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Friday 22 January 2016

Anglo-Boer War BL 5 inch shrapnel shells Mk III


An officer of artillery who runs out of ammunition in mid-battle merits death.” Napoleon

15 Pdr. Artillery Shell: The 15 pounder shell shown here was a standard artillery shell used by horse drawn artillery pieces in the Boer War. Markings in the base identify it as a “15 PR” made for the British military.
The shell is 11” high, is capped with a brass fuse and bound with a copper “driving ring” on the bottom.  When a shell is fired it is not dangerous. It is basically just a hunk of metal which – after it is “fired” - is being spun round by the brass drive ring engaging the grooves in the barrel sending the shell spinning out the barrel.


Still not dangerous; there are many cases where artillery shells like these just hit something and made small holes in the wall or on the ground. There was no “serious” damage done because the shell simply failed to explode. However, with the specimens on display, it is clear that this was not the case and that they actually exploded.

It is the fuse which made the shell deadly. It was graduated with increments in seconds in a ring around the top. Before loading it, an artilleryman would dial in the seconds that should lapse before the shell explodes, after it has been fired.  Often, this was timed to go off as the shell was still in the air over the enemy, sending shrapnel balls – some 200 could be packed inside – down into the men covering the trenches.[1] If dispatched accurately, these shells could be extremely deadly.

The particular shells on display were found on the erstwhile Rietvly (271 JQ) farm of Dr. Dolf Smith and his wife, Mrs. Lesley Smith. This farm is located not too far away from here, somewhere in between Kedar and Rustenburg. The Smiths purchased the farm in the early nineties from Dr. Charlie Payne, who had inherited it from his father. The farm had been divided previously and Charlie's sister inherited her portion of it, she married Thinus Smit and the Smiths became their new neighbours.

Dr Smith developed his farm house halfway up the mountain on the white (and what they believe to be) dolomite rocks. In this process, he also had to make a road to access the house, drill for water and fence the place. 

The Smiths found a Boer War camp site on the farm, the rock walls were very obvious.  While fencing the farm, Dr. Smith came across these shell cases. The Smiths also discovered a furrow which extended over the mountain. They are unsure whether it was dug by the Boers or the Brits.
The Smiths donated these shells to Kedar Heritage Lodge, Conference Centre & Spa in 2015 and Mrs. Smith has the following to say:

My husband, who turns 93 years old this month (December 2015), has a particular interest in the period as his father fought in the Boer War under Gen. de Wet where his right thumb was shot off. After seeing Kedar, he said he wished he could have shown his father your collection. We took Latie, my husband’s son, who practises in Rustenburg, to Kedar last week and his reaction was, if possible, even greater than ours!”

We have always admired countries that preserve their heritage and felt that many South Africans do not appreciate what a rich history we have. We thank you for what you have done, and are doing. We are expecting our first great grandchild in May next year and it is reassuring to know that he will be able to see evidence of what transpired during that period.”




[1] http://angloboerwarmuseum.com/Boer20c_techofwar.html

Wednesday 20 January 2016

Murals at Misty Hills Country Hotel, Conference Centre & Spa

Christopher Patton is the designer of all the beautiful murals on display at Misty Hills Country Hotel, Conference Centre & Spa. He was born in 1935 in Belfast, Northern Ireland and is a ceramic designer who also produces individual pieces of pottery and small runs of production pottery. Over the years he has produced every type of handmade ceramic, the largest being the “Setanta” mural in Dublin 40 ft long and 18 ft high. This work took two years to complete.

Chris Patton has been a full time potter for over 40 years. He obtained a degree in fine art (from the Belfast College of Art and Design, graduated in Lithography and ceramics) and was also a teacher for many years. He gained experience in potteries in France, Norway and England before establishing a studio in Hillsborough in Ireland which he ran for ten years. Chris relocated to South Africa in 1982 and established his current studio in an old deep litter chicken house on a plot near Muldersdrift where he lives and works. Chris has worked very closely with the Recreation Africa Group and, at Misty Hills Country Hotel, Conference Centre & Spa (Misty Hills) he has been responsible for:

·         The reed dance” - new reception area.
·         Lobola” - conference centre.
·         Bushman Hunters” - entrance drive way.
·         African animals” - entrance drive way.

He works mainly in stoneware but has at one time or another experimented with earthenware, porcelain, terra cotta and everything in between! Stoneware, however, remains his preferred medium. He makes his own clay, glazes and most of his colours. He works using oxides on raw glaze, decorating spontaneously with direct brushwork, very much in the Anglo Japanese tradition, looking towards sung dynasty ceramics as a yardstick.

In recent years, murals and decorated wash basins have featured amongst his work however “throwing” has always been the principal creative skill. Recently, with changing trends in ceramics he has been making production runs in terra-cotta or bisque for clients, which requires repetitive throwing. He prefers work to order when possible; in an innovative and creative sphere. His work can be seen at Misty Hills Country Hotel, Conference Centre & Spa as well as the Corobrick Collection in Pretoria.

Chris stipulates that, “the inspiration for all the works I have undertaken at Misty Hills has been African, inspired either by traditional events, animals or history. These murals are to be enjoyed and therefore I always look to a decorative and lively image using my experience of ceramics to create textures and colours unique to pottery. There is often a narrative; the reed dance and lobola for example, while others are formalised animals relying on pattern colour and texture for their statement”.


“The creation of mural is always a challenge, each one requiring a different approach and always seeking a different visual effect. I feel if I don’t get pleasure out of making these murals how can I expect anyone else to. I love my job!”