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Lot 59
λ LUCIE RIE (AUSTRIAN/BRITISH 1902-1995)STONEWARE VASEWith volcanic pink, white and burgundy glazeImpressed with the LR seal (to the underside)11 x 8cm (4¼ x 3¼ in.)Executed circa 1978-79.Provenance: Peter Dingley, Stratford-upon-AvonPrivate Collection (acquired from the above on the 11th July 1979)Lucie Rie was born in Vienna in 1902. From an early age she was immersed in the intellectual and artistic environment of early 20th century European modernism. She learnt her craft at the Vienna Kunstgewerbeschule, a school associated with the famous Wiener Werkstätte, and had already made a name for herself on the continent in the 1920s and 30s before the 1937 Anchluss with Nazi Germany forced Rie and her husband to flee to Britain. The artistic climate of late 1930s London was far removed from the sophisticated and elegant city that she had left. Her reputation which was wide-reaching in Europe, did not extend beyond a few admirers. Unable to get a licence to produce pots during the war, she made ends meet by producing ceramic buttons and jewellery for high end fashion retailers. The immediate post-war years saw her work hard to re-establish herself as a potter of note. Unlike many of her British contemporaries who looked into the past for their inspiration, Rie's style was relentlessly modern and experimental, a quality that would permeate her work for the rest of her life. The following three works presented in the sale all date from 1978-1980. Although already in her late 70s, Rie was still at the height of her creative powers and all three works demonstrate her unique method of applying glazes. Right from the beginning of her career in Austria, she seems to have taken an unusual approach to the process. Rie applied her glazes by brush directly to the dry and unfired clay with the resulting work only requiring firing once and thus excluding the usual biscuit-firing prior to glazing, employed by most potters of the period. As Nigel Wood explains in his essay in the exhibition catalogue that accompanies the current exhibition of her work at Kettles Yard (p. 210), the process had certain advantages that appealed to Rie:'Using a system that allowed glazing and firing to follow closely on throwing and turning made production faster, the fired results more quickly assessed, and the new ideas more easily developed. For a potter who experimented constantly through her working life this was a significant advantage.' The ability to apply glazes directly gave Rie enormous artistic freedom, allowing her to manipulate the texture and surface of the vessel to push the boundaries of what was possible. The vibrant blues, yellows and pinks employed by Rie accentuate the sophistication and beauty of her designs. As a woman working on her own, she forged an independent path, producing works that were uniquely her own. She left what is arguably one of the most important bodies of work in the field of studio ceramics and a legacy of innovation which resonated throughout wider artistic world. Condition Report: In good original condition. No evidence of damage, repair or restoration. Condition Report Disclaimer
Lot 60
λ LUCIE RIE (AUSTRIAN/BRITISH 1902-1995)A STONEWARE TRUMPET VASEWith 'volcanic' partly spiralled grey-green and white glazesImpressed with the LR seal (to the underside)29 x 15cm (11½ x 6 in.)Executed circa 1979-1980.Provenance: Peter Dingley, Stratford-upon-AvonPrivate Collection (acquired from the above on the 2nd September 1980)Lucie Rie was born in Vienna in 1902. From an early age she was immersed in the intellectual and artistic environment of early 20th century European modernism. She learnt her craft at the Vienna Kunstgewerbeschule, a school associated with the famous Wiener Werkstätte, and had already made a name for herself on the continent in the 1920s and 30s before the 1937 Anchluss with Nazi Germany forced Rie and her husband to flee to Britain. The artistic climate of late 1930s London was far removed from the sophisticated and elegant city that she had left. Her reputation which was wide-reaching in Europe, did not extend beyond a few admirers. Unable to get a licence to produce pots during the war, she made ends meet by producing ceramic buttons and jewellery for high end fashion retailers. The immediate post-war years saw her work hard to re-establish herself as a potter of note. Unlike many of her British contemporaries who looked into the past for their inspiration, Rie's style was relentlessly modern and experimental, a quality that would permeate her work for the rest of her life. The following three works presented in the sale all date from 1978-1980. Although already in her late 70s, Rie was still at the height of her creative powers and all three works demonstrate her unique method of applying glazes. Right from the beginning of her career in Austria, she seems to have taken an unusual approach to the process. Rie applied her glazes by brush directly to the dry and unfired clay with the resulting work only requiring firing once and thus excluding the usual biscuit-firing prior to glazing, employed by most potters of the period. As Nigel Wood explains in his essay in the exhibition catalogue that accompanies the current exhibition of her work at Kettles Yard (p. 210), the process had certain advantages that appealed to Rie:'Using a system that allowed glazing and firing to follow closely on throwing and turning made production faster, the fired results more quickly assessed, and the new ideas more easily developed. For a potter who experimented constantly through her working life this was a significant advantage.' The ability to apply glazes directly gave Rie enormous artistic freedom, allowing her to manipulate the texture and surface of the vessel to push the boundaries of what was possible. The vibrant blues, yellows and pinks employed by Rie accentuate the sophistication and beauty of her designs. As a woman working on her own, she forged an independent path, producing works that were uniquely her own. She left what is arguably one of the most important bodies of work in the field of studio ceramics and a legacy of innovation which resonated throughout wider artistic world. Condition Report: In good original condition. No evidence of damage, repair or restoration. Under UV there is two small circular patches of possible glue residue from old stickers. Condition Report Disclaimer
