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Lucie Rie, DBE (1902-1995) A handled vessel Property of Pierre Rouve Dimensions: 5 in. (H) x 8 in. (W)

A studio pottery bowl in the manner of Dame Lucie Rie, the flared, footed stoneware bowl in a mottled, straw yellow glaze, with dripped bronze glaze around the rim, painted mark to glazed base, 27.75cm. diameter, 13.1cm. high.

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.

† 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.

† 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.

† 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.

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.

Dame Lucie Rie 1902-1995, an oval cream stoneware pottery bowl, 27cm dia. x 16cm high 

Φ Dame Lucie Rie (1902-1995)Bowlstoneware, footed form, covered in a yellow glaze to the footimpressed seal mark to base, chip to rim,14cm. diam.7cm. high ProvenanceThe collection of Rosslyn Hill.

Φ Dame Lucie Rie (1902-1995)Coffee can and saucerglazed manganese the interior pale greyimpressed seal mark13.5cm. diam (saucer), (2)

Φ Dame Lucie Rie (1902-1995)a porcelain vase, ovoid with inverted rim, covered in a white glazeimpressed seal mark, collection paper label,9cm. high ProvenanceChristiaani Collection.

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

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

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

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.’

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

Dame Lucie Rie (1902-1995), a studio pottery porcelain bowl, dished conical form with manganese glaze, the interior with concentric bands and matt terracotta centre, impressed seal mark, 17.5cm diameterNote: Artist Resale Rights apply

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

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

Dame Lucie Rie (1902-1995), a studio pottery jug, circa 1958, stoneware with manganese glaze to the exterior and handle, the interior in white gloss, impressed sea mark, 9.5cm highNote: Artist Resale Rights apply

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

Dame Lucie Rie (1902-1995), a studio pottery bowl, stoneware bowl, circa 1960s, conical form with felspathic glaze, with manganese rim, impressed mark, 30.5cm diameterNote: see Birks, T., 1976, Art of the Potter, p.126 fig,124 for a bowl of the same shapeNote: Artist Resale Rights apply

Dame Lucie Rie (1902-1995), a studio pottery bowl, circa 1952, stoneware, squeezed oval form, white gloss glaze with manganese rim feathered to parts, impressed seal mark, 14cm wideNote: Artist Resale Rights apply

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

Dame Lucie Rie (1902-1995), a studio pottery beaker vase, circa 1955, cylindrical form, white glazed with manganese rim, impressed seal mark, 10.5cm highNote: Artist Resale Rights apply

Deirdre Burnett (1939-2022), A Studio Pottery Stoneware hand built vessel of organic form with frilled layers in spherical composition on cylinder stem, 24cm, raised DB mark to inside of stemDeirdre 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

¥ DAME LUCIE RIE. DBE. AUSTRIAN/BRITISH 1902-1995 A footed bowl. Stoneware with golden manganese rim. Impressed artist's seal 9½" diam. Damage to rim and evidence or restoration to rim on opposite side.

Lucie Rie coffee pot and cover, of gently tapering form, the outside with manganese glaze, the inside with white glaze, impressed mark to base, 21.5cm highThere is a hairline on the rim approx 4cm long and mostly only visible from the inside - otherwise in good condition.

Lucie Rie stoneware bowl, the outside with manganese glaze and sgraffito decoration, the inside with pitted white glaze, impressed mark to base, 15.25cm wideIn good condition with no damage.

DAME LUCIE RIE ( 1902-1995): A STONEWARE BOWLWith blue glazed interior, the interior with a speckled pale grey glaze, impressed LR potter's mark, 16cm diameter by 9cm highRestored haircrack to the rim, approx. 7cm length. Some areas of restoration to the rim. 

Three pieces of stoneware studio pottery - comprising a stem vase by Clive Pearson of Hartland Pottery, of reel form, in a mottled oatmeal eggshell glaze, impressed marks, 9.4cm high; a small bowl, probably Boscean Pottery, Cornwall, in a light grey speckled glaze, the interior in an iron glaze, impressed mark, 12cm diameter; and a stemmed floral-shaped dish in the manner of Dame Lucie Rie, unmarked, 16cm diameter, 8.2cm high.* Condition - Clive Pearson stem vase: In good condition, with no faults or restoration / Small bowl: In good condition, with no faults or restoration / Floral bowl: Some tiny frits to the fluted edge. No other damage noted.

James Cresswell (British, contemporary) Wild flowers oil on canvas, signed and dated (20)07 lower right, unframed 24 x 24in (61 x 61cm) * James Cresswell was principally a potter, apprenticed to Dame Lucie Rie in the 1950s and later becoming the studio potter at Woburn Abbey in 1968. He was also an accomplished amateur artist.

Lucie Rie with Hans Coper, an olive green glazed oval bowl with a brown rim line. W 14cms.

Collection of Circa 1940s Birmini Glass Buttons Including Designs by Lucie Rie comprising a pair (3cm diameter) and a set of eight similarly designed buttons with gold and silver moulded details, (2cm diameter) all bearing the flower pot logo to the reverse, similar examples including a set of four glass money bag modelled buttons, a guitar, pair of possibly Lucie Rie red glass and gold decorated clip on earrings with recumbant stags, similar brooch and another with a horses head, blue, silvered, amber and other decorative examples,(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.

Kevin Francis 'Lucie Rie' Character Jug, Artists Proof. (H: 23cm)

Manner of Lucie Rie (1902-1995)two bowls, one with impressed potter's seal, 12cm and 10cm diameter (2) Overall good condition with minimal signs of wear. No large chips or cracks that we can see. Please see images of the mark on our website under the 'condition report' tab.

Lucie Rie, a bowl with a grey exterior and a bubbled blue glazed interior. Dia. 16.5cms.

