Page 95 - Bulletin 9 2005
P. 95

81




               The final decades


               Glazes, pigments and other chemicals had always been obtained from overseas, mainly from
               England, but during the Second World War these sources of supply were cut off and as a

               result the studio was faced with closure, which Conrand prevented by purchasing the business
               in  1943.  The  name  Linnware,  used  from  this  point  until  the  eventual  closure  of  the

               undertaking, is thought to be derived from the name Cullinan. Gladys Short, who had been

               suffering from ill health for some time, retired at this stage because she could not accept what
               she regarded as the more commercial orientation of the new venture. Joan Methley stayed on

               to  manage the  Linnware studio, with  Audrey Frank and Thelma Currie  working part-time

               until  the  1950s.  Although  this  period  saw  few  major  architectural  commissions,  the
               production of domestic ware and individually decorated pieces continued, the general quality

               matching that of the earlier products despite Gladys Short's misgivings. The glazes developed
               by the technical staff at Conrand to replace those from overseas were initially inferior but

               they improved considerably and eventually matched the imported glazes used by the Ceramic
               Studio.


                                            19
               Towards the end of the 1950s a diminishing consumer demand for Linnware combined with
               a lack of artistic direction after Joan Methley’s retirement, eventually forced Conrand to close

               this part of their operation. During its later years the studio appears to have done very little
               new  work,  simply  continuing  to  reproduce  tile  patterns  and  tableware  designed  in  earlier

               decades and ignoring not only changes in consumer taste but also the increasing competition
               from local and overseas manufacturers. A small and cohesive group of artists had provided

               the original vision and impetus for an extraordinary undertaking; as the individuals departed,

               or grew older, the level of creative energy gradually diminished. All these factors made the
               closure of the Linnware studio inevitable.



               Notes

               1   A. P. Cartwright Diamonds and Clay Purnell and Sons, Cape Town 1977, 85–6.

               2   Interview with  Mrs Marjorie Cullinan (neé Johnstone), March 1987. The name of the
                   interviewer is not known.

               3   Thelma  Currie  (neé  Newlands)  was  widowed  twice,  and  used  various  surnames  when
   90   91   92   93   94   95   96   97   98   99   100