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More nnd More People Everywhere are Mixing Clay with the "We have at least 7 Walker mills in our system, and nothing t:ut happy kids and instructors. We've re- duced costs considerably. We plan to have at least one machine in each high school."

Larry Schultz Art Coordinator Jefferson County Schools Colorado

"1 think the Walker Pug Mill is great. Thank you for making such a fine piece of equipment available to the studio potter."

Joanna Price Joanna Price and Associates Professional Ceramists

"After almost 10 years with a Walker Pug Mill, I ~ I have almost forgotten the tlme-consuming drudgery of mi~ing clay by hand or with makeshift equipment. / I would not think of either operating my own studio or teaching a ceramics program without one."

Glenn C. Nelson Author Ceramics (Holt, Reinhart & Winston) lr;trJc'or, U'~iversity of Minnesota, Duluth

PUG MILL

\

\

l Mixing clay by hand wastes time and effort. Buying pre-mixed clay wastes money. • Instructors and potters throughout the nation, and in many foreign coun- tries, have found the better way to mix clay. They're using this modern machine that releases time and talent

1 for teaching, learning, creative production and experiment. • They've discovered, too, that the Walker Pug Mill pays for itself. • Return the postage-free postcard stitched into this publication. You'll receive more information and detailed Walker Pug Mill specifications by return mail.

Load~i i Clay.~ .~ Trimmings

Send us your name now and we'l l rush further information,

LI. A single pass through the Mill

renders clay of consistency perfect for throwing or modeling.

detailed specifications and a list of satisfied u

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February 1971 3

4 Ceramics Monthly

M O N T H L Y

V o l u m e 19, N u n l b e r 2 F e b r u a r y 1971

Le t t e r s to the Ed i to r . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

A n s w e r s to Ques t ions . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

I t i n e r a r y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

T h r e e P o t t e r y W o r k s h o p s in E n g l a n d by Roge r A. Goe t t seh . . . . . . . . . . . . . . . . . . 13

The Cr icklade P o t t e r y : Kay and I v a n M a r t i n _ _ 14

The Snake P o t t e r y : P e t e r C. Brown . . . . . . . . . . . . . 16

The Studio: A n t h o n y S te rckx . . . . . . . . 18

The Clay Cooking Po t by Robe r t F. E i l e n b e r g e r . . . . . 20

A F o r m u l a r y of Leadless Glazes by Richard Behrens _ _ 2 4

A Foo ted Cloisonne Bowl b y Pol ly R o t h e n b e r g . . . . . . . 25

M a k i n g a n Oca r ina by the Sl ip-Cast Method by E v e r e t t T r a y l o r . . . . . . . . . . . . . . . . . . . . . . 28

Ce ramAct iv i t i e s . . . . . . . . . . . . . . . . . . . . . 32

Index to A d v e r t i s e r s . . . . . 38

On Our Cover

Black and white vases in the "Hennen" pat tern are ceramic designs created for Rosenthal by Tapio Wirkkala, one of Fin- land's most gifted and versatile designers. His designs have set the fashion for much of the graphic art and handicrafts in Finland's industry and schools. Works by Wirkkala, both individual and production pieces, are in the permanent collection of such museums as the Museum of Modern Art, The Metropolitan Museum of Art, and The Victoria and Albert Museum. Nearly 300 pieces selected by the artist are being circulated on a nationwide tour by the Smithsonian Insti tution Traveling Exhibition Service. I t may be seen from February 6 to March 7 at the American-Swedish Insti tute in Minneapolis.

Editor: THOMAS SELLERS

Art Director: ROBERT L. CaEAOER

Circulation Manager: MARY RUSHLEY

Editorial Assistants: CONNIE BELCHER, FRANCES SAWYER

Publisher: SPENCER L. DAVIS

Advisers and Special Contributors: F. Carlton Ball; Richard Behrens; Kathe Berl; Edris Eckhardt ; Zena Holst; John Kenny; Karl Martz; Ken Smith; Helen Worrall; Don Wood.

Western Advertising Representative: Joseph Mervish Associates, 4721 Laurel Canyon, Suite 211, North Hollywood, California 91607. Telephone: T R 7-7556, Area Code 213.

Copyright 1971 Professional Publications, Inc. Ceramics Monthly February 1971, Vol. 19 - - No. 2. Published monthly except July and August by Professional Publications. Inc. - - S. L. Davis, Pres., P. S. Emery, Sec.; at 1609 Northwest Blvd., Columbus, Ohio 43212. Correspondence concerning subscriptions, renewals, and change of address should be addressed to the Circulation Department, Ceramics Monthly, Box 4548, Columbus, Ohio 43212. Second Class postage paid at Athens, Ohio, U.S.A. Subscriptions: One year $6; Two years $10; Three years $14. Copyright 1971. All rights reserved. The articles in each issue of Ceramics Monthly are indexed in the Ar t Index and The Readers' Guide to Periodical Literature. Microfilm copies are available to subscribers f rom Universi ty Microfilms, 313 N. First St., Ann Arbor, Michigan. Manuscripts and illustrations dealing with cecamie a r t activities a re welcome and will be considered for publication. Manuscripts should be typed double-spaced and range from 500 to 2000 words. Send manuscripts and correspondence about them to the Editor, Ceramies Monthly, Box 4548, Columbus, Ohio 43212.

R E W A R D P R O D U C T S

Reward Ceramic Color Mfrs., Inc. 314 H a m m o n d s F e r r y Rd. , G l e n Burnie , M a r y l a n d 21061

THOMPSON Offers All Of This For Only $49.50

i ¸

Thompson's catalog introduces a new package consisting of an electric kiln (inside dimensions - - S" wide, 7" deep, 4" high) and including a CAREFULLY SELECTED group of supplies that will get you started enameling immediately . . . for only $49.50, plus shipping charge. Send your order today with payment for prompt shipment. The new Thompson catalog, along with its famous Color Guide, is waiting for you . . . just mail the coupon and it will be on its way . . . absolutely FREE.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Thomas C. Thompson Co. Dept. CM-2 u 1539 Old Deerf leld Road Highland Park, Illinois 60035

[ ] Enclosed is payment for new kiln package. (Illinois residents add 5% sales tax.)

[ ] Please rush FREE Thompson Catalog.

Name . . . . . . .

A d d r e s s _ _

Ci t y _ _ S ta te Z ;p

February 1971 5

In Days of Olde W h e n Knight s W e r e

. ~ B o w l e d

There was once a time in the kingdom of King Arthur when the brave knights of the realm busied themselves by challenging one another to fantastic feats of throwing pots. Among these mighty men were knights whose feats held dominion over all. It was these crafty fellows whose work could not be surpassed, for each was the bearer of a magic potter's wheel. Astride their enchanted machines---Shimpo- West RK-2's---these undefeatable knights worked,

thrusting and feinting, leaving in the mud (so to speak) their lesser opponents toiling on their lesser wheels. Magic potter's wheels were a must in the days ol yore. Knights needed a rugged wheel and they needed a wheel that would respond. Although conditions have changed, the needs of today's potters remain the same and, after all these years, the magic Shimpo- West RK-2 is still the wheel that can't be beat

SHIMPO-WFST P.O. BOX 2315, LA PUENTE. CALIFORNIA 91746

6 Ceramics Monthly

Share your thoughts with other CM readers--be they quip, query, comment or advice. All letters must be signed, but names will be withheld on request. Address: The

Editor, Ceramics Monthly, Box 4548, Co- lumbus, Ohio 43212.

HENRY VARNUM POOR

I would like to call your attention to the article in the New York Times about the death on December 8, 1970, of Henry Varnum Poor, the well-known potter and painter. I am sure many CM readers are acquainted with his excellent book, "A Book of Pottery: From Mud Into Im- mortality," as well as his ceramic work that has been exhibited nationwide, and in several Ceramic National shows. I know that CErtAMmS MONTHLY honored him by the inclusion of a plate in its portfolio, "Ceramic Art in America." I hope that CM readers honor the memory of this fine artist, who acknowledged how much he owed to his early experimentation in ceramics. H. Levinson

Newton, Mass.

ON BACK ISSUES

Your wonderful magazine is now doubly useful, since my husband retired in February from 29 years of active duty

LETTERS in the regular army and has become an avid (and excellent) potter. He reads every issue from cover to cover, and has read all of the many back issues I have on hand. Thanks for an excellent publication and an equally good book department. S. B. Stephens

Winter Park, Fla.

I let my subscription lapse when I started work on macrame with a local class. Macrame, however, does not offer the pleasures of ceramics, and I am back with the clays and glazes and related at- tractions. Now I want to renew my subscription to CM and, hopefully, get any of the back issues I missed from 1970. I know I'll get as much pleasure from the back copies as the current ones, so please send what is available. Mrs. L. O. Wood

Richmond, Va.

Enclosed is an announcement of the coming show by the Georgia Ceramic Hobby Clubs. We would appreciate it if you can mention this in the magazine.

I would like to take this opportunity to tell you that I've enjoyed CM for many years. Rereading the old issues is almost as much fun as looking forward to the new ones. Mrs. lane Addis

Atlanta, Go.

PART OF THE FAMILY AGAIN

Old potters are much like those old soldiers. I've missed the magazine dread- fully and am anticipating being part of the family again. Please start my subscription again; I snitched the order form from a library copy! Lois Knox

Vashon, Wash.

LEADLESS AND LOW FIRE

The recent magazine articles about lead poisoning have brought me to a screeching halt as far as glazing goes. All of my own work is with earthenware clay, and nearly all of my glaze recipes include lead, so I have decided to hold up operations until I can locate substitute recipes that are leadless and low fire. I have noted some leadless recipes in CM recently, and a few that include frits that I 'm not familiar with. I do hope you will publish more lead-free glaze recipes for those of us who want to make our own glazes but don't want to worry about their safety.

Mrs. A . B . F . Bloomfield Hills, Mich.

You should be pleased to see Richard Behrens' article in this issue, since it con-

tains twenty-six lead-free glaze recipes ]or use from Cones 015 to 6. All [rlts men-

t ioned in the article are leadless ones.--Ed.

M ODEL ING CLA Y Used by leading SCULPTORS, POTTERS, SCHOOLS, INSTITUTIONS, and STUDIOS!

NOTE: We now manufacture FIVE different MOIST MODELING CLAYS m When ordering, please spec i fy exact k i n d - AI,L f ive m a y be combined to secure quant i ty price!

1. M E M P H I S B R A N D W H I T E M O I S T M O D E L I N G C L A Y ( C o n e 05 to 7)

2. M E M P H I S B R A N D R E D M O I S T M O D E L I N G C L A Y ( C o n e 05 to 1)

3. M E M P H I S B R A N D B U F F M O I S T M O D E L I N G C L A Y ( C o n e 05 to 7)

4. E X - C E L B R A N D W H I T E M O I S T M O D E L I N G C L A Y ( C o n e 05 to 5)

5. S T O N E W A R E M O D E L I N G C L A Y ( C o n e 2 to 10)

P A C K E D I N 1 2 ½ P o u n d P l a s t i c b a g s

W h i t e & S t o n e w a r e R e d , B u f f E x - C e l

25 Lbs . 8c p e r Lb. 12c p e r Lb. 12c p e r Lb.

50 Lbs . 7 ½ c p e r Lb. 10c p e r I,b. 10c p e r Lb.

100 Lbs . 6 ½ c p e r Lb. 9c p e r Lb. 9c p e r Lb.

500 Lbs . 5 ½ c p e r Lb. 7c p e r Lb . 7 ½ c p e r Lb.

I000 Lbs . 4 ½ c p e r Lb. 6c p e r Lb. 6 ½ c p e r Lb.

2000 Lbs . 4c p e r Lb. 5c p e r Lb. 5 ½ c p e r Lb.

(Prices are F.O.B. Memphis or one of our nearest branch plants)

LOWER PRICES FOR LARGER QUANTITIES (FROM MEMPHIS O N L Y ) P L E A S E INQUIRE

BRANCH PLANTS Mail All Orders to BRANCH PLANTS

Talladega, Alabama HOUSE OF CERAMICS, INC. Jacksonville. Florida Alton, Illinois (St. Louis) 1011 N. Hollywood St., Memphis, Tennessee Bangor, Michigan

February 1971 7

Have you ever considered f ir ing a kiln in a snow drift? Probably not, but the ooint is this---it can be done, done whenever and wherever you want to do it.

Firing a kiln has never been considered a spontaneous operation, but with a Thermo-Lite it can be. Al l o f the Thermo-Lite models are portable and easy to set up when and where the mood hits you.

When ordering, order an assortment of gas jets calibrated for the alt i tude at which you wil l be f ir ing and ZAP!---complete f lex ib i l i ty . The Thermo-Lite model 24X offers you three burners to assure exact cone differential from top to bottom.

Now, if f ir ing your kiln in a snowdrif t seems a bit too much to handle, then ,york up to it gradually---start out in your own back yard.

Art-Pak Products Inc. P.O. Box 17356 8106 N. Denver Portland, Oregon 97217

Blakely Ceramics 1500 Evergreen Avenue Pittsburgh, Pa. 15209

Capital Ceramics 2174 South Main Street Salt Lake City, Utah 84115

Clay Art Center 40 Beech Street Port Chester, New York 10573

8 Ceramics Monthly

Ceramics Hawaii, Ltd. 629 C Cooke Street Honolulu, Hawaii 96813

Coast Ceramics Ltd. 3739 W. 16th Vancouver, B.C., Canada

Duncan Ceramic Hobby Supply 5049 East Shields Ave. Fresno, Calif. 93727

Goenell's Ceramic Supply 3525 Victor Santa Clara, Calif. 95050

Houston Arts & Crafts 2048 Marshall Houston, Texas 77006

Leslie Ceramics 1212 San Pablo Avenue Berkeley, Calif. 94706

Minnesota Clay Co. 2410 E. 38th Street Minneapolis, Minn. 55401

The Potters Wheel 1022-B No. 3rd St. Milwaukee, Wisconsin 53203

Rovin Ceramics 6912 Schaefer Roaa Dearborn, Mich.

