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Lot 722
Lucie Rie (1902-1995)Two cups and saucersmanganese glazepotter's seal mark to each piececup measures 6cm high, saucer measures 13.5cm wide (4). A - Cup. The finish does have a tiny mark at outer rim where there is no black coverage. Through the magnifier we see it's the surface beneath, however we think this is a natural occurring glaze loss rather than chip. It is possible it was a tiny nick/loss and has now been sealed/restored. Otherwise ok. B - The other coffee cup has a slightly better ding and appears overall in a good condition.
Lot 620
Dame Lucie Rie (British, 1902-1995) A cup and saucer, together with a further cup Stoneware with dark brown manganese glaze Signed 'LR' to the underside As found To be sold without reserve Provenance: Given to the current owner by the artist when they were her neighbour in London in the 1960s
Lot 160
Six items of studio pottery and porcelain by Dierdre Burnett (1939-2022) all marked to the underside with initials D.B, Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts.14.5cms wide x 9.5cms high of the largest bowl. Estimate £100-150
Lot 2129
Collection of Circa 1940s Birmini Glass Buttons Including Designs by Lucie Rie comprising a pair of gold painted large buttons with two wavy lines 3cm diameter, three buttons embossed with animals, two abstract examples all bearing the flowerpot mark to the reverse, a similar set of three large buttons embossed with seated cats 3cm diameter, four sets of three buttons of various sizes and designs, fourteen other decorative and stylised glass buttons, (36) Collected by the late Janette Howell (1932-2024). Jan married John Howell, a senior engineer for BT, in 1956. The pair lived in Upminster where they began collecting ceramics and buttons. They joined the Hornchurch Historical society, took part in archaeological digs at Great Baddow and Rainham and went beachcombing along the Thames at Grays. Their private collections amassed over many years and included 18th century Lowestoft porcelain, books, buckles, buttons, Studio Pottery and various other ceramics.
Lot 66
In the manner of Lucie Rie, two unsigned studio pottery footed bowls, the larger with everted manganese rim under volcanic green glazes, 23cm diameter; the smaller with manganese rim over an oatmeal crackle glaze, 14cm diameter (2)Some all over crazing to the green bown, but otherwise in good condition, free from damage or repair.
Lot 200
Lucie Rie*, 4 Tassen und UntertellerKeramik. Schwarz-braune Mangan- und Zinnglasur. Im Inneren weiß glasiert, Standring unglasiert. 5,9 x 7,7 x 6,2 cm. Untertasse D. 12 cm. Unterseitig bezeichnet mit Künstlersignet: LR (erhaben geprägt).Birks, Tony: Lucie Rie, London 1987, S. 136 (zum Vergleich Teekanne, Mitte 1950er-Jahre). Houston, John: Lucie Rie, London 1981, S. 90, Abb. 218 (zum Vergleich, Kaffeeservice, ca. 1958).
Lot 201
Lucie Rie*, SchaleKeramik. Fußschale mit Manganglasur und hell abgesetztem Mündungsrand sowie mauvefarbener Linie. Standring beschliffen. H. 9,7 cm, D. 21 cm. Unterseitig bezeichnet mit Künstlersignet: LR (erhaben geprägt).Birks, Tony: Lucie Rie, London 1987, S. 205 (zum Vergleich, Schale von 1984).
Lot 202
Lucie Rie*, Schale mit SpiraldekorKeramik mit Spiraldekor in Creme- und Grau-Blautönen. Weite, sich nach unten verjüngende Schalenform. H. 9 cm, D. 24,3 cm. Unterseitig bezeichnet mit Künstlersignet: LR (Prägestempel).Birks, Tony: Lucie Rie, London 1987, S. 178 (zum Vergleich, Spiraldekor um 1970).
Lot 198
Lucie Rie*, VaseKeramik. Flaschenförmige Vase mit zylindrischem Korpus, langem eingezogenen Hals und glasiertem Ritzdekor auf breitem, ausgestelltem Rand. Mehrtonig braun und grün glasiert. H. 33,5 cm, D. 14, 8 cm. Unterseitig bezeichnet mit Künstlersignet: LR (Prägestempel).Houston, John: Lucie Rie, London 1981, S. 79 (zum Vergleich, Flaschenvasen, 1960er-Jahre)
Lot 203
Lucie Rie*, Kleines SchälchenKeramik. Kleine Fußschale mit verlaufender Manganglasur über weiß glasiertem Grund und unglasiertem Standring. H. 5,9, D. 8,5 cm. Unterseitig bezeichnet mit Künstlersignet: LR (Prägestempel). Birks, Tony: Lucie Rie, London 1987, S. 201 (zum Vergleich, frühe 1980er-Jahre).
