Vase of topaz glass with random bubble pattern is by Vladimir Jelinek, glass artist at the Moravian Glassworks in Czechoslovakia. The vase is one of 32 pieces being circulated in this country by the Smithsonian Institute Traveling Exhibition Service; the exhibition was organized and first shown by the Museum of Contemporary Crafts in New York.
“Althea” is the title of Kenneth Bates’ enameled circular plate pictured on our cover. Mr. Bates says that this “is an attempt to exploit the pollen-bearing stamens of a flower. By purposely involving sgraffito and overglaze lines, a sense of complicity is attained without losing the simplicity so often evident in nature forms.” Colors are ruby red over flax.
Earthenware Sculpture by Hui Ka-Kwong is hand built, 18 inches by 17 inches, with black and white glaze. The piece was included in the 24th Ceramic National Exhibition at the Everson Museum of art and is a part of the Circulating Exhibition to be seen in galleries and museum throughout the country during the next two years.
Ceramic Mosaic was made by F. Carlton Ball, one of the many prominent artist-craftsmen discussed in “California Ceramics,” the Portfolio feature by Janice Lovoos. The individual pieces for Mr. Ball’s mosaic were made from buff, red, and brown-black clays. They were rolled and shaped in the hands, decorated with stamps or found objects, then set in place to create the design. The fired but unglazed pieces were cemented to waterproof plywood to complete the project.
Clyde Burt’s “Corner House,” ceramic and wood construction, was a prize winner in “Exhibition 66,” presented by the Beaux Arts Club and the Columbus gallery of fine Arts in May of this year. The piece, which is 19 inches wide and 5 feet high, has a deep red roof and gray walls. The aged wood in the construction includes spindles from an old rocker that arrived in northeastern Ohio on a canal boat. Photo: Gordon Kuster, Jr.
The stoneware pots pictured on our cover are from the pottery training center at Abuja, Nigeria. This center, which started operations in 1952 under the direction of Michael Cardew, was established to prevent the national craft of rural pottery from perishing and to train the traditional potters in more advanced methods.
Stanley S. Walters encourages the throwing enthusiast to “Stretch Your Capabilities” in his Back-to-Work article. The cover photo shows his recommendation for the outside hand position during the shaping of a large jar on the potter’s wheel.
Porcelain Covered Jar by Donald E. Frith, Champaign, IL, was exhibited in “Ceramic Arts U.S.A. 1966,” an invitational showing of 102 ceramic pieces sponsored by International Minerals & Chemical Corporation in Skokie, IL. Mr. Frith describes his piece as “a small fluted jar. The copper red reduction glaze breaks to whitish over the flutes and is a very deep red in the flutes. The inside is white translucent glaze.” The piece is 5 inches high.
The architectural pots pictured on this month’s cover are by Claude Conover. Mr. Conover starts these large pieces inside bowl-shaped bisque or plaster forms, then finishes them by a variety of hand building techniques. Roger Bonham’s article on Claude Conover in this issue discusses the Cleveland artist’s background and accomplishments.
Raku Jar and Cover, by John A. Foster, was an award winner in the 19th Exhibition for Michigan Artist-Craftsmen held at the Detroit Institute of arts in February and March. Mr. Foster’s jar, awarded the Mrs. Richard Webber Prize for “outstanding ceramic work showing excellence in design and execution for practical use,” is approximately 6 1/2 inches high; its coloration is described by the artist as prismatic and variegated, subject to changes in appearance due to lighting conditions.