Sterling Sales Inc. 417 Delaware Street Kansas City, Mo. 64105

Sherry's Ceramics 790 Old Country Rd. Belmont, Calif.

Paul Stromgren & Associates 3919 Sevilla Street Tampa, Florida 33609

Topping Studio Supply Co. 3517 Riverside Drive Dayton, Ohio 45405

Wishing Well Ceramic Supply Inc. 722 Southwest Blvd. Kansas City, Mo. 64108

Westwood Ceramic Supply Co. 14400 Lomitas Ave. City of Industry, Calif. 91744

WAY-CRAFT 394 Delaware Street Imperial Beach, Calif. 92032

Van Howe Ceramic Supply Co. 11975 E. 4th Street Denver, Colorado 80239

Van Howe Ceramic Supply Co. of Albuquerque

4216 Edith N.E. Albuquerque, Hew Mexico

Answers to

QUESTIONS C o n d u c t e d by the C M T e c h n i c a l S ta[]

In making plates on the wheel (dinner, pie plates, etc.) I have a problem o[ the plates cracking while drying. They

are set to dry in a temperature o[ 60* to 70*. I have set them on boards, on wires, on plaster, on paper, [ace up and turned over. I use stoneware clay with varying amounts of grog; results: a ratio o[ one uncracked to live or six cracked. What must I do? - -N .S .

It is our suggestion that you dry the plates very slowly, either in a damp box or under a plastic covering. We also would suggest that you place the plates on a thin layer of white sand or fine grog for drying, so that as the clay shrinks it will "roll" and be less likely to crack. In using this method, the initial drying would be face up.

Several years ago I started making my own glazes and this has been an enjoyable and happy experience [or me. In

general I have been pretty success[ul; however, I have had one small problem that I could use some help with. Some o[ the glazes I mix up have a tendency to settle in the bottom o[ the jars and I have trouble getting them into suspension again, particularly i[ several weeks pass between glazing sessions. Is there a particular ingredient at [ault here that I could replace with something else, or is there some easier solution? Frequently there will be a simpler solution than any I can imagine, so I ' l l ask be[ore I start. - -Mrs . C.B.B.

Heavy materials such as frits seem to contribute to settling in glazes, but the problem can be handled in an easier way than by substituting materials. Try adding about one percent of

bentonite to your dry glaze ingredients before nfixing with water. Bentonite is a natural clay that has remarkable powers of suspension and many potters automatically add it to all glaze recipes. One word of caution about handling this material: it must be added dry to the other dry materials, then mixed thoroughly before water is added. Here is something else you may want to try for those glazes you already have mixed up: make a solution of water and Epsom salts, then add a teaspoon or two of this to the glaze in the jar. I t will help keep the glaze ingredients in suspension!

0 Please tell me what the little white lumps are in the clay v I have dug here in Ontario, and how I make them dis- appear. These impurities are not visible be[ore the clay has been [ired. - -C.G.C.

This probably is lime, and if so, it is difficult to eliminate. In fact, most authorities suggest locating another vein of clay which does not test out with the lime. The test for lime, if you wish to try this, is to drop a sample of the clay into a beaker containing a 50% solution of hydrochloric acid. If bubbling takes place, it is lime.

All subscriber inquiries are given individual attention at CM; and, out o[ the many received, those o[ general interest are selected [or answer in this column. Direct your inquiries to the Questions Editor, CM, Box 4540, Columbus, Ohio 43212. Please enclose a stamped, sell-addressed envelope.

• FOURTH 6LAZE LISTIH6 •

1 2 2 Amaco glazes can now be certified as being suitable for use on food and drink containers. More will be

added to the list as further tests are conducted.

The American Art Clay Co., Inc. , as the l ead ing p roduce r in

the count ry o f educat ional ceramic suppl ies and equipment ,

has long recognized its pos i t i on o f respons ib i l i ty for the de-

ve lopment , manufac ture and sale o f only such p roduc t s as meet

the safety requi rements o f ei ther amateur or profess ional pot ter .

A m a c o has avai lable on request a special m e m o r a n d u m regard-

ing the lead release glaze p rob lem. Also avai lable is a current

l i s t ing o f A m a c o glazes for use on food and dr ink containers .

e=l mR°° Our new 1971 A m a c o Ceramic Ca ta log / /55 is now available. Wr i t e for your copy .

American Art Clay Co., Inc., 4717 Wes t 16th St., Ind ianapol i s , Ind iana 46222

F e b r u a r y 1971 9

Tnngue | Grn(

IF YOU WERE COMPETING WITH THE THREE MAJOR KILN COMPANIES IN AMERICA WHAT WOULD YOU DO?

Many schools pay twice for their ki ln. First when they purchase it; again when they have to have it repaired. The unpleasant fact is that most kilns cost just as much to f ix as they original ly cost to buy.

When designing our l ine of electric school kilns, we gave primary consider- ation to this maintenance problem. In so doing, we incorporated several special features to keep repair costs down. We used tongue and groove bricking instead of the usual cement jo int ing (wi th our kilns you can replace one brick wi thout removing another). We installed easy-to-remove elements for quick replacement and we faced the exterior walls w i th non-rusting tran- site rather than a standard sheet metal surface which might eventually de- teriorate.

When purchasing an electric ki ln always keep in mind the " f u l l " cost and remember that this also includes the cost of repairs.

Model 16 -- 16 x 16 x 18 Model 1 8 - 18 x 18 x 18 Model 2 0 - 20 x 20 x 20 Model 22 -- 22 x 22 x 22 Model 24 -- 24 x 24 x 24 Model 30 -- 30 x 30 x 30

W. D. BURT M ~ J ~ , ~ g co P.O. BOX 353, FAIRFAX, CALIFORNIA 94930

B & I POTTERY

MAKER Power Driven

Variable Speed

$5950 F.O.B. less motor

Professional features, versatile enough for advanced craftsmen, yet simple enough for beginners' use. Precision built, compact, portable. Mounts anywhere. New var iable speed reducer with adjustable foot controls provides speed range from 38 to 130 r.p.m. Built-in water container, attached wedging wire, reversible 9-1nch throwing head with recess for molding plaster bats. Ideal for school or home studios. Also avai lable for pottery maker is a new workbench with a convenient seat to al low operator to control position at all times. $22.50 each, F.O.B. Burlington, Wis. Order by mail now . . . or write for complete literature.

W r i t e f o r L a p i d a r y Equipment

L i t e r a t u r e

10 Ceramics Monthly

Surllnqton, Wlscoa41n S310S

I T I N E R A R Y Send your show announcements early: "'Where to Show," three months ahead of entry date; "Where to Go," at least six weeks be[ore the opening.

WHERE TO SHOW

NEW YORK, CORNINO May 13-16 The Eighth Annual South-

ern Tier Arts and Crafts Show and Sale is open to all U. S. artists working in any medium. Jury; Prizes and purchase awards; Fee; Entry cards due April 27. For information, write Southern Tier Arts and Crafts, Box 470, Coming 14830.

NEW YORK, TARRYTOWN March 7-27 Westchester Art Society

Exhibition includes crafts. Work due March 2. Jury; Fee; Prizes and Awards. For information, write: Westchester Art Society, 54 Main St., Tarrytown.

PENNSYLVANIA, NEW CASTLE April 2-9 The First Annual Ceramics,

Creative Crafts and Sculpture Show is open to artists and craftsmen 16 years of age and older, living within a 60-mile radius of New Castle. Media include ceramics, sculpture, enamels, glass and jewelry. Judge; Prizes, Entry fee. Entries due March 18-19. For information, write: The Hoyt Institute of Fine Arts, 124 E. Leasure Ave., New Castle 16101.

TENNESSEE, MURFREESBORO February 14-March 14 The Fifth Mid-

South Ceramics and Crafts Exhibition is open to craftsmen in Ala., Ark., D.C., Del., Fla., Ga., Ill., Ind., Is., Ky., La., Md., Miss., Mo., N. and S. Carolina, Ohio, Tenn., Va., and W. Vs. Entries due January 20-February 3; Awards and purchase prizes. For information, write: Mr. Lewis D. Snyder, Box 577, Middle Ten- nessee State University, Murfreesboro.

SPECIAL FOR HOBBYISTS

ALABAMA, BIRMINGHAM March 26-28 The Fourth Annual Bir-

mingham Ceramic Show will be held at the Exposition Building, State Fair- grounds. For information, write: Doris Algar, P.O. Box 2834, Birmingham.

ARIZONA, PHOENIX February 26-28 The Eighth Annual

Hobby Ceramic "Round-Up" Show, sponsored by the Valley of the Sun Ceramic Association, will he held for the Benefit of the Phoenix Center for the Blind at the Ramada Inn. For information, write: Sun Ceramic Ass'm, P. O. Box 14136, Phoenix.

CAI.IFORNIA, BAKERSFIELD March 12-14 The Second Annual

Ceramic Show, sponsored by the Central California Ceramic Association, will be held at the Civic Center, 1001 Truxton Ave. Proceeds go to Muscular Dystrophy. For information, write: Beulah Krebs- bach, P.O. Box 3385, Bakersfield.

FLORIDA, ORLANDO February 26-28 The Florida Ceramic

Show, including the 13th Annual Com- petitive Exhibit, is conducted by the Cen- tral Florida Ceramic Society and present- ed by Ceramic Enterprises of Florida, Inc. It will be held at the Robert Meyer Motor Inn. For information, write: Mrs. J. C. Greer, Chairman, 1147 Frleda Avenue, Orlando 32804.

GEORGIA, DECATUR April I-4 The 15th Annual Show of the

Georgia Ceramic Hobby Club will be held at the Decatur Recreational Center, 231 Sycamore St. Competition open to Georgia and out-of-state ceramists and potters. Entry fee; Awards; Entries due April 1. For information, write: Mrs. L. L. Evans, 3584 Glenwood Rd., Decatur 30032.

Continued on Page 36

C ,! i~ i ¸

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12 Ceramics Monthly

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Making glazes is one of the most challenging and rewarding aspects of the potter's craft. It can also be one of the most frustrating. Sooner or lator every potter is faced with the desire or the necessity to modify an existing glaze or to create a glaze from sceatch. Unfortunately the calculations involved in glaze design are exceedingly complicated. A new glaze may involve up to forty soparato multiplications and divisions and the use of numerous tables of information gleaned from various books on ceramics. No wonder that so many pottocs soffor dicoppoinlmeataftordisappolnlmentlryingtacle- sign a glaze of their own.

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Three Pottery Workshops in England by ROGER A. GOETTSCH

DURING THE LAST SCHOOL YEAR I s e r v e d

as an exchange teacher to England and was fortunate to have enough time for vi,~its to different potteries in the central and southwestern part of that country. A meeting with Kay and Ivan Martin was arranged by my exchange teacher, and it was through efforts of the Martins that I met Peter C. Brown and Anthony Sterckx. I felt that each of the potteries provided a unique contribution to the English pottery scene: the Martins produce domestic ware, well designed and well made; Peter Brown is reviving and renewing old traditions, both English and Welsh; and Anthony Sterckx could only be classified as a contemporary potter, working for today and for the future.

For potters who will be visiting Britain, I would like to mention that the Council for Small Industries in Rural Areas publishes a 72-page directory, "The Visitors Guide to Country Workshops in Britain," that is an invaluable help in locating British potters, as well as those in Scotland, Wales, and Northern Ireland. The Council is located at 35 Camp Road, Wimbledon Common, London S.W. 19, England.

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The Cricklade Pottery Kay and Ivan Martin

THE GRAY STUCCO BUILDING at 17 Calcutt Street in Crick- lade, England, is nearly 250 years old. For the past 20 years it has housed the Cricklade Pottery, operated by Kay and Ivan Martin. Through the large show window one sees the wide range of domestic ware made by the Martins: planters, jugs, mugs, coffee and tea pots, cereal and soup bowls, honey pots, casseroles, and many other shapes in colors ranging from blue-green through yellow to brown. Inside, an arrow directs one from the showroom through a flagstoned hall, to the rear porch which displays more planters and flower pots. Across the garden and around a bend is the workshop, a two-storied barn- like structure.

One room in the picturesque studio houses an old bread mixer which the Martins use to mix their clay, an electric 16-cubic-foot kiln used for glazing, and Kay Martin's kickwheel. In the next room is another kiln of the same size, and corrugated metal shelves used as drying racks. The Martins average three glaze and three bisque firings a week in these kilns. Another room holds Ivan Martin's electric wheel which he says was salvaged from a scrap heap 20 years ago and cleaned and repaired, and some benches, drying racks and a small electric pug mill. The last room contains the benches for glazing and slip decorating, shelves for finished work, and the stoneware kiln that Ivan built. This is oil fired, with inside dimensions of four feet square and 3 ~ feet high. Stoneware holds a great fascination for Ivan and he enjoys experimenting with the firing and with what he calls his simple feldspar glazes. He says he has tried several of Rhodes' recipes but he uses mostly glazes of the "Leach type." These are reduction fired to about 2380°F.

Above the workshop, up a flight of wooden steps, is a private studio which contains favorite pieces of the Martins' own work, as well as pottery they have collected. I t was here that I learned how the couple came to start the pottery and how they run it.

Before starting Cricklade Pottery, Ivan worked for Ray Finch, who operates the Winchcombe Pottery near Gloucester. At first Ivan dug clay, but later on he was assigned various other jobs and eventually learned to throw. Kay started coming over evenings and she, too, learned to work on the wheel. After a short stint in another pottery, the Martins decided to open their own studio, and selected Cricklade, in Wiltshire, because there was a field with a good clay yield behind the pottery site.

