publication for USYD postgraduate students Editorial Board The Celsius Editorial Board advises the editor and helps develop and guide the online journal’s publication program. -
9. Ceramic Arts
Profile No.: 38 NIC Code: 23933 CEREMIC ARTS 1. INTRODUCTION: Ceramic art is art made from ceramic materials, including clay. It may take forms including art ware, tile, figurines, sculpture, and tableware. Ceramic art is one of the arts, particularly the visual arts. Of these, it is one of the plastic arts. While some ceramics are considered fine art, some are considered to be decorative, industrial or applied art objects. Ceramics may also be considered artifacts in archaeology. Ceramic art can be made by one person or by a group of people. In a pottery or ceramic factory, a group of people design, manufacture and decorate the art ware. Products from a pottery are sometimes referred to as "art pottery".[1] In a one-person pottery studio, ceramists or potters produce studio pottery. Most traditional ceramic products were made from clay (or clay mixed with other materials), shaped and subjected to heat, and tableware and decorative ceramics are generally still made this way. In modern ceramic engineering usage, ceramics is the art and science of making objects from inorganic, non-metallic materials by the action of heat. It excludes glass and mosaic made from glass tesserae. There is a long history of ceramic art in almost all developed cultures, and often ceramic objects are all the artistic evidence left from vanished cultures. Elements of ceramic art, upon which different degrees of emphasis have been placed at different times, are the shape of the object, its decoration by painting, carving and other methods, and the glazing found on most ceramics. 2. -
The Two Ages of Poole Pottery with Price Guide by Roland Head
Ceramics The Two Ages of Poole Pottery With Price Guide by Roland Head The company finally succumbed in December 2006, ending a period and both Stablers contributed greatly to a revived interest in ceramic of more than 130 years of production at the quayside in Poole. This sculpture at Poole. They created a wide range of sculptural ceramics demise seems to have had little, if any, effect on the secondary Poole and also several specially-commissioned architectural wares, such market, which remains in good health. Decorative wares produced as the Rugby School War Memorial. Of particular interest are the between 1924 and 1970 are most in demand. Most fall into two sculpted ceramic figures designed by Harold and Phoebe Stabler distinctly different categories. from around 1910 until the early 1930s. Very successful, they were produced in press-moulded form by Poole with some also being Poole Studio Ware made under license by Royal Doulton and Royal Worcester. Today, In 1958, Poole recruited Robert Jefferson as its chief designer. His good examples of these figures are fairly rare and routinely fetch work led to the introduction of new designs and techniques, and in hundreds of pounds each. The subject matter for these figures varies 1961, to the expansion and relaunch of the Poole Studio. Its output widely, with both animals and people popular choices. of boldly-painted and largely-abstract designs was formalised into the Delphis and Aegean ranges. It is the early, pre-Delphis studio Vases and Other Decorative Wares pieces that are most collectable, in particular those pieces by Tony Early decorative wares used a red earthenware body and were Morris, an artist who worked alongside Jefferson in developing the decorated with a hand-painted pattern on clear glaze over white slip. -
English Slipware Pottery
24 GETTING THINGS DONE NAN MUSGROVE is a young potter working in the English Slipware tradition. She trained in the workshop of John Pollex, one of the best-known contemporary slipware potters, and moved to Marsden, near Huddersfield, in March 1979 to establish her own workshop. Training in slipware was a deliberate choice for her, partly because it gives great scope for decoration and partly because she responds to its intrinsic 'Englishness'. Most people are familar with craft copy of the Willow Pattern, in the 1702 said that it was nicknamed 'Little pottery that is glazed with sombre col- customary brown and yellow colours London' by the locals, presumably ours: greys, dull greens and soft of earthenware. because of its activity and smoke. browns. Often it is decorated with There is a little rhyme about the subtle brush patterns, but the overall Yearsley pottery, which was estab- impression is usually restrained. This 0174 lished by a branch of the Wedgewood is stoneware pottery in the oriental family in the late seventeenth tradition, which was introduced into century: this country by Bernard Leach, who "At Yearsley there were panche- did more than any other person to ons made re-establish a tradition of hand- 4 ry By Willie Wedgewood that thrown pottery here. He was trained lle young blade" Ga in Japan and, when he set up his work- t These potteries produced a great shop in St. Ives in the 1920's, he Ar naturally continued to use oriental range of slipware dishes, jugs, cups City glazes, although he adapted his r and chamber pots as well as the big shapes to his English market. -
