Unique porcelain pieces

Press, 11 July 1989, Page 16

Unique porcelain pieces

Collecting with Myrtle Duff

Porcelain is undoubtedly one of the most popular categories sought by collectors around the world. It was first produced in China in about 1450, and in Japan from some time in the sixteenth century.

It was not until 1710 that the first European factory was established at Meissen.

Efforts to produce this sturdy ware with its translucent finish had been accelerated by the popularity of the large quantities of Chinese porcelain being imported into Europe during the seventeenth and eighteenth centuries.'

Artists and modellers were not slow to take advantage of the new material. Soon most of the great potteries were producing ornaments, figures, and decorated chinaware of all kinds.

They also turned out humbler pieces for domestic use, and copies of the blue and white tableware which had previously come from China. Today, keen bidding at auction sales, for rare pieces, selections of fine porcelain available at most antique shops, and a flow of tempting pamphlets from famous firms

advertising special editions or sets of reproductions, clearly indicate a continuing interest in porcelain.

For some collectors the attraction of a piece is its antiquity, for others its beauty or rarity, or perhaps all three. In Christchurch we are fortunate to have a porcelain sculptor whose work satisfies at least two of these requirements. Rona Cooper, in her studio in the grounds of Kauri Lodge in Riccarton Road, makes no moulds of any of her creations. Each is unique, inspired from nature, lovingly formed with fingers and brush, fired in one of her two kilns and painted, sometimes many times. The lustrous surface on every piece is the result of hours spent in firing and painting. Some have a mother of pearl appearance. I first saw Rona’s work some years ago when John Morrison invited her to set up a display in his Victoria Street shop. So I

was pleased to hear recently that, after a break of two years to assist her husband with another project, she was again at work with clay, kiln, and paint. Rona had no early ambition to model or paint. A love of the outdoors and a keen appreciation of the South Island rivers and West Coast forests inspired a desire to commemorate in some way the joy she felt in such things. She has had no formal training, and does not copy any flower, leaf, or figure from life but models each piece alone in her studio from cherished memories. The clay she uses is from England. As usual when talking to collectors or those who create collectable things, I stayed much longer than I had intended. There were so many lovely things to see and touch, each with its own story.

One unusual feature was the use of natural things — pieces of drift-

wood and stones in conjunction with .porcelain. A porcelain figure seated on a porcelain log is not unusual, but Rona’s porcelain lady sits on a large piece of real driftwood, while a little man is lost in thought atop a round river stone from Arrowtown. It is obvious that roses are favourite flowers. There are many in a variety of colours, each perfectly shaped in every aspect. No flat areas, even on my favourite, a longstemmed yellow rose made to lie flat. There is also an autumn-coloured bloom. Rona likes to bring a sense of movement into each piece which appears

to be achieved by a swirling effect as though the wind is blowing. The "Lady in a Head Scarf” is certainly in a breeze as indicated by a leaf on her. lap, but it is a gentle one. None of the roses have drooping petals, all are uplifted. A little different are some white groups made from stoneware clay — "Family,” an obvious name for the group, and “Friendship” a study with the serenity typical of such a relationship. These white creations are a little reminiscent of the Chinese figures made in the seventeenth and eighteen century, known in Europe as “blanc de chine.”

These sculptures were not made as a commercial venture, and their creator does not like to part with them. There is at least one cabinet which holds special pieces, never to be sold, but she is pleased that others enjoy them. Some are for sale and make very acceptable gifts, especially for visitors to New Zealand wishing to take home some special reminder of our country. People interested in seeing the collection may telephone 485-251 and arrange to visit the Rona Cooper Studio in the garden of Kauri Lodge, 154 Riccarton Road.