At first they sold their wares through various o u t -

14 Ceramics Monthly

Kay Martin throws o[[ the hump, decorates with slip trailers, and then uses the end o[ a leather to work two colors together.

lets, but soon decided to open their own shop in the house. They estimate that about three-quarters of their output, between 300 and 400 pieces, is now sold in the shop. The Martins never have advertised their work or shop, and report that most of their pottery is sold within a thirty-mile-area of their pottery, and mainly to steady customers. The "big show" among their frequent exhibitions is the Three-Counties Show held annually at Malvern. This is similar to one of our county fairs and is chiefly a cattle show and agriculture exhibit. Kay and Ivan Martin exhibit and demonstrate in a tent with other full-time professional craftsmen from the county: basket- makers, stonemasons, silversmiths, ironworkers, and wood- turners.

Ivan spends an average of five to six hours a day in actual throwing, and an additional three to four hours in decorating, glazing, and various other jobs around the workshop. Kay also throws and spend as much time as she can in decorating. Although both help with customers, the shop is her responsibility. Actually, she works every day except Friday, which she reserves for market- ing and cleaning.

Above: The workshop, housed in a building apart from the showroom, is reached by crossing the backyard. The Martins" studio is upstairs.

Below: The front window of the showroom faces on the street and features pottery produced by the Martins. Photos: George Craven

Only three basic slips are used for decorating--black, white, and blue. The basic glaze for slipware is a clear one to which they add copper for a blue-green color, iron for a honey color, and tin for a gray. Bisquing of this clay is done at 1830°F (Cone 07) and glazing at 2070°F (Cone 01 ).

The Martins are proud of their craft, and after 25 years they still delight in learning. Ivan showed me a large platter which was almost thin enough to float, and said: " I t was only a couple of years ago that I finally caught on to the way to throw these. I had made them for years without realizing how badly I was throwing them." Ivan Martin is a modest man but one who feels a deep responsibility to his craft: "We only believe in domestic pottery. We don't make anything you can't use, and we don't make a vast quantity. We don't believe in the 'artsy-craftsy' or the 'sculpt-pottery' that has no function. We never make individual pots for exhibitions, but use pottery straight from stock."

Both potters agree on this statement. They have made a good living from their craft for the last twenty years and they feel that the future should be even better. i

:

February 1971 15

The Snake Pottery Peter C. Brown

PETER BROWN started his working life as an apprentice toolmaker in the London area. As part of his training he took evening classes in engineering, but upon discovering the art classes upstairs he became interested in pottery and soon was working under Ivor Morgan. The apprentice program was soon completed, but the love of clay and throwing was still strong.

Brown and his family decided to leave London and began looking around for a place in the country. They finally chose Cam Green, near Dursley in Gloucestershire, because of its location at the edge of the Cotswold ,Es- carpment. This area has good earthenware clay deposits just under the topsoil.

With the move complete, and a job at the local factory to supply a weekly paycheck, Peter began to set up his pottery. In his spare time he built a workshop with cast-off lumber; since it measures only about sixteen by ten feet, it must be one of the smallest pottery workshops in existence. Peter says he plans to enlarge the working space, but with the job of both making and selling the pottery, "I t will just have to wait."

The workshop and wheel were completed about six years ago. The wheel is his own design, with a wooden throwing head and the steel shaft turning through two hardwood blocks for stability. The bottom end of the shaft passes through a flywheel of cast concrete, scored on the top side for better traction while kicking. He still uses this for all the large work, but now has a portable electric wheel which he uses for making small items.

Peter started building a, .two-chambered, brick oil- fired kiln but it still lacks the chimney and the lining of firebrick. His latest project was a ball mill built of two

wringer rollers from a washing machine, a bicycle wheel and a quarter-horse electric motor. When the gallon jar with quartz beach pebbles is set on the rollers, it just goes to show what two pounds (about five dollars) and a little ingenuity will do.

This ingenuity shows up too in the way the clay is prepared. Brown digs the clay from the garden once a year and piles it near the fence. He fills a fifty-gallon barrel under the rainspout with clay lumps and allows it to soak through and settle. He uses a large paddle to stir it until it reaches the right consistency, then he passes the clay through a 60-mesh sieve and transfers it to covered barrels. When he is ready to use the clay, Peter dumps it into large flowerpots he keeps anchored on the roof of his workshop. Here the excess water soaks out and evaporates.

In commenting about his work, Peter Brown said, "I t is necessary for each potter to find his own traditions. I think there is too great an Oriental influence on the potters in this country. England had a very vigorous tradition of its own." He went on to talk about early Stafford- shire ware, Toby jugs and other heavily-decorated wares. He then added this statement: "Oriental pottery lacks the life, the sense of humor, the vigor, and the vitality that was literally stuck onto a pot in this country."

Peter Brown feels that an important aim of earlier British potters was their attempt to capture the daily humor of ordinary people. He wants his own pottery, much of which is designed for the consumption of ale and cider, to do just this. This philosophy is seen in his Toby jugs, a tradition he thinks has lost much of its vigor, and something he has tried to renew. His cider jugs he describes as " . . . in the form of fat old men with the tap coming out of the bellies. People can look at these and laugh or smile."

Since he has strong feelings about the response of people to his work, he often takes his portable wheel to places where he is displaying and selling his work. Peter feels that these demonstrations "give people a feeling of,

Much o[ Peter Brown's work is an attempt to renew the vigor o[ earlier British pottery, as is evidenced in these humorous Toby jugs. Photo: David Ireland

16 Ceramics Monthly

and for, pottery. It gets a response from people and they

find something within themselves to express their feelings

for the pottery."

Not all of the traditions he has tried .to adopt are

English. One of his favorite is the making of Welsh Was-

sailing Bowls, a tradition he feels has had a great influ-

ence on his work.

All of Brown's pottery is sold direct to the public,

and he enjoys the experience of meeting the people who

buy his work. He thinks that many beginning potters

assume that they will have to sell through shops, and it

is there that they encounter what he calls a second-man

barrier. "Shops look and decide if work will sell and if

they don't think so, then they don't want it. I say, sell

direct to the public, put before the public what they

might otherwise not see, let them make up their own

minds, and get the profits for yourself."

Peter takes his wares to the market stall in Dursley

twice a year and on "fine" Sundays in the summer he

puts up a table outside a pub. This is in a spot where

visitors come to see large ships go through local locks.

Other sales are made when he exhibits with local crafts-

men at the Three-Counties Agricultural Show and at a

festival in London. Some sales, of course, are made from

his home.

While much of the pottery is thrown, Brown also

makes small chess figures. He uses stamps and other tools

to decorate these and his other best sellers, the Toby jugs.

Most of his decoration is very meticulous and shows end-

less patience.

Peter Brown's ideal is to be able to use all local

material for his work. He doesn't use slip glazes, however,

since he admits to being too fond of experimenting with

glazes. One of his latest achievements is a glaze using

30% local red sandstone and a leadless frit.

Peter C. Brown is a potter who has discovered his

dream, but dreams on of new glazes and new and more

vigorous forms with which to carry on the old traditions.

Traditional Welsh Wassailing Bowl with twelve handles is passed from hand to hand by [fiends sitting in a circle, each drinking in turn.

Single chess figure i shows detail o[ modeling and use o[ intricate stamped patterns in Peter Brown's work.

While most o[ Brown's pottery is wheel thrown, these meticulous chess figures are modeled with special tools and embellished with stamps. Pho- tos: Derek Lowe

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February 1971

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17

The Studio Anthony Sterckx

ANTHONY STERCKX, who operates "The Studio" in lower Bullingham, near Hereford, is of the new breed of craftsmen who look to the future. His work could be described as architectural, and this may be apt when one considers the fact that he started out with the intent of becoming an architect. Among the preliminary courses he was required to take was one in pottery. While the class met for just a short time once a week, the instructor was so good that Sterckx decided to become a potter, not an architect. When comparing the two, he says that "Pottery is not as limited and is more creative."

After three years at the Hereford College of Art, Sterckx transferred to the School of Arts and Crafts at Camberwell. He spent twelve months in London and completed the first year of practical work, but he didn't get the necessary grant for the second year of theory work; besides, he had what he describes as a "mad desire" to start a pottery. Originally from Hereford, he came back to put his desire into practice.

Money was a problem and he started working to save the necessary capital. He worked for a local builder as a plasterer, carpenter, and bricklayer. The latter came in handy as he began work on his kiln in 1963. This he built on property he acquired in the county, remodeling and rebuilding the existing structure (what the local paper referred to as a "pig-sty") into his studio and pottery.

This "pig-sty" is now only a memory and a story in Sterckx's scrapbook. The plot of land where he lives with his wife and two children is planted with shrubs and trees and the smooth lawn has become a private putting green. Many of his garden sculptures, planters and tile mosaics enliven the setting in front of the studio and workshop.

He began work in pottery by producing coffee sets and lidded jars which he took to shops from Scotland to Southwest England, "anywhere I could find a market." He no longer makes this type of pottery, which he called his "bread and butter line." He specializes now in slab pots and wheel-thrown planters, and also makes a series of five tiles which are registered with the Design Center in London. The tiles, which are on permanent display at the Design Center, show various design possibilities of the different groupings and are sold to builders who incorpo- rate the designs into their work. He also makes tile designs for architects, but prefers to work on a direct com- mission with architects, interior designers and owners. In this way, he feels, he would "be right there at the

18 Ceramics Monthly

beginning. It is important for the artist-designer to be in at the beginning to make his contribution to the overall design." Sterckx's contribution is in the form of tile panels, free-standing sculpture, planters, and garden sculpture.

He admits that this type of work is coming slowly, but feels the future holds much promise. He adds: "At the moment, architects put up a building and find they have money left, so they come and ask what you can do for the money that is left."

When asked if he digs his own clay: "I buy clay because it's cheap. I started a pottery because I wanted an outlet for creative ability. If you want to dig clay, become a road builder." He buys two clays, one a local red clay used for making clay tiles. The body is quite open so it can be used for large structures, both slab and thrown. Sometimes he adds as much as 20% grog to this and admits that it isn't meant to be a throwing clay as it tends to break. To compensate for this he has to work quite wet. Sterckx fires this clay at 1750OF (Cone 08).

The other clay is a commercial high-fire throwing body from Stoke-on-Trent. He describes this as "a rather slick, soft clay which is eminently suitable for throwing cups, saucers and such, but on its own it is not practical for the variety of differing purposes that I put it to." He adds a coarse clay to make it more refractory and lessen the chances of bloating, cracking and warping when it is used in large or uneven treatments.

The workshop contains two wheels. Sterckx uses the Leach-designed wheel for throwing smaller ware, and the other, which he says was a gift, for throwing larger pieces. This wheel has dual treadles and can be kicked from either side, making it possible to throw up to thirty pounds at a time.

Sterckx describes his kiln as an unusual one designed to work in a confined space. It is a type of "force-feed" combustion where air from a compressor is fed to a tank of stable pressure and then to the burner. Dampers in the chimney base stop most of the heat from going up the chimney and, when finely adjusted in the latter stages of firing, control the amount of reduction or oxidation of the firing. He does a reduction firing by letting the dampers down to restrict the exit of heat, flame and non- combustible products. This ensures that the oxygen is removed from the stacking chambers and in heavy reduction gives him a variety of colors by using just iron oxide.

The capa.city of the firing chamber is twenty-two cubic feet, which is large enough to fire sections of large free-standing sculptures. A frame of angle iron is used to hold up the arches of the kiln. As Mr. Sterckx says, "Otherwise, when the brickwork expands during firing, it would move in all directions and the whole thing would collapse."

Sterckx makes all his own glazes and prefers ash glazes. He uses the ashes from local woods and, by using a variety of woods, is able to get many different effects. He mixes the ashes with ground china clay for his main glaze; by firing it in reduction, he is able to bring out the iron oxide present in the clay itself. This burns through the glaze in an irregular speckled texture. He explains

iX

that he can get some unusual effects by using ashes from

either hard or soft woods. One of the nicest glazes is

made by using the ash from mahogany; he uses hardwood

ash, china clay and about 2% iron oxide. Most glazes,

however, are made from the ashes he collects from burned

local wood. He also uses the Stoke-on-Trent clay (40

parts), red tile clay (40 parts), and iron oxide (I0 parts)

to make a slip which reduction-fires a metallic flat black.

None of this work is now sold at the Studio. The

majority goes to London, where he has had several exhi-

bitions at better-known galleries; but he exhibits in other

parts of the country also.

The ca.talog sheet for Anthony Sterckx's exhibit at

Sheffield University included these thoughts: "I t is my

policy not to be bound by the ties and restrictions of any

particular school of thought, culture, or tradition. Ce-

ramics is such a vast, open field of work that its sheer

size is in itself a restriction. I therefore see no point in

confining oneself further to self-imposed adherence to

tradition."

Above: Textured Jar by Anthony

Sterckx is wheel thrown with a carved

decoration. It is 18 inches high and

13 inches wide.

Left: Sterckx puts the finishing touches

on a complex construction of thrown

and slab-built forms in his studio.

Photo: Caters.

Below: Garden sculpture, composed o[

unglazed wheel-thrown components,

is displayed on the lawn in front o[

the artist's studio and workshop.

Photo: Derek Evans.

February 1971 19

The Clay Cooking Pot by ROBERT F. EILENBERGER

CooKINO IN CLAY is a technique known to some fisher- men and campers in its most primitive form when they cover a freshly-caught fish in mud scooped from a pond or stream bed and cook it in the embers of the camp- fire. Although the mud casing becomes quite hard in the fire, it is thin enough to be cracked open and peeled away quite easily when the fish is done. While this particular cooking shell is destroyed in use, there is another one that keeps its shape and can be used over and over again. This is a covered clay pot used to cook meat and vege- tables, one that aUows the contents to stew in their own juices as the dish is cooked in the oven.