ORIENTAL and EUROPEAN CERAMICS and GLASS
SECOND DAY’S SALE THURSDAY 21st APRIL 2011 ORIENTAL AND EUROPEAN CERAMICS AND GLASS Commencing not before 10.30pm Oriental and European Ceramics and Glass will be on view on: Saturday 16th April 9.00am to 1.00pm Sunday 17th April 2.00pm to 4.00pm Monday 18th April 9.00am to 5.15pm Tuesday 19th April 9.00am to 5.15pm Wednesday 20th April 9.00am to 5.15pm Limited viewing on sale day Enquiries: Andrew Thomas Enquiries: Nic Saintey Tel: 01392 413100 Tel: 01392 413100 Email: [email protected] Email: [email protected] 87 323 324 321. 323. 325. A pair of clear glass A champagne or sweetmeat A small sweetmeat glass or decanters of mallet shaped glass, the pan shaped bowl stand of shallow flaring and form with facet cut decoration with diamond moulded externally ribbed form, the fold beneath a mushroom stopper, exterior with double basal over rim applied with eight together with a claret jug en blade knops set on a teared loops terminating in strawberry suite, each 25.5 cm high, early and inverted baluster stem and prunts set on a short stem with 20th century. (3) diamond moulded and domed moulded domed and fold over £80-120 fold over foot, 12 cm high, foot, 10 cm diameter, mid 322. circa. 1730-40, retailer’s label 18th century. A pair of clear glass for Churchill to underside. £100-150 confitures of pedestal form £250-300 326. and with domed covers cut 324. A pair of glass patty pans of with fretted panels, 30 cm A sweetmeat glass the externally ribbed form with high, early 19th century, rounded funnel bowl with fold over rims, 8 cm diameter, staple repair to one together diamond moulded exterior mid 18th century. -
The Employment of Matter: Pottery of the Omega Workshops
Julian Stair The Employment of Matter: Pottery of the Omega Workshops Among professional artists there is … a vague idea that a man can still remain a gentleman if he paints bad pictures, but must forfeit the conven- tional right to his Esquire if he makes good pots or serviceable furniture., Pottery design in Britain at the beginning of the twentieth century was consid- ered to be in a perilous state, caught between the tail end of the Arts and Crafts movement – the ‘unornamental “ornaments” with which thoughtless people crowd their living rooms’* – and the unchecked might, or ‘decadence’,- of Stoke-on-Trent.. Christopher Dresser’s striking ceramic designs for Minton and the Linthorpe Art Pottery in the ,//0s had rarely escaped a stifling his- toricism; William de Morgan finally gave up potting to write novels in ,10+; and only a few small independent firms such as the Ruskin Pottery, which specialised in flamboyantly glazed vases in imitation of late Chinese porcelain, continued production (fig. ,., p. */). Despite the success of the Arts and Crafts movement in revitalising handicraft, pottery did not enjoy the success of other disciplines. As Alan Crawford writes, ‘pottery and weaving … before the war had been somehow less spectacular than the movement’s furniture and metalwork’.2 Although capable of embodying the immediacy of handwork, the transformation of the artist-craftsman’s sensibility into clay proved elusive. In this context, why did Roger Fry encourage the Omega Workshops to venture into the unfashionable and technically challenging -
At the Crossroads Pottery by Mark Hewitt Pucker Gallery | Boston 2
1 At the CrossroAds Pottery by Mark hewitt Pucker Gallery | Boston 2 BiG Vase, CArPenter’s eGG, black manganese glaze with revealed salt glaze, yellow, and pink polka dots 43.5 x 24 x 24" Mh101 Cover: ten GAllon vAse, alkaline glaze with blue glass runs and black manganese neck 26 x 17.5 x 17.5" Mh99 All works Are stonewAre. 3 At the CrossroAds Pottery by Mark hewitt essAy By ChristoPher Benfey strAnGe thin Gs hAPPen At A southern Southern potters and comes up with his own distinctive kind of crossroads. Consider the red-clay town of Pittsboro, North ceramic music, utterly new and fresh—and very, very big. Carolina, where Mark Hewitt turns and burns his big-hearted Take a long look at two of Hewitt’s monumental pots, pots, down a winding gravel lane called Johnny Burke Road. Ike’s Peacock (MH102) and Carpenter’s Egg (MH101). These Smack-dab in the center of town, where two highways cross, magnificent pots, in their burgeoning scale, are unprecedented stands the Chatham County Courthouse, built in 1881 of in the North Carolina folk pottery canon. Solemn and seductive, rugged brick made down the highway in Sanford, the self- with their scale providing a thrilling clout, they have an immediate designated “Brick Capital of the U.S.A.” Or rather, the new appeal like that of Martin Puryear’s visionary sculptures, with courthouse stands there, since the old building, except for their own intersection of folk tradition and modernist panache. its façade and its statue of a Confederate soldier standing at They also represent the passage from the past to the present. -
Thematic Manifestations: an Aesthetic Journey. Jeff Kise East Tennessee State University