Lot 199
Lucie Rie*, Sgraffito SchaleKeramik. Runde Schale mit abgesacktem Boden. Braun glasiert mit cremefarbenem Rand und Sgraffito-Fries. H. 5,9 cm, D. 17 cm. Unterseitig bezeichnet mit Künstlersignet: LR (erhaben geprägt). Birks, Tony: Lucie Rie, London 1987, S. 142 (zum Vergleich, Schale von 1954).
Lot 311
MIRIAM SACKS (SOUTH AFRICAN/BRITISH 1922-2004) COSMIC ENERGY I, 1966 initialled in wool (lower right), signed and dated (to reverse), hand sewn wool 109.5cm x 105.5cm (43in x 41 ½in) Estate of the Artist. Miriam Sacks was a South African-born British textile artist and painter. She earned an MA in Social Anthropology from the University of Cape Town before moving to London in 1946 to join her husband. In 1951, she relocated to Southern Rhodesia (now Zimbabwe), where she began painting and established a children's art school.A visit to New York proved pivotal in her artistic journey—after encountering The Lady and the Unicorn tapestries, she was inspired to explore tapestry as a medium. Developing her own unique, experimental technique, she created intricate "woven images" using needle and thread, much like a painter working with brushes and pigment. Her work drew on a diverse range of influences, from her African experiences and cultural heritage to broader social themes, blending figuration and abstraction.In 1964, Sacks returned to London and quickly gained an international reputation after exhibiting at the British Embassy in Washington, DC. At Kettle’s Yard in Cambridge, her tapestries were displayed alongside works by leading British potters, including Han Coper and Lucie Rie, just as her work is displayed here, 50 years later. Over the following decades, she exhibited widely at venues including the Royal Festival Hall (1971), the Victoria and Albert Museum (1971, 1973), the South African National Gallery (1972), and Leighton House (1977, 1981, 1985, 1988), among others. Esteemed figures such as Maxwell Fry and Herman Wouk championed her work, which is now held in collections across the UK, the US, South Africa, Israel, Zimbabwe, and Canada.Her memory of Africa, its landscape and extraordinary light, has inspired most of her work, both figurative and abstract. Her subject matter has been informed by her love of nature, her studies in anthropology and music, and her understanding of how technology has impacted the world. Beyond her art, Sacks was a prolific essayist and an avid collector of materials related to her life's work, many of which are featured on her website: miriamsacks.com.
Lot 299
DAME LUCIE RIE D.B.E. (AUSTRIAN/BRITISH 1902-1995) AND HANS COPER (GERMAN/BRITISH 1920-1981) POURING VESSEL, c. 1950-55 impressed maker's seals, stoneware, with manganese and white glazed top 11.5cm high, 19.2cm wide (4 ½in high, 7 ½in wide) Purchased directly from Lucie Rie, circa 1951-55, and by direct descent to the present owner;Private Collection, U.K. This pouring vessel was made during the period that Rie and Coper shared her London studio, and is impressed with both maker's marks. It is a rare model, and it is thought that Rie designed models from this set, whilst Coper glazed them, as Rie stated she would have applied a narrower cream band to the rim. The V&A; Museum hold a jug and two beakers of a similar design.
Lot 255
Dame Lucie Rie DBE (Austrian, 1902 - 1995) Studio pottery drip glazed bowl, the interior and exterior under volcanic green glaze, impressed signature to the underside, 9cm high and 22cm diameter. ARRProv: purchased from The Scottish Gallery as part of the 'European Studio Ceramics' exhibition, curated by Henry Rothschild, c. 1978. CONDITION REPORT: Additional close up images have been taken and are online, please take these into account as well as the condition report.Not examined under UV light. There appears to be a bronzed drip effect to the rim and areas of the interior. The rim feels rough to the touch and there is a raised area to the border, looks like crazing. There are visible cracks to the glaze near the area above the foot. There are other areas of crazing and an area near the foot.
Lot 370
† LUCIE RIE (1902-1995); a stoneware milk jug covered in manganese glaze, impressed LR mark, made circa 1957, height 11cm.For a similar example, see 'Lucie Rie' by Tony Birks (Stenlake Publishing, revised edition, 1999), p. 115.Geoffrey Swindell writes: 'I was a 19 year old student touring Cornwall in 1964 when I found this milk jug in St Ives. Although I was a painting student, I had an interest in pottery because I had taken a part-time job in a handcraft pottery at Alton Towers. I bought the jug for £2.10 shillings. It was quite unlike any other pottery I had seen before. I was amazed at the innovative and unique approach to designing and making functional pottery. When I got back to my home and college of art in Stoke-on-Trent, I transferred my interest from the painting course to the pottery course and my lifelong obsession with making ceramics began. The jug has been a prized possession of mine ever since. At 80, like most old people, I feel the need to pass on the pleasure of owning this beautiful item to someone else.' Provenance: Geoffrey Swindell collection; purchased from The New Craftsman Gallery, St Ives, 1964. Condition Report: Appears good with no obvious signs of faults, damage or restoration.
