New Zealand Pottery and Crown Lynn with Valerie

They later sold to Maureen and Dennis O’Brien who owned it for several years before Beverley White took over. I have written about Beverley White here. There was at least one owner after Beverley but I haven't found out who that was.

Wayne Manion had an interest in ceramics from a very young age. After leaving school he worked with the Salisbury family at Royal Oak Pottery for several years. By this time he had met his future wife Brenda (aka Ben), and they married in 1978. For a while they lived with Brenda’s parents, making oven-baked Fimo jewellery at night to fund a house deposit.

They already had dreams of setting up their own pottery. At their new house, they built a large garage with three-phase electricity to power a kiln. The very first pieces of Stage Artware were made in that garage, but soon they needed to move to larger premises. Wayne and Brenda moved Stage Artware to a vast space in the International Markets building in Queen St, Auckland.

That first workspace had very little public profile, so they moved to a smaller factory in central Auckland, across the road from the Auckland Art Gallery. At the new location there was more foot traffic and a community of university students and other ‘alternative’ young people. By now, Wayne and Brenda had a small daughter Rowena, who attended kindergarten at Myers Park and spent the rest of her time at the factory where friends and family kept her safe and entertained.

Above: at work at Stage Artware in central Auckland. Image courtesy Wayne and Brenda Manion

Wayne and Brenda remember this as a very busy, happy time. They enjoyed working in central Auckland and the business was expanding – they built two new kilns to keep up with production. They describe themselves as ‘alternative’ – they listened to Student Radio BFM and a 1980s photo shows them in stylish hairdos and black outfits. In the 1970s, most New Zealanders used rounded hand-thrown mugs in various shades of brown. Stage Artware was one of the pioneers of a completely new look with plain colours, clean lines and sharp angular shapes. The deco mug was the most successful product. It featured in the lunchroom on the Shortland Street TV series and was used in many Auckland houses and flats. Stage Artware also made teapots, bowls, vases and other domestic ware. None of their work from this period is marked in any way.

Above: the Stage Artware ‘deco mug’ was designed by Wayne Manion. Image courtesy Wayne Manion.

Wayne and Brenda had very strong ideas about clean-lined minimalist shapes. All their work at Stage was decorated in plain glazes. They made a deliberate decision not to decorate their ware with brushwork; the shape spoke for itself. The hand-brushed decorations on Stage Artware were developed by future owners.

After a few years Wayne and Brenda were ready to move on, and they sold their business and took a bit of time off from ceramics. Then they once again started making pottery in their home garage – and so began DaDa Productions. After a time DaDa outgrew the home garage and was moved to commercial premises in Birkenhead. Wayne and Brenda describe this period as a refinement of their work at Stage. They wanted a fresh start with new shapes in even sharper, cleaner lines.

Along with selling nationwide to New Zealand design stores, much of their production was sold overseas by Wellington exporter Ian I Ordaway. Today, they feel they could have sold more in cosmopolitan cities like Los Angeles where there would have been a bigger market for their bold style. The biggest seller at DaDa was the ‘triangle mug’ in two sizes, with a distinctive triangular handle with a finger- hole in it. They came in several colours including black, white and cranberry. The handle and bowl of the mug were cast separately and joined together before glazing and firing. For the second time, Wayne Manion’s design featured on a New Zealand television show – presenters for the TVNZ arts show Weekend drank coffee from DaDa Triangle mugs.

Above: the DaDa triangle mug – larger size. Image courtesy Wayne Manion.

Above the smaller DaDa Triangle mug with matching teapot. Image courtesy Wayne Manion.

Other products included deco-style lamp bases and vases (below), cylinder vases in three sizes and ashtrays and bowls in various shapes and sizes.

Above: vases by DaDa Productions. These came in various colours. The same shapes were also made into lamp bases. Images courtesy Wayne Manion.

A popular range of ‘Beach Ball’ vases (below) were placed on a revolving stand and spray-painted in bands of pastel colours. They were made in two sizes.

Above: DaDa ‘Beach Ball’ vase – made in two sizes and in various colour combinations. Image courtesy Wayne Manion.

Unfortunately, like Stage Artware, the vast majority of DaDa products were unmarked. There are a few terracotta planters with DaDa Productions on the base, but that’s about all.

