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The Nina, The Pinta, The Santa Maria on the large ocean. From the group: Terrrors of the sea. From series two: The trials and tribulations of the first voyage
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The Nina, The Pinta, The Santa Maria on the large ocean. From the group: Terrrors of the sea. From series two: The trials and tribulations of the first voyage, result 1 of 1

Item Details
Open Artstor
Available to everyone
Culture
New Zealander
Title
The Nina, The Pinta, The Santa Maria on the large ocean. From the group: Terrrors of the sea. From series two: The trials and tribulations of the first voyage
See all records within the set
Work Type
ceramics, sculpture, works of art
Date
1991
Material
stoneware; slab built, hand modelled; black stain
Measurements
85mm, 255mm, 300mm
Description
'My brief was to make something about Colombus(sic), something that would appeal to a wide range of people and be understood without the use of words. After much hesitation and after reading a great many books, I decided the only way I could tackle the subject was by treating it as an unfolding story of the "first Voyage". The information for the pieces came from paintings, sculpture and ceramics of the period, but the most help came from the woodcuts in Oviedo's History of the Indies. The objects were made by a combination of coiling, slab, and solid modelling.The solid work was cut, hollowed, and rejoined. All pieces were finished with modelling and surface texture. I didn't make models or do working drawings. I carried the idea in my mind, or stuck a picture or photo on the wall to help me create the atmosphere. I found making these objects quite difficult. I usually destroy many pieces before they get to the kiln, but the time limit on the Columbus work meant I didn't have the luxury of selection. Everything had to be right the first time around. The clay used is "T" material imported from England, horribly expensive but 100 per cent reliable. I did not want to cope with unknown shrinkage problems and did not have the time to test each bag of clay. The colour was painted on the dry unfired clay and then, after bisque firing, a black stain was added to try to get a 15th century woodcut feeling into the work. The final firing was at 1260 degrees in a new Cobcraft Decagon electric kiln which I bought especially for this job.' Ann Verdcourt Treasures of the Underworld. Catalogue. World Expo, Seville, Spain. 12 April-20 October 1992.
Repository
Collection: Art
Commissioned 1991, in partnership with Expo NZ 1992 Ltd and the Queen Elizabeth II Arts Council of New Zealand
Accession Number
Source
Image and original data provided by Museum of New Zealand - Te Papa Tongarewa
License
Use of this image is in accordance with the applicable Terms & Conditions
File Properties
File Name
TePapa_L01_MA_I130706_TePapa_The-Nina-The-Pinta-The_full.jpg
SSID
27022837

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