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Lot 314
‡ Dame Lucie Rie DBE (1902-1995) a stoneware shallow bowl, rounded rectangular section, glazed white with inlaid blue veins, impressed seal mark, 24cm. long, 19cm. wide Provenance Lucie Rie's Estate Private German collection Literature Lucie Rie Crafts Council exhibition 30th January-5th April 1992, catalogue number 15.6 Dame Lucie Rie Sale of a Lifetime, Bonhams, Thursday 17th April 1997 lot for two comparable pieces.
Lot 317
‡ Dame Lucie Rie DBE (1902-1995) a stoneware planter or Bonsai jardiniere, flaring cylindrical form with incised bands, glazed to the foot with a pitted oatmeal glaze, impressed seal mark, frost crack to top rim, 35.5cm. diam. Catalogue notes These planters were commissioned from Lucie Rie and Hans Coper by Bunny Roger and his brother Sandy for use outside. On Bunny's death in 1997 they were sold with his collection at Sotheby's. Provenance Bunny Roger Private collection.
Lot 316
Dame Lucie Rie DBE (1902-1995) a stoneware vase, swollen form, covered in a running and pitted blue glaze, impressed seal mark, 15.5cm. high Provenance Private German collection, purchased directly from Lucie Rie in 1975. Literature Dame Lucie Rie Sale of a Lifetime, Bonhams, page 86 lot 189 for comparable glaze on a footed vase.
Lot 359
Lots 359 to 374These lots are entered from the estate of the ceramicist Sally Dawson (1927-2017). A teacher and potter based in Hackney, Sally was born in Montreal, Canada, moving to London in 1963 where she studied at the Sir John Cass School of Art. She had a studio in the basement of her house and was a member of the Craft Potters' Association. Over the years, Sally collected many works by her contemporaries.*Dame Lucie Rie (1902-1995), a stoneware vase, with a tall trumpet-shaped neck with flaring rim, with a spiral glaze in mushroom, ochre, mauve and green, potter's mark,37cm high*Artist's Resale Right may apply to this lot.
Lot 87
Dame Lucie Rie (1902-1995) – a stoneware bowl, the flared sides glazed in grey/cream glaze with a dense pattern of radiating incised lines inlaid in dark brown/bronze to interior and exterior, leaving a central reserve, on tall narrow foot, raised monogram to underside, Height 4.25”, Diameter 10”. SEE FRONT COVER ILLUSTRATION
![Lucie Rie [1902-1995]. A pitted brown and grey glazed stoneware vase: with slender neck and flared rim, the cylindrical body](https://cdn.globalauctionplatform.com/d0a10959-a422-4dd1-8da8-a7980108cbf2/0d65a176-3987-463f-8161-9f7368927e00/468x382.jpg)
Lot 283
Lucie Rie (1902-1995) Bonsai pot, with four feet and black glazed exterior, monogram to base, 37cm wide Bought from Bonham's Knightsbridge 30th November 1995 sale, lot number 445. Artists` Resale Right (droit de suite) may apply to this lot. Condition report: No damage, restoration or crazing. There is a minor glaze chip to one edge. Two feint firing faults are evident in the corners of the piece as well as to the bottom inside.
Lot 228
Hans Coper (1920-1981). A waisted vase stoneware vase, the surface with alternating cream and dark brown patches, impressed mark to base, height 18.5cm Provenance: The vendor's parents purchased this vase from Berkeley Galleries, London c. 1957. Around this time they visited Dame Lucie Rie, at Albion Mews, who was sharing a studio there with Hans Coper at the time.
Lot 607
Lucie Rie (1902 - 1995) stoneware teapot, the domed body with all-over white glaze, the lid with a manganese edge, looping cane handle, impressed LR seal, 22cm high, AF. By repute this teapot was used by Dame Lucie Rae as her personally teapot until the vendor took possession of of the piece.
Lot 179
Lucie Rie (1902-1995) Set of five cups and six saucers, 1956 the cups horizontally incised on manganese ground each impressed potter's seal the cups 7cm high, the saucers 14cm diameter. Provenance: Purchased directly from Lucie Rie at Albion Mews in 1956. Sold together with original receipt. Literature: see Margot Coates (ed.), Lucie Rie & Hans Coper: Potters in Parallel, Barbican Art Gallery, Herbert Press, 1997, cat. 2.26 for a pouring vessel with similar decoration.