Although special combinations of porous clays can be mixed to make high-fired stoneware cooking vessels, I find that a coarse natural clay can be combined with grog to make a simple but useful earthenware cooking pot. This clay should be underfired to assure enough porosity for proper "breathing" during the cooking process. Any dry clay purchased from a brick company should be an excellent one to use. Because these clays usually have a wide firing range, they give the potter plenty of freedom in achieving a strong porous product without completely maturing the clay.

I prefer the slab method of constructing the baking dish because there are fewer seams to worry about, but the pot could be coil-constructed if particular care is taken in welding together the coils. The slab process is used for the demonstration cooker.

I t is important to have the size of the casserole planned before work is begun. According to the use you intend for the cooking utensil, the pot should be about 12 to 14 inches long and 8 to I0 inches wide. Later on, when planning the decorative handle, remember not to let this exceed the height of the oven chamber in which the cooker will be used. Cut an oval shape from a clay slab that is from ~ - to a~-inch thick. Next, place a length of string around the edge or perimeter of the slab, with a few extra inches added on; this will be your guide for the length of the wall section slab. I f you want the wall to slant out toward the top, do it this way: Use the string to measure the length of the lower edge of what will be the wall slab and cut this segment about four or five inches wide and with a slight curve. This will add several

20 Ceramics Monthly

inches in length to the upper edge of the clay slab. Attach the lower (shorter) edge of the wall slab

around the perimeter of the oval slab, placing it on top of the base slab. Slip and weld the seam carefully, re- membering to draw the bottom edge up over, and into, the wall on the outside. To reinforce this important seam, place finger-sized coils of clay along the inside edge and blend them for a more secure and a smoother joining of the bottom to the wall of the pot. This can be done at the time the wall is added, or later, after the wall is completely in place. Make this seam as even as you can with your fingers.

The most important feature of the cooking pot is a perfect fit of the cover to the basic pot. This is partly accomplished by adding a narrow slab around the inside edge of this bottom section. This will act as a flange. It should be sealed by adding small amounts of clay all along the flange so the "lip" has a smooth, upward, curved gradation. This should be done carefully since it will act as the guide or "mold" upon which the rim of the cover will take its shape.

Now trace axound the outside upper edge of this opening in order to get a pattern on a piece of paper. Mound cloth or paper inside the outlined oval to act as a core, then cut a clay slab to drape over it. This slab, which will become the cover, will attach to a special rim when both parts of the pot have stiffened enough to be handled.

When work can be resumed on the stiffened rim, cut a narrow piece of plastic paper and press it firmly all around the rim of the bottom half of the pot. Make sure there are no wrinkles in this. Next, press a large coil of plastic clay all around the rim and over the strip of plastic. This plastic strip will keep the two clay units from sticking together. Next, place the "dome" or hump over the damp clay coil and weld these together. Of course you must be sure that the interval of drying has not been so great that the two will pull away when drying.

All that has to be done now is to decorate the cover and part of the bottom, section of the casserole. Since I wanted to use my cooker for fowl, I made a cone-shaped slab and placed it at one end of the cover to form a suggestion of the neck of a chicken. To this I added a

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2. Using the string /or a pattern, a length of. clay is cut [or the side wall.

1. A slab is rolled out, then an oval shape is cut and measured with a length o[ string.

3. As the wall is erected on the base, a coil is added inside [or extra support.

5. Another section o[ clay is added inside the rim to act as a [lange [or the casserole.

4. The coil is smoothed to ensure a strong joint o[ the two sections o[ clay.

6. The [lange section is made secure by scoring both clay sur[aces and adding slip.

February 1971 21

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7. A small amount of clay is added at the aTzglc of the [lange to give strength.

9. A section of thin plastic paper is stretched over the flange before clay is added.

11. The lid section is then joined to the soft coil of clay to complete the lid.

8. A rough core is made' ]tom cloth, and another slab is draped over it for a lid.

10. A coil of soft clay is pressed against the flanged area of the casserole base.

12. Final shaping of the joining area is done by smoothing the clay with a knife.

22 Ceramics Monthly

13. A slab is added to one end o/ the lid to suggest the neck of a chicken.

15. Coils from the top section are continued on the base to give continuity to the design.

14. More clay is added until a chicken's head begins to appear.

16. A tail section provides a handle at the other end of the cover of the cooking pot.

head and other "chicken" features, as well as two slabs at the other end of the pot to suggest the tail. The head and the tail function as handles to lift the cover of the pot when necessary. I would suggest that you puncture a small hole where it will not be noticed in the head portion of the decoration if it is completely enclosed, trapping air in this area. Do not make any holes through the co~,er to the inside of the pot. This should remain a closed chamber.

When the piece has become leatherhaJcd, lift the cover to be sure it is independent of the bot tom half. The plastic strip can be removed at this time or it may be allowed to burn out in the kiln.

Some glazing might be done on the decorative por- tions of the pot after it is bisque fired, but if you used red clay for the pot, continued use of the terra cotta eventually will give it a natural patina-like appearance all its own, and I prefer this.

In using the finished pot for cooking, I would suggest

that the casserole be soaked in water for about ten minutes before the food is put in it; because the clay is somewhat absorbent, the water it has soaked up "seals" the pot during the cooking time. Another suggestion I would make is the use of parchment paper as a liner in the bot tom of the casserole to prevent the food from sticking to the clay. Actually, no oils, fats or other liquids are necessary for cooking in this type of pot, and this feature gives the pot an extra measure of attraction to dieters! Of course, some cooks may want to add butter or wine to the contents of the pot.

A couple of cooking tests may be necessary to learn how best to use this type of pot. The most important advice I can offer is that the first time a red-clay casserole is used, cooking should be started in a cold oven. The purpose of this is to avoid a sudden heat shock, particularly if the cooking is being done at a rather high temperature. If stoneware clay has been used for the project, this precaution is unnecessary.

February 1971 23

A Formulary of Leadless Glazes by RICHARD BEHRENS

COMPLETE ASSURANCE agains t l ead po i son ing d a n g e r m a y be o b t a i n e d by the use of leadless ingredients . T h e m a n y exce l len t leadless f l i ts ava i lab le cons t i tu te a p r i m e source of substi tu- t ion for wh i t e l ead f luxing. T h e na - tu ra l mine ra l , Gers t ley Bora te , is also qu i te useful fo r this purpose . T h e po t t e r w h o wishes to swi tch f r o m lead glazes, m a y w a n t to try some of the recipes tha t a re of fered in the fol low- ing f o r m u l a s :

CLEAR GLAZE I (Cone 015)

F r i t 25 ( P e m c o ) . . . . . . . . . . . 5 6 . 4 % Fr i t 3223 (Fe r ro ) . . . . . . . . . . 35.8 L i t h i u m C a r b o n a t e . . . . . . . . . 7.8

100.0%

Add: Bentonite ............ 1.0%

CLEAR GLAZE II (Cone 015)

Frit 259 (Hommel) .......... 43.6% Frit 3134 (Ferro) .......... 26.3 Lithium Carbonate .......... 9.9 China Clay ................ 6.2 Flint ...................... 14.0

100.0%

SOMEWHAT-MATT GLAZE (Cone 06) F l i t 25 . . . . . . . . . . . . . . . . . . . . 4 7 . 2 % L i t h i u m C a r b o n a t e . . . . . . . . . 8.3 Wol las ton i te . . . . . . . . . . . . . . . . 13.0 C h i n a Clay . . . . . . . . . . . . . . . . 19.0 F l in t . . . . . . . . . . . . . . . . . . . . . . 12.5

100.0%

MATT GLAZE (Cone 06)

Fr i t 25 . . . . . . . . . . . . . . . . . . . . 39 .7% S t r o n t i u m C a r b o n a t e . . . . . . . . 41.5 C h i n a C lay . . . . . . . . . . . . . . . . 5.1 F l in t . . . . . . . . . . . . . . . . . . . . . . 13.7

ioo.o%

CLEAR GLAZE I (Cone 06) N e p h e l i n e Syeni te . . . . . . . . . . . 28.2 % M a g n e s i u m C a r b o n a t e . . . . . . . 10.3 Z inc O x i d e . . . . . . . . . . . . . . . . 5.0 Gers t ley Bora te . . . . . . . . . . . . . 12.6 F l in t . . . . . . . . . . . . . . . . . . . . . . 35.8 C h i n a Clay . . . . . . . . . . . . . . . . 8.1

ioo.o% CLEAR GLAZE II (Cone 06)

Fr i t 3223 . . . . . . . . . . . . . . . . . . 4 6 . 2 % N e p h e l i n e Syeni te . . . . . . . . . . . 26.9 S t r o n t i u m C a r b o n a t e . . . . . . . . 26.9

lOO.O%

24 Ceramics Monthly

CLEAR GLAZE I I I (Cone 06)

F r i t 25 . . . . . . . . . . . . . . . . . . . . 28 .5% Fr i t 3223 . . . . . . . . . . . . . . . . . . 25.1 N e p h e l i n e Syeni te . . . . . . . . . . . 20.7 B a r i u m C a r b o n a t e . . . . . . . . . . 25.6

100.0% A d d : Benton i te . . . . . . . . . . . . . 1 .0%

CLE.AR GLAZE I (Cone 4)

S p o d u m e n e . . . . . . . . . . . . . . . . 29 .0% M a g n e s i u m C a r b o n a t e . . . . . . . 6.3 Z inc O x i d e . . . . . . . . . . . . . . . . 3.2 F r i t 14 ( H o m m e l ) . . . . . . . . . . 13.0 Wol las ton i t e . . . . . . . . . . . . . . . 17.3 C h i n a Clay . . . . . . . . . . . . . . . . 10.2 F l in t . . . . . . . . . . . . . . . . . . . . . . 21.0

1 0 0 . 0 %

CLEAR GLAZE II (Cone 4) L i t h i u m C a r b o n a t e . . . . . . . . . 2 . 5 % Potash F e l d s p a r . . . . . . . . . . . . 37.0 S t r o n t i u m C a r b o n a t e . . . . . . . . 29.7 Z inc O x i d e . . . . . . . . . . . . . . . . 1.3 M a g n e s i u m C a r b o n a t e . . . . . . 1.3 C h i n a C lay . . . . . . . . . . . . . . . . 4.2 F l in t . . . . . . . . . . . . . . . . . . . . . . 24.0

10o.o%

BRIGHT STONY GLAZE (Cone 4) Lepido l i t e . . . . . . . . . . . . . . . . . 35.7 % Wol las ton i t e . . . . . . . . . . . . . . . 25.9 B a r i u m C a r b o n a t e . . . . . . . . . . 17.9 M a g n e s i u m C a r b o n a t e . . . . . . . 3.6 Z inc O x i d e . . . . . . . . . . . . . . . . 3.6 F l in t . . . . . . . . . . . . . . . . . . . . . . 13.3

100.0% A d d : Benton i te . . . . . . . . . . . . 1 .0%

CLOUDED GLAZE (Cone 4)

Fr i t 54 ( P e m c o ) . . . . . . . . . . . 28 .6% Potash Fe ldspa r . . . . . . . . . . . . 34.3 F l in t . . . . . . . . . . . . . . . . . . . . . . 6.8 C h i n a Clay . . . . . . . . . . . . . . . . 11.8 B a r i u m C a r b o n a t e . . . . . . . . . . 6.8 F l u o r s p a r . . . . . . . . . . . . . . . . . . 2.9 T a l c . . . . . . . . . . . . . . . . . . . . . . 8.8

1o0.0%

SILKY" MATT GLAZE (Cone 4) Lep ido l i t e . . . . . . . . . . . . . . . . . 13 .4% S p o d u m e n e . . . . . . . . . . . . . . . . 21.1 F r i t 14 . . . . . . . . . . . . . . . . . . . . 17.9 W h i t i n g . . . . . . . . . . . . . . . . . . . 5.0 B a r i u m C a r b o n a t e . . . . . . . . . . 16.4 C h i n a Clay . . . . . . . . . . . . . . . . 11.1 F l in t . . . . . . . . . . . . . . . . . . . . . . 15.1

1oo.o~

SMOOTH MATT GLAZE (Cone 4) L i t h i u m C a r b o n a t e . . . . . . . . . 2 . 8 % Potash Fe ld spa r . . . . . . . . . . . . 44.3 Wol las ton i te . . . . . . . . . . . . . . . 18.4 B a r i u m C a r b o n a t e . . . . . . . . . . 15.9 Z i n c O x i d e . . . . . . . . . . . . . . . . 1.6 M a g n e s i u m C a r b o n a t e . . . . . . 1.6 F l in t . . . . . . . . . . . . . . . . . . . . . . 15.4

100 .0% A d d : Benton i te . . . . . . . . . . . . 1 .0%

SATIN MATT GLAZE (Cone 4) N e p h e l i n e Syeni te . . . . . . . . . . . 38 .6% C h i n a C lay . . . . . . . . . . . . . . . . 3.4 Fr i t 14 . . . . . . . . . . . . . . . . . . . . 11.8 W h i t i n g . . . . . . . . . . . . . . . . . . . 16.8 F l in t . . . . . . . . . . . . . . . . . . . . . . 29.4

100.0%

PATTERNED MATT GLAZE (Cone 4) Potash Feldspar ............ 50.0% Zinc Oxide ................ 10.8 Whiting ................... 18.6 China Clay ................ 14.7 Flint ...................... 5.9

100.0%

BRIGHT WAXY GLAZE (Cone 4)

Zinc Oxide ................ 21.9% Whiting ................... 5.1 Lithium Carbonate ......... 10.0 China Clay ................ 16.8 Cryolite ................... 6.1 Flint ...................... 32.1 Titanium Dioxide .......... 8.0

10o.o%

MATT GLAZE (Cone 4)

Potash Fe ldspa r . . . . . . . . . . . . 31 .7% S t r o n t i u m C a r b o n a ' e . . . . . . . . 4.4 W h i t i n g . . . . . . . . . . . . . . . . . . . 11.4 B a r i u m C a r b o n a t e . . . . . . . . . . I 1.4 Z inc O x i d e . . . . . . . . . . . . . . . . 1.1 M a g n e s i u m C a r b o n a t e . . . . . . . . 1.1 F l in t . . . . . . . . . . . . . . . . . . . . . . 36.0 F luo r spa r . . . . . . . . . . . . . . . . . . 2.9

lO0.0%

BRIGHT PATTERNED GLAZE I (Cone 6) B a r n a r d Slip . . . . . . . . . . . . . . . 48 .0% Fr i t 54 . . . . . . . . . . . . . . . . . . . . 5.7 L i t h i u m C a r b o n a t e . . . . . . . . . . 2.0 Wol las ton i te . . . . . . . . . . . . . . . 12.1 Fl in t . . . . . . . . . . . . . . . . . . . . . . 23. I B a r i u m C a r b o n a t e . . . . . . . . . . 9.1

100.0%

Continued on Page 3l

A Footed Cloisonne Bowl by POLLY ROTHENBERO

THREE IMPORTANT PROBLEMS are encountered in the

formation of a cloisonn~ footed bowl. When viewed col-

lectively, they might seem to be discouraging; but tackled

separately, they are not really formidable. The first prob-

lem is to solder a foot to the base of the bowl with silver

solder. Then, all ensuing firings must be kept below the

solder's flow-point to prevent the solder from melting

and loosening the foot. The silver cloisons will be

anchored to the first coat of fired enamel on a nearly

vertical surface.

