Eileen Lewenstein (British, 1925-2005) (Briglin)

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Eileen Lewenstein (British, 1925-2005) (Briglin) Empty Eileen Lewenstein (British, 1925-2005) (Briglin)

Post by greg c on January 13th 2012, 9:53 pm




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thanks!
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Post by studio-pots on January 14th 2012, 10:13 am

The picture of your mark isn't very clear but is it the one below?

Eileen Lewenstein (British, 1925-2005) (Briglin) 00112

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Post by studio-pots on January 14th 2012, 4:03 pm

If it is then it is Eileen Lewenstein after she moved from London to work down in Hove (by the sea) in 1976. Can't say that I have seen anything like your bowl by her before.

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Post by ricardo on January 2nd 2013, 10:31 pm

Hi,
Was wondering if anyone could help with this lovely vase. Thought at first it was an art pottery piece by someone for Royal Copenhagen, but only 2 waves, but maybe 3rd lost in impressed mark? Still possibly Scandinavian, can't find in my british potters marks book. It is about 6" high, and marks look like 'ET' not the alien unfortunately as that would be impressive.  Laughter  Many thanks.

Eileen Lewenstein (British, 1925-2005) (Briglin) Img_3611

Eileen Lewenstein (British, 1925-2005) (Briglin) Img_3510
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Post by Davee on January 2nd 2013, 10:45 pm

used 1976 onwards, nice find Excellent

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Post by ricardo on January 2nd 2013, 10:53 pm

Wow, thanks Davee, that's very quick, been looking for a couple of days online and couldn't get anywhere. Just looked up some of her stuff and like it, she seemed quite important, Ceramic review etc. Still plenty of gaps in my knowledge and always more stuff out there. Cheers!
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Post by 22 Crawford St. on July 17th 2016, 6:56 pm

Eileen was best know as co-founding the The Ceramic Review, first published in 1970 and for also co-founding Briglin Pottery in 1948 (as Eileen Mawson) along with Brigitte Goldschmidt (later known as Brigitte Appleby). Eileen departed Briglin in after ten years in 1959 and continued he career on her own producing sculptural individual pieces often in porcelain.


  • Early Briglin pieces many be marked EL by hand inscribed sometimes with date
    EL brushed - from 1959 sometimes with date
    E.L. impressed - 1959 to 1975
    E.L. With wave under impressed post 1976
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Post by philpot on October 5th 2017, 8:11 am

Eileen Lewenstein (British, 1925-2005) (Briglin) Img_4810
   An interesting pre-1976 bowl, very much reflecting a Briglin strain.
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Post by philpot on October 5th 2017, 8:13 am

Eileen Lewenstein (British, 1925-2005) (Briglin) Img_4811

The mark from the bowl above.
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Post by NaomiM on April 29th 2019, 9:08 pm

Biography

http://tnartscommission.org/permanentcollection/eileen-lewenstein/

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Post by 22 Crawford St. on April 29th 2019, 9:38 pm

I've never seen it called

“Briglini Pottery,”

In 1959 she left the successful Brilini Pottery

odd?
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Eileen Lewenstein (British, 1925-2005) (Briglin) Empty Hemisphere studio porcelain lidded box - Eileen Lewenstein

Post by benwilliams on July 2nd 2019, 10:04 am

Fits together well, marked base.
I can’t read it but maybe someone recognises the style and form .

Eileen Lewenstein (British, 1925-2005) (Briglin) 4ddded10
Eileen Lewenstein (British, 1925-2005) (Briglin) Ee5ba710
Eileen Lewenstein (British, 1925-2005) (Briglin) B009cc10
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Post by NaomiM on July 2nd 2019, 2:26 pm

Matching one on Worthpoint. By Eileen Lewenstein

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Post by benwilliams on July 2nd 2019, 2:59 pm

You are brilliant Naomi. She’s another new name for me. I think the mark is after 1976 as now I know what I’m looking at then I can see a wavy line under the initials.
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Post by denbydump on January 4th 2020, 9:45 pm

My only piece, A 7.5 in vase just found in a local centre. Rather heavily potted porcelain,
with some minimal incised decoration. Mark for 1976 onwards.

Eileen Lewenstein (British, 1925-2005) (Briglin) 100_4153
Eileen Lewenstein (British, 1925-2005) (Briglin) 100_4154
Eileen Lewenstein (British, 1925-2005) (Briglin) 100_4155
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Post by philpot on May 7th 2020, 8:51 am

Eileen Lewenstein (British, 1925-2005) (Briglin) Img_1426Eileen Lewenstein (British, 1925-2005) (Briglin) Img_1427

Pared back simple pebble vase. The sea had quite an influence on her work. The mark is her early one which she used from 1959-75, virtually as soon as she stopped working at Briglin until she moved down to Brighton in 1975. The two wavy lines on her later mark are designed to denote the sea. These pebble forms seem to have had a certain naturalistic fashion in the 60's. The early work of Mary Rogers (illustrated quite liberally in her book) and Robert Fournier pebble vases come to mind.
Not very much in fashion now, Eileen Lewenstein was quite influential in her day. Founder editor of Ceramic Review (with Emmanuel Cooper) early member of the CPA, strong left-wing political views, she seems quite forthright in her opinions.
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Post by 22 Crawford St. on May 7th 2020, 9:57 am

She is connected to Briglin as a founder so I have several pieces including one of the beautifully made and technically excellent porcelain bowls...but her work leaves me a bit cold. One issue is you never see it together just the odd piece and then work from different styles and times.
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Post by philpot on May 7th 2020, 8:06 pm

A much under estimated potter. I think you do go to the core of the problem with her work however, she had no consistent style. She seemed to have an urgency to explore lots of all styles. Which is perhaps is no bad thing. The work of hers I have seen as always been very well made. Problem is of course Studio Pottery Collectors are very conservative and catholic in their tastes. They always seem want a specific range of style from the potters and potteries they collect. A Lucie Rie or a Hans Coper poiece are instantly recognisable. As is most Briglin or Troika.
          One suspects her production was smaller than other potters. Her husband Oscar was an impresario and film producer (he produced the very successful film Tom Jones) and was later Director of the Royal Court Theatre. They lived in a nice house in Hampstead, and seemed quite wealthy. So unlike most professional potters she did not necessarily need to make a living by her pottery. According to Emmanuel Cooper Oscar was quite a demanding husband. Combine this with having two children, co-editing CERAMIC REVIEW for thirty years, running a household....she must have been a busy lady.
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