Kerosene Fired Kilns

as told by Ruby Gayle Jackson
Ada, Oklahoma
First, a word from Marci:
One of the things that makes all the work we put into PPIO worthwhile is getting to meet some people who burrow into your heart and stay there. One such lady is Ruby Gayle Jackson, who I am privileged to call my friend. She began china painting in 1925 at the age of 10 and has loved it ever since...and I am pleased to present her reminiscences about the "old days".
(taken from an ad in Keramic magazine..1906 )

THE REVELATION CHINA KILN

This Kiln is Especially Well Adapted for Glass Firing

SOME REASON(sic) WHY THESE KILNS ARE THE BEST
Because They Have
No flying back in the mixer.
No warping or scaling of iron.
No back-breaking lids.
No unbearable heat.
No odor of escaping gas or otherwise.
No stove pipe to be adjusted each time.
No plumbers bills to eat up the profits.
 Also Because They Have
A fire brick oven with a door.
A window protected by mica.
A practical, cheap fuel.
Ease in stacking.
Comfort and pleasure in watching.
Absolute safety.
Superior results.
REMEMBER
That the Revelation Kiln is not a cast-iron device, which is easily and cheaply made, but it is constructed of the finest grade of fire clay, both in the linings and oven proper.
That it will produce superior results in Glaze and Colors that cannot be obtained in any iron muffle furnace.
That it will last three or four times as long as any gas, gasoline or charcoal kiln made.

REMEMBER
That it will produce superior results in Glaze and Colors that cannot be obtained in any iron muffle furnace

REMEMBER
We take pride in referring to the following well-known artists and schools, a few of the many, from all parts of the world, who make constant use of the Revelation:
Franz A. Bischoff, Detroit...... F. B. Aulich, Chicago...... Marshal Fry, Jr., New York...... Mrs. Helen M. Clark, Chicago...... Mrs. L. Vance Phillips, New York...... Sidney B. Callowhill, Boston...... George Leykauf, Detroit...... William Lycett, Atlanta...... A. B. Cobden, Philadelphia...... Mrs. Alice Seymour, Des Moines...... Henrietta Barclay Wright, Minneapolis...... Miss Helen D. Phillips, San Francisco......

For further information and many testimonial letters, send for one of our ILLUSTRATED CATALOGUES.

H. J. GAULKINS & CO.

---MANUFACTURERS OF---
China Kilns. Enamel Furnaces. Dental and Other High Heat Furnaces.
44-46 Gratiot Avenue, DETROIT, MICH.
Marci suggested that I might be able to tell some of you 'Newbies' what Kilns were like in the 'old days'; and she wasn't referring to the 50's or 60's! If one had lived in a City in the early part of the last century, especially in the Chicago area, Buffalo, New York or a few places on the west coast, you might have had access to a studio where there was a kiln. It wasn't until the early 50's that more and more people began to invest in a kiln of their own.

My first painting was done about 1925. I lived in a small town in southwest Oklahoma. The first kiln I ever saw was at the small college in a town about 30 miles away. I took lessons from a student there where the pieces were fired. I remember seeing the big ugly black monster but was never around when it was being fired.

It was not until 1934, when I was living in northwest Oklahoma and taking lessons from a German lady who had a studio, that I learned more about the operation of the big kerosene-fired kiln in her studio.

I remember hers as being probably about five or six feet tall. It was large, black, and stood off the floor on four legs. I remember hers as being round with the door on the side. It could have been square but I don't think so. It was fueled by Kerosene with the burner underneath the body and the fuel container held by an extended arm to the side.

Some of the earlier ones were Charcoal fired. I don't know how that was done. There were no electric ones probably until after World War II or shortly before. I wonder if many or any homes before that time would have had 220 lines. (note from Marci: 220V is the electrical voltage required in the USA to fire most heavy-duty kilns...Smaller kilns can be fired on 110V.)

I don't remember if my teacher used cones or if she was so experienced that she could tell by the color through the peep holes. (note from Marci: In all of the books I've read from that era, fires were judged by the color of the kiln:*****************

The fire box was lined with fire brick but the outside looked like the material of the old pot-bellied Depot stoves. (They did stay around a bit longer).

Mrs Wyhe did not fire until she had a kiln full. Most things were fired flat with the use of stilts. These often left marks. Satsuma and other soft porcelains were fired separately from the hard ware and stilts were not used.

It usually took about 24 to 36 hrs or longer to bring the temperature up. It was carefully watched and monitored to be sure the fuel was replenished as needed. Then the cooling period was another day or two.

If you go to visit the WOCP Museum in Oklahoma City, you can see one of these old Kilns. One of the state WOCP clubs donated it several years ago. (note from Marci: To find out more about the WOCP museum in Oklahoma City, go to the WOCP web site. You can find a link to the site on the PPIO homepage under the "Our Favorite Links" page.

Firing was a dirty, smelly job. That there were few china painters outside the large urban areas was not surprising. If you didn't live where there was a kiln available to have your work fired then it was necessary to ship it somewhere. And of course you are wondering how the paint would keep from getting smeared in shipping? It was not until I returned to painting in the early 80's (after a long absence) that I had ever heard of an "open medium". I had never painted with anything except fat oil, with Lavender oil or Clove oil .....maybe some others, I've forgotten. It was thinned with pure turpentine. I still miss all those wonderful fragrances of lavender and cloves in any house or studio where there is china painting. When paints are mixed and painted with turps it doesn't take long for the paint to become HARD. Pieces were carefully wrapped in tissue paper after they dried. Paint was applied heavier, there was less blending and few fires.

Naturalistic style of painting was not the 'style' and wasn't readily accepted for a long time. Conventional work and eventually a semi-naturalistic style emerged. Lots of dinnerware was done with enamels. Perhaps the need for many to ship their work for firing helped to promote this style of painting longer than than would have been popular had each painter had his own kiln.

It is perhaps hard for todays painters to imagine or realize how china painting changes in styles, techniques etc. But the basics haven't changed. Mineral paints are still applied to porcelain blanks and baked in an oven, be it one of the earth's clay or the latest digital on the market.

Aren't we the luckiest china painters to come down the pike!!!

(Will one of you Newbies please send me an e-mail (or whatever they'll be called) 50 or 60 years from now and let me know what wonderful 'new' things you are using. )

Keep painting.

RubyGayle

Note from Marci: Ruby Gayle, I DO believe you WILL still be checking your email 50 or 60 years from now.........(grin)

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