In the demonstration project, the foot is a section of

copper pipe obtained from a plumbing supply shop.

When the foot and copper bowl are cleaned of all soil,

the foot is securely fastened into place with iron binding

wire. A small soft brush is used to paint liquid soldering-

flux (this has no connection with flux enamel) along

the crack between bowl and foot. Using a brush moist-

ened with soldering-flux, position tiny bits of clean I T

silver solder against the crack, touching both the copper

bowl and foot. When the soldering-flux is dry, the bowl

is positioned on a trivet and inserted into the kiln, which

is heated to well above the solder's flow point of 1460°F.

If the temperature is below the solder's flow point, heavy

firescale will form before heat can be brought up, and

may prevent adhesion. The enameler must watch care-

fully until the solder flows in a silvery streak along the

juncture, then remove the piece from the kiln and let it

cool. When the binding wire has been removed, the

piece is cleaned and ready for enameling.

Although the solder may not have filled in the entire

crack, that is not important. As long as three or four

spots are securely anchored, the crack can be wet-packed

with moist enamel inside and outside the rim, or it can

be enameled with liquid flux. The enamel will fill in

the crack as it melts. When the juncture area is covered

with flux enamel, use a tiny sifter to apply some enamel

in one of the colors to be used in the cloisonn6 design; it

will conceal the juncture.

Spray the entire exterior of the bowl, including the

base inside the foot, and apply flux enamel in the usual

manner. If the bowl is large, it may be best to spray and

enamel it in sections. Allow it to dry and then fire it at

1400°F; a hotter heat may loosen the solder. When the

bowl's interior surface is cleaned and enameled, it is time

to prepare and shape the cloisonn6 wires.

For the demonstration project, 36 vertical silver cloi-

sonn~ wires are curved edgewise to fit the bowl's contour

before they are shaped to the design. Each wire is cut

The completed bowl is gold, turquoise,

and olive transparent enamels, with

some detail in mauve opalescent.

February 1971 25

I. A flux-moist- ened brush is used to pick up and position bits o[ 17" solder.

2. The shallow loot is wet-packed and enamel is silted over it.

5. A very light silting o I flux holds wires in place during the [iring process.

6. The bowl is removed [rom the kiln with all cloison wires adhered.

)

,i ; O

to the required length, allowing for a ~8-inch free area at the top where a band of gold luster will be brushed around the bowl's edge above the wire ends. In order to shape the wires on their edge to fit the bowl's contour, each wire is held firmly between thumb and fore- finger while one edge is positioned against the top of the rounded end of a jeweler's anvil. A small hammer is pressed gently but firmly on the wire's top edge and is stroked along the wire from left to right (or right to left for left-handed persons), pressing the wire into an arc. The wire is checked occasionally until its curve fits the bowl's contour fairly close. Although the demonstration design is simple, more than 15 feet of fine silver cloisonnfi wire, 18 x 30 B & S gauge, is required for the entire project; cloisonnfi designs use up a considerable amount of wire. When all wires are curved, they are shaped to the design.

When each wire is shaped to the design it is brushed with paint thinner or lighter fluid to clean it of grease, then it is dipped into lull strength enameling gum and positioned on the bowl. To deter the wires from sliding off the bowl's side while the gum is still wet, the bowl

26 Ceramics Monthly

edge is propped on a small inverted paper cup so the working area is horizontal. As each section dries, the bowl is rotated and more wires are applied. Little wire whorls are shaped over a dowel stick or small brush handle, dipped into gum, and applied to the bowl as flat as possible. A total of 48 curled wires were used in the design illustrated.

When all wires are applied and the gum is dry, it is time to anchor them so they will not slide off the bowl during that moment when the gum has been consumed by the heat of the kiln but the enamel is not yet melted enough to secure them. Also, enamel colors should be thoroughly washed for clarity before being applied. The moderate firing temperature required because of the solder suggests that low-fusing enamels should be used for enameling a soldered piece.

Two procedures are used for anchoring the wires during the firing process. A tiny moist ball of the color to be used for the whorls--in this case opalescent mauve--is positioned in each curled wire with a very small pointed brush. Take care not to disturb the wires. Then a quick light gum spraying overall is followed by

3. Vertical cloisons are shaped with gentle pressing over a )eweler" s anvil. Do N O T tap them.

4. Cloisons are dipped into full- strength gum solution and positioned on the bowl.

7. A light tapping is used to press down any loose spots that occur along the wires.

8. Transparent yellow-gold enamel is wet-packed over the background area.

a light sifting of flux overall to give the fired surface just enough texture to prevent the wires from sliding off during that critical moment described earlier. This light gum-spraying cannot loosen the wires because the full-strength gum used for applying the wires has become quite stiff and dry by this time, and there is not enough spray moisture to loosen it. When the gum is completely dry, the bowl is placed on a trivet and put into a kiln and fired at 1400°F long enough to adhere the wires to the flux base. Although the small amount of additional enamel used to anchor the wires may not be completely fused, it will flatten in ensuing firings. The bowl is removed from the kiln and cooled.

I t will be found that the wire has not adhered to its enamel base in several places. This is because it is almost impossible to shape all the pieces exactly to the bowl's contour. But they have become annealed in the firing and a very light tapping with a small hammer will press them snugly against the bowl's surface. When the final enamel colors are wet packed around the cloisons, then fired, the wires are completely locked into place by enamels. The background around the cloisons is inlaid

with transparent yellow gold. Between the vertical wires, colors are transparent turquoise and transparent olive green. The small circular whorls are filled with opalescent mauve. The completed piece is dried and fired at 1400°F. When it is cooled, all wires are stoned to a con- tinuous level under water. Although the enamel will have sunk to a lower level than the wire tops because of the moderate firing temperature, it may not be advisable to fill the cloisons completely with transparent enamels because they might not fire clear at this temperature. This is a matter of personal preference; opaque colors are quite nice on a vertical cloisonne piece. When the wires have been stoned, the piece is fired until the enamel is shiny again.

The final step to complete this bowl is to paint a band of liquid gold around the top, dry it on top of the kiln and fire at 1350 ° or 1400°F. When the luster turns gold in the kiln, count to ten to give it time to completely fuse, then withdraw the piece and cool it. A gentle rubbing with steel wool over wires and the bowl's copper edge gives all copper and silver a smooth satin sheen. Steel wool does not harm enamel.

February 1971 27

Making an Ocarina by the Slip-Cast Method by EVERETT TRAYLOR

A SIMPLE MOLD and a slightly different casting procedure can be used to produce that most-highly-satisfactory of musical instruments, the ocarina. The "sweet potato," as it is sometimes called, has long been utilized in grade school music programs; I suspect that it may be played by many adults as well.

To make a slip-cast ocarina you will first need a model of some sort, and this may be carved from balsam wood, sculptured in clay, or made from any material you might choose. If you are using a model that has note holes already in place, these must be masked shut before the mold is made. I t also is necessary to add extra clay at the mouthpiece end in order to create the sprue opening, through which casting will be done. When the model is finished, it should be coated with wax or shellac to ensure proper separation from the plaster when casting has been completed.

Work on making the first half of the mold is started by mixing the proper amounts of potter's plaster and water to fill a box to about half of its depth. When the plaster has been poured into the box, it must quickly be leveled (by giving the box a sharp bounce), then the model pla.ced into the surface of the plaster horizontally until it is half submerged in the soft plaster. The exposed portion of the sprue must be positioned against one side of the box. Needless to say, this must all be done as soon as possible after the plaster has been poured and leveled. Before the plaster hardens, a metal melon scoop can be used to create three or four registry depressions in the surface.

The surface of the plaster is given a heavy coating of mold separator or liquid wax, then another batch of plaster is mixed and poured into the box to provide the second half of the mold. When the plaster is well set, the cardboard box can be cut or torn away and the mold halves separated, cleaned, and set aside to dry completely.

28 Ceramics Mon th l y

I. A model o/ alz ocarina is made, then a sprue is added at one end to act as the casting opening.

4. As soon as a casting can be handled, note holes are drilled through the clay.

Pouring the slip to make a casting is done in the usual manner except for one step. After a satisfactory wall thickness has built up and the excess slip has been poured out of the mold, enough slip is poured back in to fill the mouthpiece. At this point the opening is "corked," or closed with a piece of clay, and the mold up-ended so that the extra slip collects in the mouthpiece cavity. When the clay has stiffened to the early- leather-hard stage, the mold is opened and the casting removed.

Note holes are made in the positions illustrated by twisting a drill bit through the still-damp wall of the ocarina. The opening for the mouthpiece is a bit more difficult to make. A fettling knife or any long, narrow

2. The model is half submerged in fresh plaster, with the sprue opening against one wall.

5. A view of one side of the ocarina shows placement of air hole and two thumb stops.

3. The finished mold is separated, the model removed, and the sharp edges o[ plaster are smoothed.

6. Eight holes on other side are the "'fingering" notes used to prodUce the scale.

blade, is inserted into the solid core of clay to make a flat opening (see sketch), and then pushed through this thick wall at an angle so that the point comes out at the first sound hole (the bottom one in photo 5). The knife is carefully eased out, and the clay in this area is kept moist while tests are made for the sound. I t may be necessary to make adjustments in the air passage until a clear note is produced. When a satisfactory tone has been achieved, the ocarina is allowed to dry, and final finishing is done before bisque firing.

The piece should be glazed, and I would recommend the use of a glaze that is not too fluld, or "runny," as this might tend to plug up the holes or mouthpiece during the final firing.

Cross section view o[ the solid clay area shows how the mouthpiece is cut with a [ettling kni[e. Arrow indicates how kni[e blade lines up with the Jar side o[ the air hole.

February 1971 29

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BRIGHT PATTERNED GLAZE II (Cone 6

Bernard Slip . . . . . . . . . . . . . . . 50.2'

Fri t 54 . . . . . . . . . . . . . . . . . . . . 6.0

Li th ium Carbonate . . . . . . . . . . 2.1

Wollastonite . . . . . . . . . . . . . . . 12.7

Flint . . . . . . . . . . . . . . . . . . . . . . 24.2

Fluorspar . . . . . . . . . . . . . . . . . . 4.8

100.0'

STONY MATT GLAZE (Cone 6)

Bone Ash . . . . . . . . . . . . . . . . . 6.0~

Nepheline Syenite . . . . . . . . . . . 26.1

Magnesium Carbonate . . . . . . 2.4

Wollastonite . . . . . . . . . . . . . . . 13.2

China Clay . . . . . . . . . . . . . . . . 15.1

Stront ium Carbonate . . . . . . . . 31.6

Tin Oxide . . . . . . . . . . . . . . . . . 5.6

100.01

SMOOTH MATT GLAZE (Cone 6)

Lepidolite . . . . . . . . . . . . . . . . . 23.0~

Magnes ium Carbonate . . . . . . 2.3

Gerstley Borate . . . . . . . . . . . . . 5.4

Wollastonite . . . . . . . . . . . . . . . 20.8

China Clay . . . . . . . . . . . . . . . . 14.7

Flint . . . . . . . . . . . . . . . . . . . . . . 29.0

Fluorspar . . . . . . . . . . . . . . . . . . 4.8

100.0 9

SATIN MATT GI,AZE (Cone 6)

Potash Feldspar . . . . . . . . . . . . 34.9~

Whi t ing . . . . . . . . . . . . . . . . . . . 12.6

Zinc Oxide . . . . . . . . . . . . . . . . 25.8

China Clay . . . . . . . . . . . . . . . . 4.1

Flint . . . . . . . . . . . . . . . . . . . . . . 22.6

ioo.o~ LIOHTLY MATTED GLAZE (Cone 6)

Li th ium Carbonate . . . . . . . . . . 9 . 8 ~

Potash Feldspar . . . . . . . . . . . . 27.3

Whit ing . . . . . . . . . . . . . . . . . . . 14.8

China Clay . . . . . . . . . . . . . . . . 12.7

Flint . . . . . . . . . . . . . . . . . . . . . . 35.4

100.0%

CLEAR GLAZE I (Cone 6)

Spodumene . . . . . . . . . . . . . . . . 50.0%

Gerstley Borate . . . . . . . . . . . . . 25.0

Flint . . . . . . . . . . . . . . . . . . . . . . 25.0

100.0% Add: Bentonite . . . . . . . . . . . . 1.0%

CLEAR GLAZE II (Cone 6)

Nepheline Syenite . . . . . . . . . . 47.3%

Gerstley Borate . . . . . . . . . . . . . 27.0

Flint . . . . . . . . . . . . . . . . . . . . . . 20.3

China Clay . . . . . . . . . . . . . . . . 5.4

1oo.o% BRIO~T GLAZE (Cone 6)

Volcanic Ash . . . . . . . . . . . . . . 62.3%

Frit 54 . . . . . . . . . . . . . . . . . . . . 28.3

China Clay . . . . . . . . . . . . . . . . 9.4

loo.o%

OF SEATTLE

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Expensive Save up to 37% using a few pleasant hours to fit together one of our easy-to-assemble kiln kits. Fun to do - - efficient to use. Step by step instructions for assembly and easy beautiful firing.