Lot 369
† LUCIE RIE (1902-1995); a stoneware coffee pot covered in pitted white glaze with manganese rim, impressed LR mark, made circa 1957, height 24.5cm.For a similar example covered in manganese, see 'Lucie Rie' by Tony Birks (Stenlake Publishing, revised edition, 1999), p. 45. Condition Report: Appears good with no obvious signs of faults, damage or restoration.
Lot 368
† LUCIE RIE (1902-1995); a stoneware coffee pot covered in manganese glaze with sgraffito decoration, impressed LR mark, made circa 1957, height 18cm.For a similar example, see 'Lucie Rie' by Tony Birks (Stenlake Publishing, revised edition, 1999), p. 115.Geoffrey Swindell writes: 'I was a 19 year old student touring Cornwall in 1964 when I found this coffee pot in St Ives. Although I was a painting student, I had an interest in pottery because I had taken a part-time job in a handcraft pottery at Alton Towers. I bought the coffee pot for £5. It was quite unlike any other pottery I had seen before. I was amazed at the innovative and unique approach to designing and making functional pottery. When I got back to my home and college of art in Stoke-on-Trent, I transferred my interest from the painting course to the pottery course and my lifelong obsession with making ceramics began. The coffee pot has been a prized possession of mine ever since. At 80, like most old people, I feel the need to pass on the pleasure of owning this beautiful item to someone else.' Provenance: Geoffrey Swindell collection; purchased from The New Craftsman Gallery, St Ives, 1964. Condition Report: Appears good with no obvious signs of faults, damage or restoration.
Lot 9134
DAME LUCIE RIE (1902-1995) and HANS COPER (1920-1981) (ARR) : A studio pottery stoneware pourer, side handle (handle restored) in a pitted white glaze, ochre interior, impressed seals of both potters, 10.2cm high As described, the handle has been restored, probably a little too short but there are no other signs of any damage or restoration.
Lot 74
Y DAME LUCIE RIE DBE (1902-1995)A PORCELAIN VASE of cylindrical section with waisted neck and flared rim on a tapered base, the inner rim and body with incised lines in white and brown mottled glazes, seal mark on the blue radial base, 6 3/4" high (subject to Artists Resale Right) (Illustrated) (Est. plus 24% premium inc. VAT) Condition Report: Excellent, just a minute chip/flake to outer footrim (possibly made in the firing). From a private deceased estate
Lot 449
Dame Lucie Rie (1902-1995), porcelain bowl, circa 1984, pale green sgraffito and bronze band, artist's seal obscured (but with 1993 attribution and invoice from Galerie Besson, London), 19cm diameter x 10.9cm highSold with Galerie Besson invoice No. 1019, 16th July 1993 for £3,000, stating: "Lucie Rie (b. 1902) Bowl, c. 1984 porcelain, pale green sgraffito & bronze band diam. 19cm Provenance: Private collection, Yorks."Offered with receipt from Galerie Besson dated 1993
Lot 450
Dame Lucie Rie (1902-1995), bowl of flared conical form on a circular foot, circa 1980, stoneware decorated to the interior and exterior in a pitted glaze banded in shades of pale blue, lavender, rust, white and grey, impressed to the bottom of the foot with the artist's seal, 22.5cm diameter x 10cm high Ex Galerie Besson, from a private collection, Yorkshire
Lot 80
MIRIAM SACKS (SOUTH AFRICAN-BRITISH 1922-2004) ⊕ MIRIAM SACKS (SOUTH AFRICAN-BRITISH 1922-2004)STARRY NIGHT signed with initials lower right; signed and dated Miriam Sacks 1962 on the reversehandmade tapestry81 x 103cm; 32 x 40 1/2in unframedMIRIAM SACKS (1922-2004) (LOTS 80-87)Introduction Miriam Sacks’ work is something of which one can properly use the word unique; it is the only one of its kind I know of, and it is a very particular and extraordinary kind. Maxwell FryMiriam Sacks’ remarkable tapestries cover a wide range of themes with her work capturing a variety of images and ideas. Some are abstract, some symbolic and some realistic; all deploy vivid colours and explore diverse themes relating to man’s condition and struggles, his relationship with nature and mechanisation. Sack's artistic vision was inspired by her childhood in South Africa: its distinctive landscape and coastline, its fauna and flora and its ethnic diversity. Her rigorous schooling was also formative: she became a talented pianist, studied ballet and was awarded a Masters in Social Anthropology at Cape Town University. But it was a trip to New York in 1956, and a visit to The Cloisters, an outpost of the Metropolitan Museum of Art, that transformed her artistic production. At The Cloisters Sacks was captivated by the seven late sixteenth century tapestries that comprise The Hunt of the Unicorn. Immediately thereafter she embarked on her unique, highly distinctive and much-fêted method of tapestry making. Sacks had moved from South Africa to London after the Second World War while her husband