DaDa was a successful pottery until the Rogernomics economic reforms in the late 1980s allowed a flood of cheap imports into New Zealand. When was clear that DaDa Ceramics was no longer viable, Wayne and Brenda sold the larger moulds and shapes to Kermiko Potteries. They retained the rights to their Triangle mugs. They then set up another business, DaDa Clothing, making and selling streetwear and casual clothes for the tourism shops – mainly t-shirts and sweatshirts. All were professionally made in New Zealand. Through the years Wayne and Brenda have had several other small businesses, including craft shops and a photograph sales business.

For more photos - see link here - On the New Zealand Pottery website, I have posted all the photos that were given to me by Wayne and Brenda Manion. If you are not a member of NZ Pottery website, you will need to join. This is a simple process and well worth it.

TIMELINE

1972 – Wayne began work at Royal Oak Pottery

1978 – Wayne and Brenda married

1979 – Daughter Rowena was born

1981/1982 – Stage Artware established

1984 – Stage Artware sold

1985 – DaDa Productions established.

IDENTIFYING STAGE ARTWARE AND DADA PRODUCTIONS.

Very few pieces of Wayne and Brenda Manion's early Stage Artware and DaDa ceramics are marked in any way. A few terracotta planters have DaDa productions inscribed on the base - see below. (Image Valerie Monk)

ENDS

Sources: this article was compiled after an interview with Wayne and Brenda Manion at their home in Auckland. There was also an initial phone interview and a few follow-up emails and phone conversations. All images in this post are courtesy Wayne and Brenda Manion.

Wednesday, April 10, 2024

STUDIO CERAMICS

Finally - I have put together the story of Studio Ceramics, Auckland's largest ceramics manufacturer apart from Crown Lynn.

The founders of Studio Ceramics Ltd were ceramic designer/artist Christine Harris, and property developer Malcolm Johnstone. Before long, Chris Harvey also joined. More about Chris Harvey here.

Christine Harris began making her bold and colorful ceramics in Auckland in the early 1980s. More about Christine's early days here. At first Christine sold her work at local markets, but by the late1980s she was ready to expand into mass production. She established a business partnership with Malcolm Johnstone and together they set up Studio Ceramics Ltd. In 1991 they bought Terra Ceramics in New Lynn from John and Sandra Homer. Christine and Malcolm retained many of the Terra staff, including for a brief period hand-thrower Daniel Steenstra.

At first products were marked ‘Terra Potteries’ but very soon a new Christine Harris backstamp was introduced. The new enterprise had a shaky start, with far too many seconds coming off the production line. After ex-Crown Lynn manager Chris Harvey joined the partnership, technical problems were overcome and Studio Ceramics began making hand-decorated dinnerware on an industrial scale.

Above: "Floral' dinnerware by Christine Harris for Studio Ceramics came in many colourways. Valerie Monk collection.

By far the most popular pattern was the simple four-petal Floral (above) which was first created by Christine when she was a sole operator. A catalogue from this period shows ten different colourways and at the new factory more variations were introduced. The most popular were yellow/blue and green/red, which featured as one of the prizes in the Sale of the Century television show. A staff member told me that the staff didn't like the green/red when Christine first introduced it, but it turned out to be one of the most popular combinations. Other patterns from this time included Pacifico, Monet, and the more adventurous Striped Border and Black Geometric.

Above: Striped Border teapot and mug and Black Geometric duo (The only piece I have in this pattern!) Valerie Monk collection.

This bright, bold dinnerware was new and exciting. Studio Ceramics had an outlet shop in the affluent suburb of Parnell, and Chris Harvey remembered Friday seconds sales where there was fierce competition for choice pieces. Alongside the successful dinnerware, a few items were still hand-made. In a corner of the factory, a man called Brian turned out quirky egg-cups in a range of colours.

Above: Christine Harris egg cups. Height 6cm, W7. Valerie Monk collection

Harking back to Christine's hands-on days, the factory still made a few larger pieces such as towering candlesticks and arty Memphis-style vases.

Above vases made at Studio Ceramics. The rare 'zig-zag' vase on the left is an imposing 54 cm tall, in the yellow/blue floral pattern. The second 'Memphis' vases is in the muted pastel Monet.

Valerie Monk collection.

The zig-zag vases were technically difficult and too imposing to suit most homes. Mass-produced simpler vases included the shouldered ‘Lima’ shape, cylinders, spherical shapes and a big vase with a longer neck. The largest were about 40 cm tall.

