Beautiful pottery is like visual poetry in a room. The
lines, shapes and glazing, forms a harmonious and pleasing visual focal point
in a room. I enjoy the different glazes of Linn Ware. I am however, still
searching for a pure white Linn Ware bowl.
In my research, I have discovered that blue was one of the
first colours to be used in glazes. Ancient Egyptian and Persian pottery have been
found to contain blue cobalt oxide.
Two months ago, in June, I came across an expired advertisement
for a book-launch that took place in November 2018 in Pretoria. The existence
of the book, “Olifantsfontein Potteries 1907 – 1962” by Alex Duffey, Riana
Heymans and Jan Middeljans, was a most exciting discovery.
I had learned much from the 1989 Masters thesis of Riana Heymans “Pottebakkerswerk in Suid-Afrika met spesifieke verwysing na die werk wat vanaf 1925 tot 1952 by Olifantsfontein gedoen is”, when I originally researched the history of Linn Ware.
A well-researched book on Linn Ware was indeed long overdue.
Linn Ware was born out of the Ceramic Studio that was established in the early
20th Century, out of the defunct Transvaal Potteries.
I started searching for bookshops that might stock this book.
I soon discovered that only 250 were published. These comprise of 200
Collector’s Editions and 50 De Luxe Editions. I realized that I might be too
late to acquire a copy but decided to enquire, nonetheless. I wrote to the
publishers and discovered that there were still a limited number of copies available.
I ordered a Collector’s Edition copy and a week later became the proud owner of a
comprehensive book dealing with the potteries and potters of the Consolidated
Rand Brick, Pottery and Lime Company Limited. The book is well researched and very informative.
This book dedicates a chapter each to the Transvaal
Potteries, the Ceramic Studio and Linn Ware Studio Ceramics. It further discusses
the South African painters and sculptors that were related to the Ceramic
Studio. It does so in the context of the production by the studio of tiles,
tile panels and architectural work. Most importantly, is the record of the markings
on Olifantsfontein pottery.
What I find most interesting, is the chapter on the house “Sunlawns”
that was designed by the architect Vivian Sidney Rees-Poole for Rowland
Cullinan in 1929. The house was designed in the Cape-Dutch Revival style that
was popular with South African architects at the time.
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| Sunlawns: North facade from south end of formal garden, c 1943 - Photographer: Matron (Source: https://www.artefacts.co.za/) |
The design and planting of the garden of “Sunlawns” was
inspired by the garden designs of Gertrude Jekyll. Gertrude Jekyll had earlier
designed gardens for the houses designed by the English architect Sir Edwin
Lutyens.
To quote from the book, “Sunlawns was most likely the only
house designed by Rees-Poole, where he could apply the philosophy of handmade
utilitarian products, which were both artworks and functional products, to
their utmost effectiveness”
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| Sunlawns: A detail of the riser tiles and heavy tread tile with nosing - Photographer: William Martinson (Source: https://www.artefacts.co.za/) |
“Not only was a massive assortment of architectural ceramics
available, but also the great variety of ceramic products from the pottery. The
house was built on the threshold of the Ceramic Studio, and the availability of
the large variety of artistic products from this pottery was undoubtedly an
exciting adventure for architect, owner and ceramic artist alike. This
adventure certainly led to the erection of a lasting monument to the artistry
of the Ceramic Studio and the later Linn Ware Studio – the house Sunlawns,
which still exists today for everyone’s enjoyment.”
Reading of this collaboration and seeing examples of the
artworks used in and around the building, tempts me to want to see the house
and make a pilgrimage to Olifantsfontein. Until then, I enjoy this worthy publication
as an addition to the Towerwater library.
A lovely and informative post, thanks.
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