was studying medicine at Oxford. Upon his graduation as an eye surgeon in 1950 they moved to Bulawayo, Southern Rhodesia (now Zimbabwe). There Sacks collaborated with the painter Thea Hunt who had trained at the Slade School of Art and had set up an art school offering lessons for children. After Hunt stepped back from teaching due to ill health, Sacks took over running the school and championed the showing of children’s art both in the USA in the late 1950s and in London at the International Exhibition of Children’s Art in 1961. The following year she had her own first solo exhibition of her work at the Henry Lidichi Gallery, Cape Town. Returning to the UK in 1964, Sacks’ gained international prominence when her tapestries were exhibited at the British Embassy in Washington. Four were shown to great acclaim at the Embassy in May 1965; the following year Sacks sent over a further sixteen works to form the highlight of a group exhibition promoting British tapestry in the Embassy’s Rotunda; the exhibition subsequently toured to other locations across America. Sacks’ acclaim in the USA brought her to the attention of curators in the UK. In 1967 her work was included in exhibitions at the Design Centre, the Whitechapel Art Gallery and Camden Art Centre. And two years later she had a solo exhibition at the Ben Uri Gallery, then in Soho, where the opening address was given by the prominent architect, artist and writer Maxwell Fry. In 1970 she shared an exhibition at Kettle’s Yard in Cambridge with leading potters Bernard Leach (1887-1979) and Lucie Rie (1902-1995), and her work was shown in Edinburgh, Leicester and at the Stellenbosch Museum in her native South Africa. More exhibitions followed: at Royal Festival Hall (1971), the Victoria and Albert Museum (1971 & 1973), the South African National Gallery, Cape Town and the Bevilacqua La Masa Art Foundation, Venice (1972), and a series of shows at Leighton House (1977, 1981, 1985, 1988). The last international exhibition of her work was at the Irma Stern Museum, University of Cape Town in 1996. It was post-apartheid, Nelson Mandela was President and the exhibition was opened by the new South African Minister of Culture. As well as medieval tapestries, Sacks acknowledged other formative influences in her work including Louise Bourgeois, whose mother had been a weaver, and Jean Lurçat, arguably the leading tapestry maker of the twentieth century. However, she found the latter’s loom woven tapestries too machine-like and precise in surface finish for her taste. Describing the influences that shaped her work over the years Sacks wrote ‘Threads physically and spiritually interconnect with my life experiences, talents and knowledge, gained over decades. It combines sight and insight, enhanced by my knowledge… as a social anthropologist… as well as music, not to mention dance. It goes back to memories of childhood.’
Lot 650
Dame Lucie Rie (1902-1995), a studio pottery vase, stoneware circa 1967, flattened double gourd neck and shouldered form, glazed in spirals and drips of taupe and brown matt with speckled oxide, impressed seal mark, 19.5cm highNote: see Birks, T. 1976, Art of the Modern Potter, p.119 for a similar exampleNote: Artist Resale Rights apply
Lot 656
Dame Lucie Rie (1902-1995), a yellow glazed stoneware studio pottery jar and cover, circa 1960, cylindrical form with domed lid, matt blue tinted and sgraffito incised to the rims and underside, impressed seal mark, 7.5cm diameter, 14cm highNote: see Birks, T. 2009, Lucie Rie, pp.109 and 117 for similar examples of cigarette pots; Phillips, New York, 6th June 2017, lot 73 for a near identical exampleNote: Artist Resale Rights apply
Lot 652
Dame Lucie Rie (1902-1995), a studio pottery dish, circa 1955, stoneware, shallow oval form with manganese glaze, combed with irregular sgraffito stripes, the underside in white, impressed seal mark, 15cm longNote: see Birks, T. 2009, Lucie Rie, pp.105 and 108 for examples of both this decoration and this type of dished bowlNote: Artist Resale Rights apply
Lot 649
Dame Lucie Rie (1902-1995), a studio pottery plate, circa 1950s, stoneware, circular form, white glazed with manganese rim, impressed seal mark, together with another dished example manganese glazed to the interior, the exterior in white, unmarked, 16cm diameter (2)Note: Artist Resale Rights may apply
Lot 653
Dame Lucie Rie (1902-1995), a studio pottery bottle vase, circa 1970, cylindrical shouldered form with wide flaring lip, spiraled striations in a matt greenish brown glaze, impressed seal mark, 18cm highNote: a favoured form of Rie, an example of a larger version of this type in a similar glaze and made from unmixed clays, is in the collection of the Victoria and Albert Museum and illustrated in Birks, T. 2009, Lucie Rie, p.69, dated 1967.Note: Artist Resale Rights Apply
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