Above: popular shapes in the Stiletto pattern. Image from a Studio Ceramics catalogue, courtesy Christine Harris

With teething problems under control, Studio Ceramics prospered. By 1992 there were at least seven staff and turnover was approaching $1 million. The business moved into a larger factory at 7 Waikaukau Road in Glen Eden, Auckland. A year later Studio Ceramics was supplying 70 New Zealand outlets, with up to 30 staff making ten to twelve thousand pieces a month. There were eight hand-decorators, including Christine’s daughter Carly. Malcolm Johnstone was in charge of the business operation, Chris Harvey was the technical and production expert and Christine Harris managed design, decoration and marketing.

Above: designs by Christine Harris for Studio Ceramics. Front, from left - Green Red Floral Border, unknown, Tamarillo, Island Bay, Belize, Yellow Blue Floral, Stiletto, unknown. Rear, from left: Monet, Roses, Portuguese, Golden Queen, Waipiro Bay, Poppy. Valerie Monk collection

There was also a range of plain colours including dark green, yellow, turquoise, pink and a paler green. In addition Christine devised up to four new designs a year, often for specific customers like Levene’s home decorating stores. Pink and blue floral was designed for the Botannix cafés at Palmers garden centres, and Island Bay was used – and sold – at the Wellington Library café.

For a couple of years Christine sometimes demonstrated her decorating skills on ceramic toilet bowls and handbasins. These generated considerable publicity, but were never intended for full production. A few were sold but most were given to friends.

She also created decorated glassware for the New Zealand market.

Above: Glassware. Image from Christine Harris Ceramics brochure, p 6. Courtesy Christine Harris

At Studio Ceramics most of the shapes and moulds were created by Bruce Yallop. Bruce began his modelling career at Crown Lynn, which closed in 1989. Some time after that, Bruce began work at Studio Ceramics. His Crown Lynn desk and modelling tools also ended up at his new job - and they are now in safekeeping at the Crown Lynn museum Te Toi Uku.

Christine took regular selling trips around both North and South Islands. She was also looking to overseas markets. By 1994, up to 20% of production went to Australia, and there were attempts – not particularly successful - to export to Korea, Japan and the United States.

In 1995 Christine Harris left Studio Ceramics, but the rights to her designs remained with the company under a royalty agreement which also prevented her from involvement with ceramics for two years. Since then Christine has made collectables such as painted screens, bird baths and plant pots, and later hand-decorated ceramics. For a while she was in the fashion industry in partnership with daughter Carly. Today Christine is semi-retired, but still working in the arts, mainly in digital design and beautiful marbled designs on paper.

Studio Ceramics 1995-2017

After Christine Harris left Studio Ceramics, Chris Harvey and Malcolm Johnstone continued as joint owners. The most prominent designers were Ann Skelly and Lily (Lillian) Jones. Lily Jones had previously owned her own pottery (Waipapa Potteries) in Kerikeri, and there are some crossovers in designs from that period. Susi Dennison and Denise Herbert of Sin and Tonic Design also contributed, mainly under the Scorchio brand. The factory was still turning out colourful, good quality plates, cups, mugs, vases, jugs, small bowls, sugar bowls and mugs by the thousands. Ann Skelly’s Pelorus and Fez, and Bloom by Lily Jones were particularly popular patterns.

Above: Studio Ceramics patterns post-1996. Most were named in catalogues, but there are a few pattern names I can't track down. Front: Bloom (Lily Jones) Pelorus (Anne Skelley), Savannah (Lily Jones), Morocco (Scorchio), Fez (Anne Skelley). Rear - unknown (Anne Skelley), Chilli, unknown, Fez. The green and purple jug rear, second from right is backstamped 'Faberware New Zealand'. This brand was made by a number of potteries and sold via party plan events in private homes. Valerie Monk collection

Studio Ceramics made good money in its first years, but by the mid-1990s it was facing stiff competition from cheap imports flooding into the country. Diversification into kiwiana-style ware helped. The ‘To the Sea’ range of shell-shaped platters and dishes, fish dishes and small dinghies sold well. Most of this ware is marked with a simple italicised ‘NZ’ in blue-grey.

Above: The ‘To the Sea’ range. Image from Studio Ceramics archive, courtesy Te Toi Uku museum

Above: souvenir ware was also popular, especially the tiki in five different colours. Image from Studio Ceramics archive, courtesy Te Toi Uku museum.

Constantly seeking new ranges to boost sales, in the late 1990s Studio Ceramics began making a ‘Retro Lynn’ range, based on Crown Lynn shapes. (see below). There was also a popular ‘paint your own’ hobby ceramics section, and once-fired blanks were sold to a few other potteries for decoration. Studio Ceramics also established an on-site seconds shop. The worst seconds were given to schools for gala day fundraising – people paid money to smash them.