Lot 301
‡ Dame Lucie Rie DBE (1902-1995) a fine, early porcelain bowl, flaring footed form, glazed yellow to the foot and interior, with a broad band of manganese, sgraffito decorated with dots and borders, impressed seal mark, 7.5cm. high, 11cm. diam. Literature John Houston Lucie Rie, Crafts Council, page 39 colour plate 9 for a comparable illustration. Tony Birks Lucie Rie Alphabooks, page 105 for a comparable stem bowl illustrated, circa 1957. Provenance Margaret Pilkington OBE, (1891-1974), curator of the Whitworth Art Gallery and wood engraver. Private Collection Catalogue Notes Margaret Pilkington was the daughter of Lawrence Pilkington the founder of the Pilkington Tile Company family. In 1913 she studied at the Slade before moving to the Central School to study wood engraving under Noel Rooke, and was encouraged and also advised by Lucien Pissarro.
Lot 497
A Dame Lucie Rie stoneware pottery vase the thrown vase of cream glaze with ribbed surface, L R monogram 19.5cm high (def), a St. Ives studio pottery bowl, unglazed to the exterior, green glaze with flecks to the interior, impressed seal mark, 9.5cm high x 19.5cm wide, together with a collection of ten studio pottery bowls and vases, J Ridler, Allstatt etc (12)
Lot 168
Lucie Rie (British, 1902-1995) Footed bowl, circa 1981 porcelain, matte white glaze with golden manganese lip impressed potter's seal 9.8cm high, 12.5cm diameter. Provenance: Purchased directly from the artist at Albion Mews in the early 1980s. Literature: see Tony Birks, Lucie Rie, Stenlake Publishing Ltd., 2009, p.201 for a similar example.
Lot 364
‡ Dame Lucie Rie DBE (1902-1995) a stoneware coffee pot and cover, sgraffito lines in manganese to the cover and side on a grey ground impressed seal mark Literature Dame Lucie Rie Sale of a Lifetime Bonhams, 17th April 1997, page 59 lot 97 for a comparable Coffee pot covered in a black gloss glaze.
Lot 14
LUCIE RIE (1902-1995); a stoneware dish of flared form covered in a pitted cream glaze with manganese rim and faint concentric rings to upper half, impressed LR mark, diameter 18cm. (D) CONDITION REPORT: Professional restoration to one side of the bowl, otherwise appears good with no obvious signs of other faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 16
LUCIE RIE (1902-1995); an oval porcelain vase with inlaid lines and dark bronze interior, impressed LR mark, made c.1966, height 17cm. (D) Provenance: Purchased from The Peter Dingley Gallery, Stratford-upon-Avon.Literature: For a similar example see Tony Birks, Lucie Rie (Catrine: Stenlake Publishing, 2009), p. 118. CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 17
LUCIE RIE (1902-1995); a stoneware bottle with integrated spiral glazes, impressed LR mark, height 16cm. (D) Provenance: Purchased from The Peter Dingley Gallery, Stratford-upon-Avon. CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 18
LUCIE RIE (1902-1995); a stoneware bowl covered in off white glaze with manganese rim, impressed LR mark, made c.1957, diameter 13.5cm. (D) CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 65
HANS COPER (1920-1981); an early large stoneware globular pot, white slip over textured manganese ground, sgraffito eye and linear abstract design, impressed HC mark, made c.1953 at Albion Mews, height 27cm. (D)The sgraffito decoration was cut through a coat of manganese and the pot then covered with a shiny white Lucie Rie glaze, which has an oily texture where it combines with the manganese and a pitted 'orange peel' surface where it is on its own.Provenance: Private collection since at least the 1970s.Literature: For a similar example see The Betty Lee and Aaron Stern Collection (Phillips, New York, 17 December 2013), lot 39; for a jug with the same decoration in the collection of Henry Rothschild see Tony Birks, Hans Coper (Catrine: Stenlake Publishing, 2013), p. 33. CONDITION REPORT: Professional restoration to one side of the main body, otherwise appears good with no obvious signs of other faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 76
§ John Ward, (British, b.1938), a square form stoneware vase, to a tapering base, impressed seal mark and Peter Dingley paper gallery label to underside 16½ x 15 x 15cm (6 x 6 x 6in) Provenance: Peter Dingley Gallery, Stratford-upon-Avon Other Notes: John Ward studied at Camberwell School of Art and moved to Dyfed in Wales in 1979. Ward coil-builds his pots, and then cuts and rejoins the curved surfaces to create more angular shapes. He only uses matt glazes. He has been influence by ancient pre-glaze pottery and the legendary potters Hans Coper for form, Lucie Rie for light and colour and Ian Godfrey for texture. He describes his work as "Form above all, but expressed through light and colour". His work is in public collections including the Fitzwilliam Museum Cambridge, the Victoria and Albert Museum and MOMA New York.