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Commercial Kiln Kit, 24"x24"x27" deep . . . . . . . $195.00

Studio Kiln Kit, 18"x18"x| 8" deep . . . . . . . . 99.50

Hobby Kiln Kit, 12"xl 2"x131/z " deep . . . . . 62.50

Send for free detail sheets.

POTTERY by DOT Dept. C M

4.08 N.E. 72rid St. Seattle, Wash. 98115

February 1971 31

What does N.C.M.A.

mean to you! NCMA . . . the association of major manufacturers in the hobby ceramic field, sponsors the industry's only national promotion program, including an annual trade show, national magazine publicity, national ceramic hobby day, and visual and printed promo- tional aids. Support the manufacturers displaying this seal, and you help the ceramic industry grow.

National Ceramic Manufadurers Assoc. 53 E. Main St., Moorestown, N.J. 08057

Gare is dressed to kiln • . . in s ta inless steel jackets and a 2-year fac tory w a r r a n t y on electrical components . Check Ga te ' s net prices before you make your next kiln purchase and make a kil l ing.

Gare Ceramic Supply Co., Inc. P . O . Box 830, Haverhi l l , M n u 018~0

by ed ,L,'.YA Auf::rized Dealers

I 1147 E. Elm W. P. DAWSON. |NC. Fullertan. Calif. 92631

P lease M e n t i o n C M w h e n writing our advertisers

COMPACT- ADJUSTABLE "RIGID-ALL STEEL -SPLASH PAN PORTABLE-HEAVY FLYWHEEl - .~. bottor' wheol r- ~)OWERED VERSION ~149. , FOE INFORMATION A|OUI 1,['QUAGMIRE W H E E L ~ ESTRIN MFD. U0• 3651 Pt•Orey Vancouver 8 Canada-

MOVING SOON? U.S. Post Offices will no longer forward magazines, even if they have your new addre~. Your magazine will be re turned to the publisher at a ch.al"ge of 10c. each: If you move, please notify us at least weeks in advance, giving both new and old addresses, and send a:ddremed . portion., o f your mailin~ envelope to uera/Illes MOnmly, box 4548, Columbus, Ohio 43212. (Don ' t , forge t to include your ZIP number on new anares s . )

CERAMACTIVITIES people, places and things

NCECA INFORMATION The Board of Directors of the National

Council on Education for the Ceramic Arts (NCECA) met recently in Chicago to work on plans for the annual spring conference. Pictured (left to right) are Donald Frith. treasurer: Don Reitz, vice-

president; James Wozniak, past president; and Richard Peeler, president. The Coun- cil started as a small group of artist-potter- teachers, meeting for the first time in Toronto. The coming tenth anniversary meeting also will be in Toronto, April 1-4. During the past ten years, membership has grown from 15 to 200 persons, according to Mr. Frith.

NCECA has supported the Ceramic National exhibitions, the Scholastic Arts exhibits, and has funded two national invitational shows of ceramics• It publishes technical papers, a newsletter, and a list of job openings. I t also offers for sale a very wide selection of slides of contemporary ceramics, and has available a list of speakers and workshop specialists. The organization is open to artists, potters, teachers, clay workers, and anyone interested in ceramic art education. In- terested persons, either professionals or amateurs, may obtain information about the organization, its benefits, and programs by writing to Roger Corsaw, School of Art, University of Oklahoma, Norman,

:Oklahoma 73069.

where he developed unusual skill on the wheel and absorbed the Wildenhain philosophy of individual expressiveness based on technical mastery. He has been applying this ever since, both in his own production and in his teaching. His strong decorating technique reflects a personal style that is wide ranging but based on respect for his medium.

MAINE OFFICERS NAMED Officers for the United Maine Crafts-

men were elected at the group's second annual meeting in October at the Uni- versity o[ Maine, Augusta: Walter E. Goodrich, chairman of the board; Ken- dall F. Hatch, president; Celeste Ernst, executive secretary; Peggy Tre[ethen, re- cording secretary; Greta Davis, treasurer; and ]oAnne Ballien, assistant treasurer.

U M Craftsmen publish a Craftsman's Bulletin, and news for this should be sent to Barbara Merrill, 11~ Maple St., Augusta, Maine 04330.

MASTERPIECES AT THE METROPOLITAN "Masterpieces of Fifty Centuries," a

major Centennial exhibition of The Metro- politan Museum of Art, is on view through February 14. The show, which reviews the Museum's achievements during its first hundred years and illustrates the breadth and depth of its collections, contains more than 500 objects that are installed chrono-

NEW' AT TOLEDO The Toledo Museum of Art glass col-

lection is now exhibited in a Glass Gallery, a gift from Museum President Harold Boeschenstein and his wife. The world- famous glass collection is dramatically displayed in a two-story area arranged around a central court, where the story of glass from ancient Egypt to contemporary time unfolds before the visitor in this museum-within-a-museum. Near the Mu- seum is the new glass crafts building, in which glassblowing, sculpturing and metal- working are being taught. This is the first facility of its kind in this country, built expressly for the teaching of glass craftsmanship.

I(A-KWONG HUI SHOW IN PHILADELPHIA Ceramics by Ka-Kwong Hui are being

featured in a one-man exhibit at the Philadelphia Art Alliance through Feb- ruary 14. The well-known ceramic artist came to this country from Hang Kong nearly 20 years ago. He worked under Marguerite Wildenhain at Pond Farm,

logically so that the visitor can see what was being done in the civilized world in a particular period of history. Pictured is a ceramic object from the show, a T 'ang Dynasty Standing Horse, 28 inches high and 33 inches long. Photo, courtesy The Metropolitan Museum of Art, Rogers Fund, 1925.

SPRING WORKSHOP SCHEDULED Hal Riegger will conduct a Spring Va-

cation Workshop at Parker, Arizona, April 5-16. This two-week project will be held at the reservation of the Colorado River Indian Tribes and marks the opening of the tenth year of Riegger's "Experiment A." A one-week workshop, April 5-9, will be held concurrently at the same location. Interested persons are asked to write for

32 Ceramics Monthly

full information before enrolling since this

is a new concept, according to Mr. Rieg-

ger. Parker is on the Colorado River be-

tween Needles and Blythe, California;

there are motels and campsites available.

Write to: Hal Riegger, 469 Panoramic

Highway, Mill Valley, California 94941.

WORKSHOP LISTING COMING UP

The annual "Summer Workshop" list-

ings will be published in one issue only

this spring--the April number of CM.

Summer schools and workshops are invited

to send information about pottery, enamel

and glass workshops: workshop name,

place, dates of sessions, length of courses

course description, names of instructors.

and where to write for information. Send

this to Mrs. Frances Sawyer, Ceramics

Monthly Magazine, Box 4548, Columbus

Ohio 43212, before March 1.

THIS IS MEXICO

The California Museum o[ Science and

Industry, Exposition Park, Los Angeles, is

cooperating with the Mexico Tourist Coun- cil in presenting "This is Mexico," a major

exhibition of popular Mexican Art in a

Mexican plaza built by the Museum. The

event continues through March 15.

More than 1000 items are displayed

including the ceramic art of such areas as

Patamba, Michoacan, and Atzompa,

Oaxaca, where handsome wares are made;

Barrio de la Lux, Puebla and Santa Fe de

la Laguna, Michoacan, which produce a

black glazed ware; Tzintuznuntzan, Micho-

acan, with its red, white and brown wares;

and Tonala, Jalisco, Guanajuato, and

Puebla, with elegantly-decorated ceramics.

New styles, new pieces and new uses

for traditional arts are continually being

discovered within this rich and ample

production of Mexican popular arts. The

artisan's work in Mexico is llke the coun-

try itself - - multifaceted and incredibly

diversified. Every day, from tiny villages

to great modern cities, the innumerable

characteristics that represent the artistic

spirit of the Mexican--color, form, texture

and aroma--are manifested through his

festivities, clothing, adornments, food, toys,

and religion. It can be categorically af-

firmed that it is the artistic fruit of the

sensitivity of many millions of men,

women, and children who have inherited these virtues from their ancestors.

More than 1,000 different artistic pieces

are on exhibition, all covering an area of

more than 8,000 square feet in the north

half of the Museum. The exhibit was de-

veloped by the Mexican National Tourist

Council; the California Museum Founda-

tion Advisory Board is sponsoring the exhibition.

FOUR SHARE SAN FRANCISCO AWARD

The Board of the Association of San Francisco Potters has announced that the

quality of work submitted for the Eliza- beth Moses Memorial Award was of such

quality that it was decided to award four

prizes. This is a "first time" event for the

Association. According to Mrs. Charlotte

Sehmid, corresponding secretary for the


e a s y w a y t o

_ " • B U Y

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O r t o n C o n e s Now the most reliable guide to firing available... Orton Cones... is packed

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February 1971 33

ORDER ANY OF THESE SELECT TITLES ON OUR MONEY-BACK GUARANTEE. Wl: t'AT ru:b,,o,u,-. NATURE AS DESIGNER by Bertel Bager. This unusual and stimulating book presents a treasured collection of plant life which demonstrates in a unique and very effective way the beauty of form in nature. The forms will suggest an infinite number of shapes and textures for pottery. An outstanding gift selection! $14.50 MAKING POTTERY WITHOUT A WHEEL by F. Carlton Ball and Janice Lovoos. This comprehensive and richly illustrated book covers every phase of hand- building and decorating clay pieces. No book has covered the subject of texture and form more effectively. $9.95 DESIGN MOTIFS OF ANCIENT MEXICO by Jorge Enciso. A compilation of 766 examples divided into geometric, natural and artificial forms. Includes designs based on flowers, birds, fish, human figures, etc. 170 pages. $2.50 CERAMIC SCULPTURE by Betty Davenport Ford. The author leads the reader to a high level of pro- fessionalism in the design and technique of an ancient craft. Animal. human. plant and abstract forms. $5.50

[ WE PAY POSTAGE ]

STEP-BY-STEP CERAMICS by Jolyon Hofsted. In this complete in- troduction to ceramics, the beginner is led through all of the basic clay forming and decorating processes. There are special sections on the Potter's Wheel, Glazing, Firing a Kiln, Building Your Own Kiln, Decorating Tech- niques and Raku. $2.50 HANDBOOK OF DESIGNS AND DEVICES by Clarence Hornung. Over 1800 sketches of basic designs and variations including the circle, line, scroll, fret, shield, snow crystals and many more useful symbols. $2.00 CERAMIC DESIGN by John B. Kenny. Complete instructions for methods of forming and decorating ware are given, with step-by- step photos to guide the designer along the way. Contains appendix, list of ma- teriah, recipes, and glossary. $9.95 CERAMIC SCULPTURE by John B. Kenny. Contains over 1000 photos and sketches covering all phases of the sculptor's art. A valuable aid for all craftsmen. $9.95 THE COMPLETE BOOK OF POTTERY MAKING by John B. Kenny. The "best seller" in the ceramic field! Step-by-step photo lessons cover all of the pottery-making techniques. Clays, glazes, firing, plaster, etc. 242 pages $7.50 GLASS CRAFT by Kay Kinuey. The complete book on fusing, laminating and bending glass. Basic techniques, step-by-step projects and a "Glass Clinic." $7.50 THE TECHNIQUES OF PAINTED ATTIC POTTERY by Joseph Veach Noble. This lavish book unravels the methods used by the Athenian potters to produce the greatest pottery in ancient European art. Includes excellent information on the famous Greek black glaze. $25.00 34 Ceramics Monthly

A POTTER'S BOOK by Bernard Leach. Now in its tenth American edition, this book should be in the library of every potter and student of ceramics! $8.75 MAKING CERAMICS by Lis and Hans Lundkvist. This text demonstrates some of the simplest methods of handling and shaping clay. Con- tents include recipes for glazes, making plaster molds, firing, and directions for building a raku kiln. $4.95 CERAMICS by Glenn C. Nelson. A new, revised and enlarged edition of a favorite title. An outstanding handbook for potters and teachers. 331 pages, hardcover. $8.95 SELLING YOUR CRAFTS by Norbert N. Nelson. In a concise, step-by-step presentation, this book leads you through the actual stages necessary to sell successfully what you produce. Such diverse channels of sales as wholesale, retail, mail order and specialty markets are covered. $5.95 CERAMICS FOR THE ARTIST POTTER by F. H. Norton. The most complete book on the subject, from choosing the proper clay to putting the final touches on a piece, all clearly explained. Ce- ramics at its best! $9.50 CERAMIC GLAZES by Cullen W. Parmelee. This invaluable reference book completely covers glaze making. Includes formulas and batch recipes for glazes. 314 pages of technical information. $8.00 CERAMICS AND HOW TO DECORATE THEM by Joan B. Priolo. Mrs. Priolo gives detailed descriptions and illustrations of dozens of decorating techniques and shows how to use them. $6.95 CLAY AND GLAZES FOR THE POTTER by Daniel Rhodes. Two complete books in one! Fundamental details on both CLAY and GLAZES make this book a "must" for every hobby-craftsman, student, teacher and potter. $7.50 KILNS: DESIGN, CONSTRUCTION 8, OPERATION by Daniel Rhodes. Everything you need to know about kilns - - setting up, firing, various types of kilns - - is described and demonstrated in this first complete book on kilns. Over 100 drawings and photographs. $10.00

