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Click here to subscribeBARBARA HEPWORTH & BERNARD LEACH.The Borough of St. Ives, Cornwall booklets for Barbara Hepworth & Bernard Leach to commemorate the conferment of the Honorary Freedom of the Borough. Complete with the luncheon menu & three Hepworth postcards, all in original acetate slip case. Each booklet signed & dated by the artist.
‡ Bernard Leach (1887-1979) a Leach Pottery stoneware Leaping Fish bottle vase, incised and painted with panels of leaping fish, in tenmoku on a grey ground two impressed seal marks, 32cm. high Literature Bernard Leach Potter & Artists, Crafts Council, 1997 page 147 cat. no.172 for a painted version similar. Bowie/Collector Sotheby's London 10th November 2016, lot 1 for an identical vase.
BERNARD LEACH (1887-1979) for Leach Pottery; a stoneware tile depicting a bird on a nest feeding its young, painted early LB mark, 10 x 10cm. (D) Provenance: The Trevor Corser Collection. CONDITION REPORT: Tiny chip to bottom edge, otherwise appears good with no further obvious signs of faults, damage or restoration. The rear of the tile is still attached to some brick and mortar following its removal from a fireplace. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
BERNARD LEACH (1887-1979) for Leach Pottery; a stoneware pedestal bowl, light grey glaze to interior, khaki glaze to exterior, impressed BL and SI marks, diameter 30.5cm. (D) Provenance: The Berkeley Collection. CONDITION REPORT: Gold lacquer repair to rim, otherwise appears good with no further obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
A CHINESE EXPORT SILVER DISH makers mark W.C. (untraced), Character mark and '90', the dish engraved with a dragon and clouds, with a similarly decorated pierced rim, on three bracket supports, one of which bears the marks, 19cm diameter, 295g (9.5 troy ozs) gross. Provenance: presented to the celebrated potter Bernard Leach and thence by descent.
BERNARD LEACH (1887-1979) 'Bernard Leach', first edition published 1966 by Asahi Shimbun Publishing Company, Tokyo, clothbound hardback with colour and black and white plates. Originally Dame Lucie Rie's (1902-1995) personal copy, signed 'To Lucie from Bernard 25.1.67' Some water staining to cloth covers, water damage has caused slight buckling to pages and yellowing to edges. Spine still tight
John Bedding (British, b.1947) 'Pilgrim' bottle with 'Tree of Life' design, 2007 the reverse inscribed with 'Leach Pottery Restoration Year, 2007' impressed potter's seal 41cm high, 35cm across. Artist's Statement: This pot was made as a tribute pot to Bernard Leach using one of his favourite motifs, 'The Tree of Life'. As a former student of Bernard and later an employee of the Leach Pottery, I understand the enormous contribution he made to the world of Studio Pottery. Over the years he trained and inspired generations of potters into making pots with love and integrity.
‡ Bernard Leach (1887-1979) Beggar and Songbird etching on paper, framed signed in the print, paper gallery label, 5/25 in pencil 119.5 x 14.5cm. Provenance Sheila Harrison Fine Art. Literature Simon Olding The Etchings of Bernard Leach, Crafts Study Centre, page 61 catalogue number 34 for an example of this print illustrated.
‡ Bernard Leach (1887-1979) Harbour with Schooner, etching on paper, framed printed facsimile signature, paper gallery label, 5/25 in pencil 15 x 16cm. Provenance Sheila Harrison Fine Art. Literature Simon Olding The Etchings of Bernard Leach, Crafts Study Centre, page 34 catalogue number 7 for an example of this print entitled 'West India Docks' illustrated.
Bernard Leach (1887-1979) a Leach Pottery stoneware tea canister, covered in a matt green glaze, with later wooden cover, and a fluted bowl covered in a rich tenmoku glaze, and a collection of four Chinese celadon glazed bowls, two blue and white bowls possibly Vietnamese, and a celadon deep-rimmed plate, impressed seal marks, to canister, 14.5cm. high, (9). Provenance Decorative Arts, Christie's, 4th May 1998 lot 50 (both items).
A Japanese Imari porcelain tea set from the reference collection of Bernard Leach, comprising a teapot with cane handle and five tea bowls, original wooden box with painted Japanese characters, teapot height 10cm (excluding handle), with a certificate of authenticity signed by Janet Leach, dated October 1984. CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration.
§ Lucie Rie, (Austrian/British, 1902-1995), a fine porcelain vase with flared rim, with manganese glaze and sgraffito decoration, seal mark to base 19cm (7in) Provenance: Purchased by the vendor's mother directly from Lucie Rie at Albion Mews in the early 1980's Literature: British Studio Ceramics, Paul Rice, The Crowood Press, 2002 Illustration of Vase, Plate 88, page 91 Other Notes: Lucie Rie (1902-1995) was undoubtedly one of the leading ceramists of the 20th Century. She trained in Vienna and moved to London before the outbreak of the second world war. Initially her work was poorly received, Bernard Leach criticised her work as weak and "feminine" and the potter Michael Cardew once asked her whether "it was possible to like someone if you hated their pots". Gradually after the war she achieved recognition. Her tableware was the first of her work to be well received, seen as a product of a distinctively European aesthetic, and quite unlike the prevailing fashion of Oriental ceramics in Britain. Her training and roots in Modernism born in Austria and Germany profoundly reflected her design. She was never interested in mere ornamentation but in the balance and synthesis of the form. Her vases and bowls reflects this economy of form with flaring shapes and large recessed feet. She started to use sgraffito from the late 1940s apparently after looking at Neolithic and Bronze Age pottery in a museum in Averbury Wiltshire. Sgraffito is a form of decoration made by scratching through a surface to reveal a lower layer of contrasting colour; here achieved by scratching through the dark glaze with a needle to the underlying white glaze. Sgraffito allowed Rie to articulate points of transition in the form; the shoulder and necks of jars, or the springing point of a bowl. In the 1980s she introduced a new palette of brighter glazes, peacock blue, magenta and sage green. She continued to make pots in her favourite forms as well as some new shapes until a stroke in 1990 prevented her from working any more. Rie was awarded a CBE in 1981 and was created a Dame in 1990. Her impact on British, and world ceramics, is immeasurable. Ask any collector of ceramics why they should own a Rie and the answer will be because her work marks the cornerstone of modern contemporary ceramics. Condition: Appears to be in very good condition, however, upon inspection under UV light, there has been some restoration to the rim. To the best of the vendor's knowledge, this was not restored by his mother, and may, therefore, have been repaired by Lucie herself, as the vase was purchased from her directly. PLEASE NOTE, THE ESTIMATE HAS BEEN REVISED ACCORDINGLY.
Bellows (George). The Paintings of George Bellows, Alfred A. Knopf, 1929, colour frontispiece, numerous black and white illustrations, original boards, spine a little toned, edges rubbed, 4to, together with Ceramiques de Picasso, Texte de WSuzanne et Georges Ramie, Editions d'Art Albert Skira, Geneva, 1948, half-tone portrait, 18 colour plates, small marginal insect damage to a couple of leaves, contents loose, original stiff wrapper, glassine cover torn, insect damage to spine, folio, with others related including The Etchings of James McNeill Whistler, by Campbell Dodgson, 1922, George Bellows. His Lithographs, revised edition, 1928, and A Potter's Portfolio. A Selection of Fine Pots, Introduced by Bernard Leach, 1951 (14)
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