Chris Harvey and his partner Adrienne Lovell remained at Studio Ceramics until Chris had a sudden devastating illness in 2010. on 17 September 2011, the business changed hands and the new owners kept it going for about four years.

Most of the shapes and patterns were retained by the new owners. In the last few years Studio Ceramics was promoting brightly coloured ‘Lolly Scramble’ vases, pastel coloured bowls, plates and planters, baby and child ware including a teddy bear bedside lamp, and souvenirs such as palm trees and leaves as wall hangings and stand-alone ornaments. The hand-painted Farmyard and Forest Souvenir Range depicted sheep, pukeko, cows, a nikau palm and kiwi.

Above: Farmyard and Forest Souvenir Range. This ware was designed by Sally Ewins, who was originally from South Africa. Image from Studio Ceramics, courtesy Te Toi Uku museum.

Kiwiana included Maori symbols such as tiki, tekoteko (carved human figure) vase, a patu (war club), wall panels, a waka (canoe), kete (flax kits), a mask with moko, and assorted leaf, frond, feather, koru and fish-hook shapes. There were also dishes made in the shape of New Zealand’s north and south islands. The To the Sea range continued right to the end, with the addition of starfish and a stingray wall decoration. There was also a successful range of patterns by contracted artists, plus restaurant ware and ‘Rubenesque’ curvy dinnerware.

Unfortunately, despite the best efforts of its staff and new owners, Studio Ceramics went into liquidation in 2017 and all its assets, including moulds and unsold stock, were auctioned off. Ironically, there was a surge of last-minute orders.

Apart from Temuka, Studio Ceramics was the last large-scale manufacturer of domestic ware in New Zealand. Most ceramics are now made overseas.

“Retro Lynn” - Studio Ceramics and Crown Lynn
In the late 1990s Studio Ceramics introduced a collection of close copies of Crown Lynn shapes, including vases, jugs, swans and shells. The classic Crown Lynn white swan was reincarnated in different pastel colours, and as a lamp base. There were also swan book-ends. In the last couple of years a little kiwi, a set of wall ducks and a Maori motif plate similar to the smaller version of the Crown Lynn Flora and Fauna platter were added to the range.

Above: Retro Lynn, introduced in the late 1990s. Image from Studio Ceramics, courtesy Te Toi Uku museum

At first, most collectors looked down on the Retro Lynn range as a cheap imitation of Crown Lynn. Now, Retro Lynn has developed a following. The swans are especially sought after.

Most Retro Lynn is very easy to differentiate from genuine Crown Lynn because the glazes are different and the reproductions are generally smaller. The first Retro Lynn swans were from moulds taken directly off a Crown Lynn swan. They were deliberately made smaller than the original Crown Lynn version. Studio Ceramics made their Retro Lynn swans in three sizes and five colours - white, black, pale pink, bright pink and duck egg blue. There may have been more colours. (Note that the final catalogue (March 2016) shows four sizes of swan. However I have been unable to find anyone who remembers making the four sizes.) This final catalogue also shows a set of three 'wall ducks' - so presumably there are a few of them around.

Some vases were also made in pastel glazes and in black. One vase, the gurgling fish, was a copy of an English vase, not Crown Lynn. Hotel jugs were made in white and pastel colours, often with a large Crown Lynn backstamp symbol emblazoned on one side. Studio Ceramics swans have sometimes been mistaken for Crown Lynn, as have the famous McAlpine fridge jugs and the white vases. To add to the confusion, some early Retro Lynn ware was unmarked. Later, many items carried the standard hand-brushed Studio Ceramics “NZ” symbol in dark blue.

Above: part of the Retro Lynn range. These are all based on Crown Lynn shapes apart from the gurgling fish vase, back row centre. Image from Studio Ceramics courtesy Te Toi Uku museum.

Stepahead Ceramics and Studio Ceramics

Self-taught ceramicist Matthew Nisbet from Stepahead Ceramics made his first ‘Tapa’ patterned ware in Northland in about 1995. At first he made everything from scratch but later he used bisque blanks from Studio Ceramics. In 1995 Matthew took over Catherine Anselmi’s Auckland studio after she joined forces with Studio Ceramics. Despite the move to a larger studio and a bigger kiln, Matthew could not meet the demand for his Tapa ware, and in 2001 Studio Ceramics began making it under licence. Tapa ware was still being sold at the time of the Studio Ceramics liquidation sale six years later. Matthew estimates that over the 22 years he has been making Tapa designs, about 100,000 pieces have been sold in New Zealand. There is also some in Europe. In 2001, a consignment was sold at markets in Germany.