Order Form

STONEWARE AND PORCELAIN by Daniel Rhodes. Describes techniques and materials used in high-fire pottery. Includes sections on clay bodies, glazes, colors, textures and decoration. $7.50

RARU: ART g TECHNIQUE by Hal Riegger. The first complete book on Raku. Covers clay and glaze preparation, kiln building and firing. Beautifully illustrated. $12.95

METAL ENAMELING by Polly Rothenberg. The emphasis in this book is on new methods of enameling and new applications of the age-old techniques. Many of these unusual ex- perimental projects have never before been published. $6.95 CREATIVE CLAY DESIGN by Ernst Rottger. A wonderful aid to those who are learning and those who are teaching others how to explore the creative possibilities of clay. $5.50 POTTERY & CERAMIC SCULPTURE by Herbert M. Sanders. A new, thoroughly revised edition of Mr. Sanders' best seller, Ceramics Book. Completely up-dated with new material, including section on how to build a potter's wheel. Excellent for beginners. $1.95 THE WORLD OF JAPANESE CERAMICS by Herbert Sanders. This handsome book illustrates the forming and decorating processes and the unique tools used by the potters of Japan. Includes glaze formulas, glaze color charts, and American equivalents of Japanese glaze compositions. Has slipcase. $12.50 MOSAIC TECHNIQUES by Mary Lou Stribling. This unique book gives a glimp.se of the tremendous potential of mosaics as a medium for personal expression, and will stimulate the curiosity of beginner and professional craftsman alike. $6.95 ENAMELING ON METAL by Oppi Untracht. Step-by-step photos are used to describe fundamentals on through to newly developed experi- mental styles. This complete guide is a major contribution to enameling. $7.50 POTTERY: FORM AND EXPRESSION by Marguerite Wildenhain. A truly beautiful book! Magnificent pictures of the author at work and of ancient and contemporary pottery. An outstanding gift selection for potters. $9.95

m We Pay Posfoqe BOOK DEPARTMENT Box 4S48, Columbus. Ohio 43212

[ ] Bager~Nature $14.50 [ ] Nobl~Attic PoHery $25.00 [ ] Rhode~Stoneware $7.50 [ ] Ball & Levees--Pottery $9.95 [ ] Leach~Potter's Book $8.75 [ ] Riegcjer~Raku $12.75 [ ] Encls~Deslgn $2.S0 [ ] Lundkvist~eramics $4.95 [ ] Rothenbarg [ ] Ford~Sculpture $5.50 [ ] Nelson~Ceramics $8.95 ~Enameling $6.95 [ ] Hofsted---Cerarnlcs $2.S0 [ ] Nelson~Sell|ncj Crafts $5.95 [ ] Rottger--GreatlveClay$S.SO [ ] Hornung~Designs $2.00 [ ] Norton~Artht Potter $9.50 [ ] Sander~Pottery $1.95 [ ] Kenny~Desicjn $9.9S [ ] Parmelee~Glazes $8.00 [ ] Sanders~Japanese $12.50 [ ] Kenny~Sculpture $9.95 [ ] Priolo~Ceramlcs $6.95 [ ] Stribling~Mosalc $6.9S Kenny~Pottery $7.50 [ ] Rhodes---C-ley&Glazes$7.50 [ ] Untracht~Enameling $7.50 [~ Kinney~lass Craft $7.50 [ ] Rhodes~Kilns $10.00 [ ] Wildenhain~Pottery $9.95 NAME

ADDRESS CITY _ STATE ZIP I enclose [ ] Check [ ] Money Order. (Ohio residents: add 4% Sales Tax)

The Famous

KLOPFENSTEIN POTTER'S WHEEL

Write for FREE Information

H. B. KLOPFENSTEIN 6[ SONS RFD. # 2 Dept. A Crestline, Ohio 44827

~ 2 C E R A M A C T I V I T I E S Continued /rom Page 33 FOR

3 0 K i ; ; X ] t s 8 group, the winners were Kathy Wolfe, MODELING Menlo Park; Bob Biniarz, Pacifica; Dick

Miyamoto, San Jose; and Daniel E. Ober-

tl, San Jose. The Moses Award is given $CULPTURF WRITE FOR LITERATURE annually by the .Association as special

A - ! K I L N M A N U F A C T U R E R S recognition to promising ceramists not

Box 1014. Felfon, Calif. 95018 over 25 )'ears of age, residing in Califor-

I~It,. ple . t 9S40 H i . . , N;.e nia. I t is a memorial to Elizabeth Moses, OR WHEEL who at the time of her death was Curator of Decorative Arts at the DeYoung Mu-

seum in San Francisco. Award winning pieces by the four artists

are pictured: Illuminated Glass, by Kathy

C E R A M I C E Q U I P M E N T

C O P P E R E N A M E L I N G

,It Huge Stocks -k Fast Service ~ Oualify Merchandise "A" Wrlfe for FREE literature

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Phone (312) 393-9468

I #67I (38 Pg) Enamel Supplies . . . . . S0 I Costs refundable with coupon

m (FREE to Schools and institutions)

• TEPPING STUDIO SUPPLY CO. • m professlonal staff

ANDERSON CERAMICS COMPANY, INC.

1950 S. McDuffie St. Anderson, South Carolina 29622

Complete Ceramic Supplies

|

PACIFICA Potter's Wheels

"--an ~ half price, $106 at our plant

---are more rigid than most

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~have a unique system of adjustments so that they COMFORTABLY fit users from 4" to 6' 4" toll

All models now re4dy for Immediate shipment

Plkene: (415) 841.$168 or

Write: ~ 924, Dept. C., Berkeley, CA. 94701

Wolfe; "Land That Never Sa~ Earth,"

clay and lacquer by Dick Miyamoto; "Under the Shade of the Old Oak Tree,"

raku by Daniel Oberti; and boxed work by Bob Biniarz.

The Association was organized in 1945

by a group of student potters at the San Francisco School of Fine Arts, under the

leadership of F. Carlton Ball, out of which

an association was formed and a consti-

tution was drawn up. Shortly after that, the membership was increased when the Mills College Ceramic Guild of Oakland,

California, joined the group. The aim of

the organization has always been to hold to the highest standards of craftsmanship.

I t encourages research and experimenta-

tion by potters in clay bodies, glazes, forms

and designs. It seeks and promotes recognition for the work of craftsmen of our

country, and of other nations by spon-

soring guest speakers on the history and

development of their ceramic arts. The

highlight for the membership is its own juried exhibit at the De Young Memorial

Museum in Golden Gate Park, which

began in 1947. Other activities of the Association consist of participation in the

annual San Francisco Arts Festival, and the pot sale held yearly in the fall to help

finance the organization's various activities.

Send news and photos, if available, about "People--Places--Things" you think will

be of ceramic interest. We will be happy

to consider them [or use in this column.

A Y

USE THE BEST

FOR THE LEAST COST!

Clays as low firing as Cone 06, also higher firing clays.

New Catalog - New Cloys

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otters ramists LL FOR ~

KEMPER TOOLS QUALITY. UTILITY- DURABILITY iii~

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• TURNING TOOLS • RAKU TOOLS

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February 1971 35

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e Smooth & uniform drive Potters and Dealers . • • write for more ;nformatlon and prices.

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NEW CATALOG No. 2.1 for '71 • C e r a m i c s

• S t a i n e d G l a s s

• L a m p p a r t s , l i g h t e r s mus ic boxes

• K e m p e r too ls

• M a r x b rushes

• P o r c e l a i n F l o w e r s

a R h i n e s t o n e s , j e w e l s , S t a r l i t e s

a J e w e l r y F ind ings , p o r c e l a i n b l a n k s

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134 pages of more, more, morel Rush $I for year copy today.

I T I N E R A R Y 1 Continued from Page 11

ILLINOIS, MOLINE ~Iarch 27-28 The Mississippi Valley

Ceramic Association will hold its 14th Ceramic Show at the Y.W.C.A. For information, write: Mrs. Eleanor Callahan, 132 E. 7th, Coal Valley, Illinois. OREGON, PORTI.AND

March 19-21 The 12th Annual Show of the Oregon Ceramic Association will be held in the Multnomah County Expo- sition Center. For information, write: Evelyn Gano, Box 606, Washougal, Wash- ington 98671.

WHERE TO GO Because listings are subject to change, dates can be veri[ied by writing to the sponsoring groups or galleries. ALABAMAj UNIVERSITY

February 7-March 4 "Appalachian Cor- ridors: Exhibition 2"; at the University of Alabama. ALBERTA~ MEDICINE HAT

February 23-March 13 Exhibition of ceramics by Luke Lindoe; at the Canadi- an Guild of Potters. CALIFORNIA, Los ANGELES

February 6-March 14 Ceramic sculpture by Ilana Lowengrub.

through March 15 "This is Mexico" includes ceramic and glass; both at the California Museum of Science and In- dustry.

through March 7 Ceramics by Esta James; at the Egg and Eye. CALIFORNIA, OAKLAND

February 3-23 "Objects: USA," circulated by the Smithsonian Institution; at the Oakland Art Museum. CALIFORNIA, SAN FRANCISCO

February 6-14 The Twenty-third Annual Exhibition of the Association of San Fran- cisco Potters; at the M. H. deYoung Memorial Museum. CALIFORNIA, SANTA BARBARA

through February S Exhibition of ceramic work by Sheldon Kaganoff; at Galeria del Sol.

February S-March 5 Enamels by Kay Whitcomb; at Galeria del Sol. CALIFORNIA, TOPANGA CANYON

February 1-28 Enamels by Sherry Schrut; at Canyon Gallery One. GEORGIA, ATHENS

through February 18 "Craftsmen from Norway," Traveling Exhibition circulated by the American Federation of Arts; at the Georgia Museum of Art. ILLINOIS~ CHICAGO

February lO-March 7 Ceramic Jewelry by Joan Fraerman; at the Edward Sher- beyn Gallery. INDIANA~ F, VAN SVILLE

February 14-March 14 The 1971 Mid- States Craft Exhibition; at the Evansville Museum of Arts and Science.


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the LOCKERBIE Potter's Wheel FINEST KICK WHEEL MADE ~ Used by colleges, schools and studio potters $175.00. Write for new circular to Parfex Co. -- 7812 Boulder Ave., Highland, Calif. 92346

36 Ceramics Monthly

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Catalogs $1 tcleductible with first SIS order). RICHLAND CERAMICS, inc.

Post Office Box 3416, Columbia, S.C. 29203

• . . A BUSINESS DOING WELL IS

FOR SALE

2410 E. 38th St., Minneapolis, Minn. 55406

I T I N E R A R Y

Continued [rum Page 36

.~/[AI N E, WATERVILLE

February 13 Student Art Festival and

Craft Fair; at Colby College.

MASSACH USETTS~ BURLINGTON

through February 7 "Handicrafts of

the Southeast," Smithsonian Traveling Ex-

hibltiml; at Burlington Mall.

MASSACFI USETTS 3 LINCOLN

February 21-April 1l "Toledo Glass

National I I I , " Smithsonian Traveling Ex-

hibition; at the DeCordova Museum.

MASSACHUSETTS. WORCESTER

February 5-March 13 "Massachusetts

Artist-Craftsmen 1971"; at the Craft

Center.

-~¢[I N N E S O'I'A, *'~v[IN N EAPOLIS

February 6-March 7 Contemporary Fin-

ish Design by Tapio Wirkkala, Traveling

Exhibition of the Smithsonian Inst i tut ion;

at the American-Swedish Institute. Pieces

by Wirkkala are featured on this month 's Cover.

MINNESOTA, ST. PAUl.

through March 7 "Jades and Ceramics

from the Walker Art Center": at the

Minnesota ~{ttsemn of Art.

MISSOURI, ST. I,OUIS

February 7-March 2 Exhibition of blown

glass by Kent Ipsen: at the Craft Alliance Gallery.

NEBRASKA, OMAHA

February 27-April 4 Exhibition of An-

tique Tureens; at the Joslyn Art Museum.

NEW MEXICO, ALBUQUERQUE

through February 7 "Fourth Crafts

Biennial" ; at The Museum of Albuquerque.

February 7-28 Ceramics by Ann Kresten-

sen; at the Studio Gallery.

-N~'E~.V ~'ORK, CORNING

through March "A Panorama of Carder

Glass"; at the Corning Glass Center.

NEW YORK, GENESEO through February 13 "Clay Plus," an

invitational exhibition of works that com-

bine clay and some other materials; at

the Fine Arts Gallery, State University

College of Arts and Science.

February 24-March 13 Annual Faculty

Show; at the State University College

of Arts and Science.

NEW YORK, NEW YORK

through February 6 Ceramics by Eliza- beth MacDonald.

February 2-17 Ceramics by Thomas Suomalainen.

February 12-27 Ceranfics by Lili Wil- son.

February 26-March 13 Ceramics by

James Makins and Byron Temple; all at Greenwich House.

through February 14 Masterpieces of

Fifty Centuries: at the Metropolitan Mu- seum of Art. "

through March 20 Ceramic sculpture

by Jack Earl; at the Museum of Con- temporary Crafts.


INTERACT INTERART

S U M M E R R E S I D E N T I A L

P R O G R A M S I N T H E A R T S

28 J u n e - 2 7 A u g . 1971

CERAMICS ~ for the beginning and

advanced potter. 3 . two week

sessions.

D. L O N G & T. P O L L A R D

tuition 2 wks . $ 90 4 wks - S140 6 wks . $180

Many other workshops in visual and

performing arts• Room & Board in

residences at modest rates.

Write

CENTRE FOR CONTINUING EDUCATION

Elliot Lake, Ontario, Canada

ON TARGET EVERY TIME

Unique gas and electric kilns offer proven per formance. . , we guarantee reliabil ity, economy and dura-

bi l i ty . . . we have for 25 years. write for our catalog

NED Industries, Inc.

