Lucie Rie

A handled milk jug around 5 inches tall that I bought recently with the intention of selling but I think that I might keep it for a while.


A close up of the mark on the base.


These side handled jugs seem to be a favourite of mine when it comes to Lucie Rie's work and it complements a large one that I have.

That is a nice one Studio. Would you say that was a 1957 mark? The most interesting of these pieces are the ones with both HC and LR on.

Until you asked the date question, I can't ever recall thinking about the slight changes in her mark over the years.

However, if the marks book is correct then it is the 1957 mark.

The larger/taller piece that I have is more interesting, as it has more complexed sgraffito marking. The personal mark on that is much smaller and so later. Regarding your view about the double marked pieces being more interesting, I am going to name drop now. A few years ago Magdalene Odundo " popped round" and when I casually said that I was thinking of selling the taller one at some point (it was the only Lucie Rie pot that I had at the time) she said that I mustn't as it was so beautiful. NOTE: She came to see and take a Ladi Kwali pot that I was loaning to Farnham for a retrospective exhibition of Ladi Kwali's work.

I will add an earlier bowl (c 1953/4) that I have with two marks at some point.

You do move in high circles!
Its a pity really more research has not been done into the domestic wares and other production in the 50's. I think that she was the time when she was at her happiest, working with Hands Coper. Judging from the 1967 big exhibition, there was quite a lot more from that era that we do not see much of now. The domestic ware is some of the best 'everyday' work ever made by a Studio potter.
             In particular, I love the soup bowls, and those small squeezed bowls. Although I am not too sure of their use. Have you ever seen a oil and Vinegar set? Or a cylindrical bowl for holding cigarettes? They are in the 1967 catalogue.

A bowl with an interesting provenance.


and its base.


The bowl dates from around 1953/4 and was one of a pair bought by Trevor Coldrey in October 20002 from Henry Rothschild, founder of Primavera. Trevor was the founder of the Harlequin Gallery and from when I took over the gallery in 1999 he became my landlord until I left the original premises in 2009. Trevor had been a long standing customer of Henry's and was one of several such people invited to a private sale at Henry's home during Henry's downsizing.

Henry Rothschild got the bowls directly from Lucie when new and they became part of his collection. I think that the 50 on the base was a catalogue number for this private sale but can't be certain.

You will note that the bowl has Lucie Rie's mark and that of Hans Coper as well.

https://www.bonhams.com/press_release/37559/

New world record for a Lucie Rie bowl. £406,800 in Bonhams Paris on 6 December 2023, Total includes Buyer's premium.

I wouldn't enjoy owning it at any price

dantheman wrote:I wouldn't enjoy owning it at any price

I agree. It does absolutely nothing for me and what is the real shame is that to my mind her best work doesn't command the prices than her lesser offerings do.

Which begs the question. Which is her best work? Certainly the dainty different coloured bowls are the ones that have fetched very large prices. But the slender Trumpet vases which she made for a few years either side of 1980.Those were held in high esteem once. Especially the ones with the coloured spirals, Pink in particular. There was one the front cover of Paul Rice's book, on the 1990 front cover of the V&A catalogue, and there was one on the stamps in the Royal Mail studio pottery stamp collection in the 1980's.
But they seem to have gone rather out of fashion now. The small bowls fetching far higher prices than these vases.