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2004 Thematic Manifestations: an Aesthetic Journey. Jeff Kise East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Art and Design Commons Recommended Citation Kise, Jeff, "Thematic Manifestations: an Aesthetic Journey." (2004). Electronic Theses and Dissertations. Paper 877. https://dc.etsu.edu/ etd/877 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Thematic Manifestations: an Aesthetic Journey ______________________ A thesis presented to the faculty of the Department of Art and Design East Tennessee State University ______________________ In partial fulfillment of the requirements for the degree of Master of Fine Arts in Studio Art ______________________ by Jeff Kise May 2004 _____________________ Don Davis, Chair Anita DeAngelis Catherine Murray Keywords: Ceramics, Simplicity, Aesthetics, Saggar Firing, Flash Firing, Naked Raku ABSTRACT Thematic Manifestations: An Aesthetic Journey by Jeff Kise This thesis, in support of the Master of Fine Arts exhibition entitled Thematic Manifestations at East Tennessee State University, Carroll Reece Museum, Johnson City, Tennessee, March 2-12, 2004, describes in detail three aesthetic themes that are manifested in the work exhibited. The artist discusses his journey in establishing a “criterion of aesthetic values” whereby his work is conceptually developed. The three themes – The Paradox of Simplicity, The Decorative Power of Nature, and The Beauty of the Irregular – are founded on historical and contemporary influences and are further described in practical application of form and process. -
Wales, UK Canolfan Y Celfyddydau Aberystwyth, Cymru, DU
International Ceramics Festival Gwyl^ Serameg Ryngwladol Friday 28 – Sunday 30 June 2013 Dydd Gwener 28 - Dydd Sul 30 Mehefin 2013 Aberystwyth Arts Centre, Wales, UK Canolfan y Celfyddydau Aberystwyth, Cymru, DU Organised by Aberystwyth Arts Centre, North Wales Potters and South Wales Potters Trefnir gan Canolfan y Celfyddydau Aberystwyth, Chrochenwyr Gogledd Cymru a Chrocenwyr De Cymru Contents Awards & Special Events Cont’d 14 Welcome 3 Lectures & Films 14-15 Demonstrators & Guest Artists 4-8 Aberystwyth Arts Centre 16 Master of Ceremonies & North Wales Potters 16 Festival President 9 South Wales Potters 16 Exhibitions 10 Trade Stands 17 Activities, Awards & Special Events 11 General Information, Food & Drink 18 Programme of Events 12-13 Floor Plans 19 Directors and Organisers: Marketing: Louise Amery 01970 622889 [email protected] Aberystwyth Arts Centre Festival Directors: Useful Contacts: Alan Hewson, Kraig Pugh PR: Pandora George, Bullet PR 01273 775520 North Wales Potters Festival Directors: Pea Restall, Paul Lloyd [email protected] South Wales Potters Festival Directors: Jeffrey Taylor, Festival Photographer: Glenn Edwards Peter Bodenham www.glennedwardsphotojournalist.com For Aberystwyth University: Moira Vincentelli Festival Accommodation: Conference Office, For Aberystwyth University: Cath Sherrell Aberystwyth University. Festival Co-ordinator: Sophie Bennett 01970 622338 Email: [email protected] Tel: 01970 621960 [email protected] Festival Assistant: Gwen Morgan With thanks to all Aberystwyth Arts Centre Staff, in particular: Site Manager: Pete Goodridge Eve Ropek, Nick Bache, Pete Lochery and the Technical team; Joan Materials Organiser: Roger Guy Young Rowlands, Jim West, Sarah Hughes, Serena Michael and all the Cafe Stage Demonstrations Co-ordinator: Jez Waller and Bar staff; Lynette Evans and the Services Team; all the Box Student Demonstration Co-ordinator: Avril Ryan Office and Marketing team, and everyone else who has helped to Cup Sale: Kate Mills & Stephen Mills make the festival a success. -
Lot 1 Kurdish Rug Having Central Medallion on Deep Blue and Rust
Lawrences Auctioneers Ltd - ANTIQUES AND COLLECTIBLES - Starts 23 Jul 2019 Lot 1 Kurdish rug having central medallion on deep blue and rust ground with multiple borders, 5ft x 3ft Estimate: 0 - 0 Fees: 24% inc VAT for absentee bids, telephone bids and bidding in person 27.6% inc VAT for Live Bidding and Autobids Lot 2 Indo Persian style carpet of all-over floral design with multiple borders on a beige ground, 9ft 10ins x 13ft 6ins Estimate: 0 - 0 Fees: 24% inc VAT for absentee bids, telephone bids and bidding in person 27.6% inc VAT for Live Bidding and Autobids Lot 3 Indo Persian silk rug having central gol with all-over floral design on a wine ground with multiple borders, 31ins x 49ins Estimate: 100 - 200 Fees: 24% inc VAT for absentee bids, telephone bids and bidding in person 27.6% inc VAT for Live Bidding and Autobids Lot 4 Indo Persian silk rug, the central panel of figures having all-over floral design on a black ground with multiple borders, 30ins x 50ins Estimate: 100 - 200 Fees: 24% inc VAT for absentee bids, telephone bids and bidding in person 27.6% inc VAT for Live Bidding and Autobids Lot 5 Indo Persian silk rug having central medallion with all-over floral design on a beige ground having multiple borders, 37ins x 60ins Estimate: 100 - 200 Fees: 24% inc VAT for absentee bids, telephone bids and bidding in person 27.6% inc VAT for Live Bidding and Autobids Lot 6 Small rug having four central gols with multiple borders on a wine ground, 3ft x 1.5ft Estimate: 0 - 0 Fees: 24% inc VAT for absentee bids, telephone bids and bidding