Box 176 • Pennington, NJ 08534

February 1971 37

1000 ISLAHDS MUSEUM CRAFT SCHOOL CLAYTON, N.Y. 13624

.

J . n . . :.Y~'.E '[2 E ~ . • thr. , , 1971

EARLY AMERICAN DECORATION - - Jane Bolster, Helen Gross ENAMELING ~ Char es B. Jef fery PAINTING - - Rollin Hanson, Charles Dibble, Ray Parks POTTERY - - Hobad Cowles, Fred Weisner, Robert Palusky SILVERSMITHING ~ Barry Merr l t t WEAVING - - Muriel Barnes, Glory D. Koehler For further information write to: Emily Post, Director

I0 Soudlnot Street, Princeton, N.J. 08540 after June Ist to: 1000 Islands Museum Craft School Clayton, 1000 Islands, N.Y. 13624

C R A F T S T U D E N T S

L E A G U E Y W C A

840 8th Ave. at Slst, N.Y.

(212} CI 6-3700

CERAMICS Sixth Annual Show

of tbe LEAGUE POTTERS

March 23 thru Apr i l 3 4th Floor Gallery

Men, Women, Teenagers, Day, Evening, Catalog C.

BANFF SCHOOL OF FINE ARTS In the heart of the Canadian Rockies 39th Summer - - Aprll through September, 1971 CERAMICS COURSES ~ JUNE 21 TO AUGUST 28 Wegvers Workshops, Lilly goblke, Dlblln, Irelcmd

Other courses: Music, Ballet, Theatre Arts. Painting, Creative Writing, Photography, French, F;gura Skating. for calendar and further particulars write Banff School ef ~ Arts, Ikmff, Alberta, Canada

GLASS BLOWERS KIT ' 13~d SPECIAL TRIAL S ZE KIT C0nta ns assorted crystal and co ored glass with complete instruct 0as.diagrams and actual glass ~ modeh Learn to make beautiful ships, birds, I ~d~\~ b°ttles for fun and profit. I ~ SEND S13.95 TO "~/lj\'~l~ WILLIS GLASS SUPPLY C0. BOX 3460--ARTIST S T U D I 0 ~ D • -- ~ ANAHEIM, CALIFORNIA 92803

Applications are being accepted for full-time or part-time Instructors, assistant instructors, student assistants, and apprentices in ceramics. THE CRAFT INSTITUTE OF AMERICA

Cooper Square Ar t Center 37 Fast 7th Street, New York, N:Y.Y. 10~03 i Phones (212)254-5870 ann *H-tU=~

jEWELRY - - P H O T O G R A P H Y C E R A M I C S ~ W E A V I N G G R A P H I C S - - F O U N D R Y

2 Four-Week Summer Sessions Offered to High School Upper Clnssmen June 27 to Ju l y 22 July 2.5 to August 2e Held at The Hinckley School. Hinckley, Maine

For further information wri te to: Erling H. Heisted, Director

H A Y S T A C K - H I N C K L E Y S C H O O L O F C R A F T S

7 Highloud Ave., Lebcmoa, N.H. 0~Y~'5

I T I N E R A R Y Continued from Page 37

NoRwr~ CAROLZNA, HIGH POINT February Traveling Exhibit of North

Carolina Crafts; at the High Point Public Library.

OHIO, CINCINNATI February ll-March 14 "The Decorative

Arts in Review"; at the Cincinnati Art Museum.

OHIO, MAS SILLON February 1-28 Ceramics by Robert Engle.

Crafts from the permanent collection; at The Massillon Museum.

OHIO~ YOUNGSTOWN through February 28 The 23rd Annual

Ohio Ceramic and Sculpture Show; at the Butler Institute of American Art.

ONTARIO, TORONTO February 2-13 Exhibition of work by

students of the Ontario College of Art ; at the Canadian Guild of Potters.

OREGON, EUGENE February 7-March 21 Ceramics by Bruce

Wilde; at the Museum of Art, University of Oregon.

PENNSYLVANIA, PHILADELPHIA through February 14 Ceramics by Ka-

Kwong Hui ; at the Art Alliance.

TENNESSEE, CHATTANOOGA through February 28 "British Designer

Craftsmen," Smithsonian Traveling Exhi- bit ion; at the George Thomas Hunter Gallery of Art.

TENNESSEE, OAK RIDGE through February 21 "Tennessee Crafts" ;

at the Oak Ridge Community Art Center.

TEXAS, DENTON through February 16 "Young Ameri- cans," Traveling Exhibition sponsored by

the American Crafts Council; at North Texas State University.

TEXAS, EL PASO February 1-28 Pottery by Helen Rumpcl;

at GiG Del Sol Gallery.

TEXAS, SAN ANTONIO through February 28 Ceramics by Rich-

ard Lincoln; at the Southwest Craft Cen- ter.

VIRGINIA, RICHMOND through February 14 "Design in Glass";

at Virginia Museum.

VIRGINIA, WILLIAMSBURG February 20-March 21 "Mexican Folk

Art," Traveling Exhibition of the Smith- sonian Inst i tut ion; at the Abby Aldrich Rockefeller Folk Art Museum.

WASHINGTON~ SEATTLE through March 21 Japanese Art Trea-

sures from the John Powers Collection includes early pottery, tea ceremony wares and later porcelains; at The Seattle Art Museum.

February 5-March 28 "Acquisitions of 1970"; at the Seattle Art Museum.

Advertisers Index February 1971

A-1 Kiln Mfrs . . . . . . . . . . . . . . . . . . . . . 35 Alpine Kilns . . . . . . . . . . . . . . . . . . . . . . 4 American Art Clay Co . . . . . . . . . . . . . 9 Anderson Ceramics Co . . . . . . . . . . . . . . 35 Art-Crafts Supplies, Inc . . . . . . . . . . . . . 36 Art Spray Co., The . . . . . . . . . . . . . . . . 30 B & I Mfg. Co . . . . . . . . . . . . . . . . . . . 10 ]Banff School of Fine Arts . . . . . . . . . . 38 Bergen Arts & Grafts . . . . . . . . . . . . . . 36 Brent, Robert, Potter 's Wheels . . . . . . 33 Bert, W. D., Mfg. Co . . . . . . . . . . . . . . . I0 Byrne Ceramics . . . . . . . . . . . . . . . . . . . 35 Campbell, Gilmour . . . . . . . . . . . . Cover 4 Capital Ceramics . . . . . . . . . . . . . . . . . . 36 CECAS . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Central New York Ceramic Supply . . . 3 1 Ceramic Coating Co . . . . . . . . . . . . . . . 12 Cochran, Norbert L . . . . . . . . . . . . . . . . . 36 Craft Institute of America . . . . . . . . . . 38 Craft Students League YWCA . . . . . . 38 Creek-Turn . . . . . . . . . . . . . . . . . . . . . . . 31 Dawson, W.P . . . . . . . . . . . . . . . . . . . . . . 32 Dial-A-Glaze . . . . . . . . . . . . . . . . . . . . . . 12 Duncan's Ceramic Products . . . . . . . . . 3 Elliott Lake . . . . . . . . . . . . . . . . . . . . . . 37 Estrin Mfg. Co . . . . . . . . . . . . . . . . . . . . 32 Francoise Ceramics . . . . . . . . . . . . . . . . 37 Gare Ceramic Supply Co . . . . . . . . . . . 32 Haystack-Hinckley School of Crafts . . . 3 8 House of Ceramics . . . . . . . . . . . . . . . . 7 Kemper Mfg. Co . . . . . . . . . . . . . . . . . . 35 Klopfenstein, H. B. & Sons . . . . . . . . 35 Kraft Korner . . . . . . . . . . . . . . . . . . . . . 31 L & L Mfg. Co . . . . . . . . . . . . . . . . . . . 31 Lotus . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Marshall-Craft . . . . . . . . . . . . . . . . . . . . 36 Mayco Colors . . . . . . . . . . . . . . . . . . . . . 11 Minnesota Clay Co . . . . . . . . . . . . . 33, 37 Missouri Valley Statuary . . . . . . . . . . . 33 Nancraf t . . . . . . . . . . . . . . . . . . . . . . . . . 33 Ohio Ceramic Supply . . . . . . . . . . . . . . 31 Orton Ceramic Foundation . . . . . . . . . . 33 Oscar-Paul Carp . . . . . . . . . . . . . . . . . . . . 36 Pacifica Potter 's Wheel . . . . . . . . . . . . 35 Paragon Industries . . . . . . . . . . . . . . . . . 12 Parfex Co . . . . . . . . . . . . . . . . . . . . . . . . . 36 Pottery by Dot . . . . . . . . . . . . . . . . . . . . 31 Reward . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Riehland .Ceramics . . . . . . . . . . . . . . . . . 37 Ravin Ceramics . . . . . . . . . . . . . . . . . . . 10 Shimpo-West . . . . . . . . . . . . . . . . . . . . . . 6 Skutt Ceramic Products . . . . . . . Cover 3 Stromgren and Associates . . . . . . . . . . . 37 Tepping Studio Supply . . . . . . . . . . . . $5 Thermo-Lite . . . . . . . . . . . . . . . . . . . . . . 8 Thompson, Thomas C., Co . . . . . . . . . 5 Thousand Island Museum . . . . . . . . . . 3ts j Tr lni ty Ceramic Supply . . . . . . . . . . . . 36 Unique Kilns . . . . . . . . . . . . . . . . . . . . . 37 Van Howe Ceramic Supply . . . . . . . . 37 Walker Jamar Co . . . . . . . . . . . . . Cover 2 Willis Glass Supply Co . . . . . . . . . . . . . 38

Back Issues The following back issues of Cerami, Monthly are still available at sixty cents per copy (Ohio residents pay 4% sales tax). We pay postage. 1962 February, May 1968 October, November 1970 June Please send remittance (check or money order) with list of issues desired.

CERAMICS MONTHLY Box 4548 Columbus, Ohio 45212

38 Ceramics Month ly

Ode to Doubting Thomases.

Some folks have the mistaken idea that because our potter's wheel is portable and weighs only 75 pounds, it won't hold up to the test of time. Nothing could be further from the truth. It's so rugged and trouble-free a performer that it's used for production line duty! At Pacific Stoneware, Portland, Oregon, professional Ice::..: ~ ~:se standard Skutt's Model B Potter's Wheels eight hours a day turning out as W I many as 200 pieces . . . year after year. These potters F" , , q

particularly like the way they can both start and ~ ~ stop, set and hold speeds with the Skutt foot pedal. Isn't this the kind of performance you want in your classroom or studio? Please write for more information. • • L. ,d

Skutt Ceramic Products, Inc., 2618 S.E. Steele Street, Portland, Oregon 97202

• Art & Craft Centers • 14258 Maiden Detroit, Michigan 48213

Institutions For Hobbyists • Schools Manutactured by GILMOUR CAMPBELL -

KINGSPIN Electric Banding Wheel

• Heavy Kinalloy 7-1nch table • New ~ with height trimmer • Solid cast aluminum case • 110 volt motor, 35 RPM • On & Off switch, 8-ft. cord • One-year service guarantee • For light throwing

Model E-2 . . . . . . . . . . . . . . $21.96 E-2T with trimmer . . . . . . . . . . . $23.95 Model E-3T . . . . . . . . . . . . . . . . $27.50 (More power for light throwing) E-3 less trimmer . . . . . . . . . . . $25.50

KINGSPIN Wheel

NEW with Wagon Wheel Base • Top and base are cast Kinalloy • Top measures 61/4 ,, • Shipping weight 3 Ibs.

Model W-6 only . . . . . . . . . . $4.25

With 7 inch table Model W-7 . . . . . . . . . . . . . . . . . $5.25

With 8 inch table I ~ ~ 1 / Model W-8 . . . . . . . . . . . . . . . . . $7.25

With 10 inch table Model W-10 . . . . . . . . . . . . . . . . $9.50

KINGSPIN Kinolite Turntable

New 12-inch model with many uses • A 12-inch wheel for the price of an 8-1nch • Made of KINOLITE - - latest slnktop material used in newest homes • Heavy Kinalloy round base • Just the thing to use on those lace dolls.

With Wagon Wheel Base Model W-12 . . . . . . . . . . . . . . . . $6.25

With 12-inch Aluminum Table Model A-12 . . . . . . . . . . . . . . . . $15.95

Model T-12 . . . . . . . . . . . . . . . $7.25

KINGSPIN Kinalloy Turntable

• 10" model

• Heavy KINALLOY Table

• Heavy Kinalloy round base

• Easy Spinning

Model KR-7 . . . . . . . . . . . . . . $6.25 With 7" Table

Model KR-8 . . . . . . . . . . . . . . . . . $8.50 With 8" Table

Model KR-10 (shown) . . . . . . . $11.25

KINGSPIN Lowboy Steel Wheel

• Our Economy Model • Kinalloy ~.f ~ ' ~. Bearing • Easy Spinning • Zinc ~ . ~ , . Plated-Rustproof • 7" Steel Top f ~ iii~i Low & Bottom Price • Highest Quality • ~r

this new model may be used as o mold stand, for clay modeling or • ,s a decorating wheel in spray booth.

Model S-L . . . . . . . . . . . . . . . . $3.25

KINGSPIN Steel Wheel

• Our Economy Model

• Kinalloy Bearing

• Knurled Stem

• Easy Spinning

• Zinc Plated ~ Rustproof

• 7" steel Top & Bottom

• Highest Quality

• Low Price

Model S only . . . . . . . . . . . . . $3 ,25

Prim F.O.B. Delmit In Con•do write: ......

4949 Ou,~k~s St., W~,e Id'mg~. Ore.

~i~ii~i~iiii!!ii!!i~ FEBRUARY 1971 6OC i!!!!!iiiiiiii!i · HENRY VARNUM POOR I would like to call...

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Transcript of ~i~ii~i~iiii!!ii!!i~ FEBRUARY 1971 6OC i!!!!!iiiiiiii!i · HENRY VARNUM POOR I would like to call...