Above: variations on the Tapa pattern from Studio Ceramics. Image by Studio Ceramics, courtesy Te Toi Uku museum.

Artist partnerships at Studio Ceramics

Over the years Studio Ceramics formed partnerships with several artists and designers and corporate clients.

In 1995 Catherine Anselmi and her small team of artists joined the business, working in an adjoining factory and using Studio Ceramics’ materials and machinery. After a time, Catherine moved on. To my knowledge, none of Catherine Anselmi’s work bore the Studio Ceramics mark.

In 1998 Studio Ceramics sponsored a ceramic artists exhibition. The artists had free access to the factory and its materials. The results were exhibited at Lopdell House in Titirangi.

Above: artwork by Anna Crichton on Studio Ceramics platters. Valerie Monk collection

In the last ten years or so of Studio Ceramics, the following designers were involved in projects at the factory:

- Fashion designer Ingrid Starnes had a special candle beaker made at Studio Ceramics. It was modelled by Bruce Yallop.

- Fashion designer Kate Sylvester commissioned swans with gold beaks, and also white mugs decorated with a swan in gold. The gold-beaked swans were also sold on the open market.

- Designer Amber Armitage created a collection of ‘Weather Patterns’ beakers, vases and other shapes in pastel glazes. This range had no handles. (C 2015-2016)

- Artist Evie Kemp designed beakers and plates in blue and white trimmed with gold. (C 2015-2016)

- Artist Carole Prentice created the New Zealand Maori Willow pattern. (C 2015-2016)

- Artist Lindsey Rund created the illustrations for the Botanicals range of New Zealand native flora, including kaka beak and Mount Cook lily. (C 2016)

- Ceramic artist/potter Peter Collis designed some of his signature rounded vases which were reproduced by slip-casting.

Studio Ceramics timeline

1988 Christine Harris was selling domestic ware seven days a week at Oriental Markets in Auckland
August 1991 Christine Harris formed a business partnership with Malcolm Johnstone, He backed her financially to form Studio Ceramics which focused on dinnerware and small pieces. Shortly, Chris Harvey joined the company
1991 bought Terra Ceramics factory
1993 Move to new factory at Waikaukau Rd, Glen Eden
1995 Christine Harris left Studio Ceramics. Afterwards, her designs were still made under a royalty arrangement. New designers included Ann Skelly and Lily Jones
2011 Studio Ceramics business sold
2017 Studio Ceramics went into receivership and assets were auctioned off

Identifying Studio Ceramics ware: backstamps and signatures

Before Christine Harris established Studio Ceramics, she used variations on a CH mark, usually hand-inscribed. Often the signature included the year the piece was made.

Below: Terra Potteries - when Christine Harris and Malcolm Johnstone bought Terra Ceramics and began commercial production, they used this mark for a brief period

Below : Studio Ceramics – from late 1991 or early 1992 until Studio Ceramics stopped making Christine Harris designs.

Below; the NZ in blue/grey was used a great deal for vases and other castware, probably during the time when Studio Ceramics was at full production. Chris Harvey told me he would have preferred a fuller manufacturers' mark but the decorators liked the NZ which was quick and easy to apply.

The Studio Ceramics oval stamp was used a great deal for dinnerware, jugs and vases during the post-Christine Harris era.

Studio Ceramics also used a variety of stickers including this transparent version which appears on a small ceramic bach

This sticker is on a hanging tiki figure

Ware made for the Levene homeware stores carried its own backstamp.

Likewise ware made for 'The Store' which I believe was a relatively short-lived homewares store in Auckland.

There is quite a range of ware marked as Faberware which was made for a party plan distribution company. Other NZ potteries also made Faberware.

Ann Skelly. This design is called Falling Leaves.

Lily (Lillian) Jones who was recruited from her own pottery (Waipapa Potteries) in Kerikeri.

Susi Dennison and Denise Herbert of Sin and Tonic Design also contributed under the Scorchio brand

One-off artist/designers included Amber Armitage. This is a sticker.

This post was written with assistance from the late Chris Harvey, Adrienne Lovell, Christine Harris, Malcolm Johnstone, Pamela Clark, Ev Williams' New Zealand Pottery website was also a valuable source of information. I have done my best re accuracy, but please get in touch if you notice errors or omissions.

Thanks to all our wonderful pottery community

Val Monk