Lot 72
§ 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.
Lot 78
Dame Lucie Rie (1902-1995) PORCELAIN BOTTLE, c.1960 porcelain coated with manganese impressed with artist's initials at base 10 x 5in. (25.40 x 12.70cm) Collection of George and Maura McClelland In the The Hunter Gatherer publication Henry Pim, lecturer in ceramics at Dublin's NCAD, wrote on the McClelland Ceramics and Glass collection and describes the present work thus:"One of my favourites in the collection is a beautiful ceramic bowl by Lucie Rie. Thrown on the potters' wheel, it is decorated with a pale yellow glaze and has a glossy bronze-coloured rim. Rie was something of a glaze wizard and developed wonderful surface treatments for her ceramics at a time when many potters took the view that pots should be brown. Arriving in London as a refugee from Austria at the start of the Second World War, Rie set up her studio there. She brought with her, a feeling for Modernism which made her work stand out in contrast to that of her English counterparts." (1) Rie studied pottery from 1922 under Michael Powolny at the Vienna Kunstgewerbeschule school of arts and crafts. Three years later she set up her first studio in Vienna in 1925 and exhibited the same year at the Paris International Exhibition. She won a silver medal at the Paris International Exhibition (the exhibition for which Pablo Picasso painted Guernica) in 1937. In 1938, she fled Austria and emigrated to England separated from her husband Hans Rie around this time. During the war and in subsequent years, she eked out a living making ceramic buttons and jewellery some of which are displayed at London's Victoria and Albert Museum along with the reconstruction of her entire 18 Albion Mews studio where she was based for 50 years. Rie taught at Camberwell College of Arts from 1960 until 1972. She ceased making pottery in 1990 after suffering a series of strokes and died in London aged 93. Her pottery is exhibited globally including the Museum of Modern Art in New York, the York Art Gallery in the UK, and Paisley Museum in Scotland. (1) Henry Pim in The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.144 P
Lot 77
Dame Lucie Rie (Austrian/British 1902-1995) FOOTED BOWL, c.1980 yellow glazed porcelain with manganese rim impressed with artist's initials at base 4½ x 6¾in. (11.43 x 17.15cm) Collection of George and Maura McClelland The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.146 (illustrated) In the The Hunter Gatherer publication Henry Pim, lecturer in ceramics at Dublin's NCAD, wrote on the McClelland Ceramics and Glass collection and describes the present work thus:"One of my favourites in the collection is a beautiful ceramic bowl by Lucie Rie. Thrown on the potters' wheel, it is decorated with a pale yellow glaze and has a glossy bronze-coloured rim. Rie was something of a glaze wizard and developed wonderful surface treatments for her ceramics at a time when many potters took the view that pots should be brown. Arriving in London as a refugee from Austria at the start of the Second World War, Rie set up her studio there. She brought with her, a feeling for Modernism which made her work stand out in contrast to that of her English counterparts." (1) Rie studied pottery from 1922 under Michael Powolny at the Vienna Kunstgewerbeschule school of arts and crafts. Three years later she set up her first studio in Vienna in 1925 and exhibited the same year at the Paris International Exhibition. She won a silver medal at the Paris International Exhibition (the exhibition for which Pablo Picasso painted Guernica) in 1937. In 1938, she fled Austria and emigrated to England separated from her husband Hans Rie around this time. During the war and in subsequent years, she eked out a living making ceramic buttons and jewellery some of which are displayed at London's Victoria and Albert Museum along with the reconstruction of her entire 18 Albion Mews studio where she was based for 50 years. Rie taught at Camberwell College of Arts from 1960 until 1972. She ceased making pottery in 1990 after suffering a series of strokes and died in London aged 93. Her pottery is exhibited globally including the Museum of Modern Art in New York, the York Art Gallery in the UK, and Paisley Museum in Scotland. (1) Henry Pim in The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.144 L
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1205 item(s)/page