Lot 61
λ LUCIE RIE (AUSTRIAN/BRITISH 1902-1995)PORCELAIN BOWLWith a strong yellow glaze and manganese rimImpressed with LR seal (to the underside)9 x 9cm (3½ x 3½ in.)Executed circa 1978-79.Provenance: Peter Dingley, Stratford-upon-AvonPrivate Collection (acquired from the above on the 11th July 1979)Lucie Rie was born in Vienna in 1902. From an early age she was immersed in the intellectual and artistic environment of early 20th century European modernism. She learnt her craft at the Vienna Kunstgewerbeschule, a school associated with the famous Wiener Werkstätte, and had already made a name for herself on the continent in the 1920s and 30s before the 1937 Anchluss with Nazi Germany forced Rie and her husband to flee to Britain. The artistic climate of late 1930s London was far removed from the sophisticated and elegant city that she had left. Her reputation which was wide-reaching in Europe, did not extend beyond a few admirers. Unable to get a licence to produce pots during the war, she made ends meet by producing ceramic buttons and jewellery for high end fashion retailers. The immediate post-war years saw her work hard to re-establish herself as a potter of note. Unlike many of her British contemporaries who looked into the past for their inspiration, Rie's style was relentlessly modern and experimental, a quality that would permeate her work for the rest of her life. The following three works presented in the sale all date from 1978-1980. Although already in her late 70s, Rie was still at the height of her creative powers and all three works demonstrate her unique method of applying glazes. Right from the beginning of her career in Austria, she seems to have taken an unusual approach to the process. Rie applied her glazes by brush directly to the dry and unfired clay with the resulting work only requiring firing once and thus excluding the usual biscuit-firing prior to glazing, employed by most potters of the period. As Nigel Wood explains in his essay in the exhibition catalogue that accompanies the current exhibition of her work at Kettles Yard (p. 210), the process had certain advantages that appealed to Rie:'Using a system that allowed glazing and firing to follow closely on throwing and turning made production faster, the fired results more quickly assessed, and the new ideas more easily developed. For a potter who experimented constantly through her working life this was a significant advantage.' The ability to apply glazes directly gave Rie enormous artistic freedom, allowing her to manipulate the texture and surface of the vessel to push the boundaries of what was possible. The vibrant blues, yellows and pinks employed by Rie accentuate the sophistication and beauty of her designs. As a woman working on her own, she forged an independent path, producing works that were uniquely her own. She left what is arguably one of the most important bodies of work in the field of studio ceramics and a legacy of innovation which resonated throughout wider artistic world. Condition Report: In good original condition. No evidence of damage, repair or restoration. Condition Report Disclaimer
Lot 2302
Matchbox Lesney "Souvenirs" Giftware Series. (1) K37 Speed Kings Sand Cat - light gold plated body with orange/green/white hood label, black plastic roof & interior, clear windscreen, orange base, Maltese Cross wheels - Near Mint on ceramic ashtray in Good Window Box with damaged perspex window; (2) Skybusters Boeing 747 Airliner - white upper fuselage with "British Airways" labels, light gold plated lower fuselage & wings - Near Mint on ceramic ashtray in Good Plus Window Box with remains of label to perspex window. (2)
Lot 2304
Matchbox Lesney "Souvenirs" Giftware Series Ex-Shop Stock 2 x Skybusters Boeing 747 Airliner - both are white upper fuselage with "British Airways" labels, light gold plated lower fuselage & wings - Near Mint to Mint on ceramic ashtray in Excellent Window Boxes complete with Good original plain card outer transit sleeves. (2)
Lot 16
A mixed lot of silver items,various dates and makers,comprising: an American nail buffer and stand, by Gorham, an egg cup, a powder pot a pair of silver-mounted ceramic vases, a dish, an ashtray, a desk seal, a caddy spoon, and a collection of silver-mounted glass toilet jars, scent bottles and condiments, plus other items including electroplate, approx. weighable 12oz. (qty)
Lot 21
A mixed lot of silver items,various dates and makers,comprising: a small chamberstick, Sheffield 1891, a razor case, a compact, a box modelled as a miniature table, three fruit knives, a lipstick holder, a pocket watch and various small items in a jewellery case, plus an electroplated and ceramic desk seal and an electroplated miniature harp, approx. weighable 12.5oz. (qty)
Lot 370
A small collection of three silver-mounted glass and ceramic table vesta strikers,globular form, comprisng: a late-Victorian one, by Levi and Salaman, Birmingham 1899, blue ceramic body, plus a modern purple glass one, the mount inscribed, by Annable Jones, London 1994, and another modern one by Annable Jones, London1993, the green ribbed glass body resembling malachite. (3)Provenance: The Collection of Robin and Rupert Hambro.
Lot 51
λ λA mixed lot of silver items,comprising: a silver-mounted dish, by Walker and Hall, Birmingham 1932, the centre with a ceramic disc by Carlton Ware with the arms of Magdalen College, Oxford, (cracked), plus a modern silver-mounted corkscrew with a vine handle, a metalware and green hardstone handled magnifying glass, and an electroplated handled tortoiseshell shoehorn. (4)Provenance:The Barry Lock Collection.
Lot 1074
A Victorian mahogany extending dining table, last quarter 19th century,: the oval top with moulded edges, above plain friezes and knopped and reeded legs to brass caps and ceramic castors; 74cm high, 136cm long, 121cm wide; with two extra leaves adding 57 and 49cm to the length respectively
Lot 1177
A late Victorian or Edwardian mahogany centre table, by James Shoolbred, London, circa 1900; the octagonal top with moulded and parcel gilt edges; on a square frame, the bearer with an applied enamel plaque inscribed JAMES SHOOLBRED & CO., TOTTENHAM HOUSE, TOTTENHAM COURT ROAD, LONDON, and further stamped; on four knop turned, waisted and parcel gilt legs to a galleried square shelf, above brass caps and ceramic castors; 75cm high, 90cm wide
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163691 item(s)/page