¥ DAME LUCIE RIE, DBE. AUSTRIAN 1902-1995 A footed bowl. Stoneware, 'volcanic' glaze with manganese rim. Impressed artist's seal. 9" diam, 4' high. Provenance: Private collection. Purchased by the present owner from the New Craftsman Gallery, St Ives c. 1998.

Dame Lucie Rie DBE (Austrian/British, 1902-1995) A stoneware coffee service for four, circa 1955, impressed LR seal marks, glazed to the exterior in manganese and incised with fine sgraffito bands, comprising: four tapering conical cups, four saucers, a baluster coffee pot and cover with knop finial 19cm high, a baluster milk jug 12cm high and a sugar-bowl, the interiors and undersides of each piece glazed in white (coffee pot with hairline crack, the hairline crack is approx 3cm long, small chip to edge of one saucer) (11) Provenance: Acquired by the present owner's parents in the mid 1950s, while they were touring with Sadlers Wells Theatre Ballet, in the Corp de Ballet and subsequently as principal dancers. Thence by descent to the present owners.    Lucie Rie (1902-1995) was born in Vienna and developed an interest in the decorative arts from a young age, studying under the Head of Ceramics, Michael Powolny, at the Vienna Kunstgewerbeschule.  She later opened her own studio, to great acclaim, becoming a much sought-after ceramicist, exhibiting at the Paris International Exhibition in 1925 and winning a gold medal at the Brussels International Exhibition in 1935. Rie fled the approaching Nazi occupation, establishing herself as a Jewish émigré in London in 1938.  She initially created glass and ceramic buttons for the Orplid Glass Studio, although she is most well-known for her collaborations with Hans Coper (1920-1981), a German émigré, whom she hired as a studio assistant in 1946. The partnership was a fruitful one; Coper was a huge inspiration for Rie, championing her experimentation and love of modernism. She continued to experiment with glazes, enamel colours and forms throughout her long career. Provenance: Acquired by the present owner's parents in the mid 1950s, while they were touring worldwide, with Sadlers Wells Ballet Company, in the Corp de Ballet and subsequently as principal dancers. Thence by descent to the present owners. Provenance: Acquired by the present owner's parents in the mid 1950s, while they were touring worldwide, with Sadlers Wells Ballet Company, in the Corp de Ballet and subsequently as principal dancers. Thence by descent to the present owners.  Condition Report Coffee pot with hairline crack (the hairline crack is approx 3cm long), small chip to edge of one saucer.

A QUANTITY OF REFERENCE BOOKS ON MAINLY CHINESE WORKS OF ART AND ANTIQUES AND OTHERS. Wu Guanzhong; The Hatcher Porcelain Cargoes; China, A History in Art; Japan a History in Art; China in old photographs; Red-Color News Soldier, Li Zhensheng; Jade by J.P.Palmer; Lucie Rie, Houston / Cripps. (20) Used but good condition

Attributed to Lucie Rie (1902-1995) for BiminiSeventeen pressed glass buttonssome with Bimini backslargest 3cm diameter (17).

Lucie Rie (1902-1995) Small tapered vasewhite pitted glazeimpressed potter's seal mark and old exhibition label to the base8.5cm high. Appears in good condition with no sign of damage or restoration.

Lucie Rie (1902-1995) Early glazed bowlwith banded decoration to the exterior, circa 1955impressed potter's seal mark to the base6.5cm high x 10.5cm wide. Reference:A similar bowl is shown in the Essentials Potness Lucie Rie on Hans Coper, page 72-73. Condition appears good with no sign of damage or restoration. Some small firing marks as you'd expect. Some blue flecks in the glaze.

Lucie Rie (1902-1995) Pourerwhite glaze to the exteriorimpressed potter's seal mark to the base8.5cm high. Condition appears good with no sign of damage or restoration. Pitting to the glaze as you'd expect.

Lucie Rie (1902-1995) Set of five coffee cups or mugswhite glaze with dark rimseach with impressed potter's seal mark to the base8cm high (5). Three appear in good condition. One has been restored to the rim which is very difficult to spot to the naked eye. one has a hairline crack evident to both sides.

Lucie Rie (1902-1995) Cup and saucermanganese glazepotter's seal mark to each piececup measures 6cm high, saucer measures 13.5cm wide (2). Cup and saucer appear in good condition with no sign of damage or restoration.

Lucie Rie (1902-1995) Kiln brickunmarked31cm wide x 20cm deep x 4.5cm deep. Provenance:Direct from the potter;Bonhams Knowle, circa 2008. Reference:See Phillips, 1 November 2023, lot 340. For an example of Lucie Rie's kiln bricks, used for a coffee table. At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.

Lucie Rie (1902-1995)Cup and saucercream glaze with manganese rimimpressed potter's sealcup 6cm high, 14cm diameter (2). Provenance:The collection of David Whiting. Cup appears in good condition. The saucer has minor chipping to the edge.

Bimini Glassa collection of twenty nine Bimini glass buttons, cast in relief with geometric panels, flowers and classical figures, in the manner of Dame Lucie Rie,some metal mounts stamped3.5cm square (largest), (29)

Φ Dame Lucie Rie (1902-1995)a stoneware elliptical bowl, glazed yellow to the interior, the exterior pale grey,impressed seal mark,15.5cm. wide8cm. high ProvenancePeter Dingley Gallery, Stratford Upon Avon, purchased by the vendor in 1975 for £6.25.

Φ Dame Lucie Rie (1902-1995)a porcelain bowl, footed form, covered to the foot in a bright, yellow glazeimpressed seal mark, small glaze chip to outside of top rim, 12.5cm. high26.5cm. diam. ProvenanceJoy Hallam Collection, dated 1970.

Φ Dame Lucie Rie (1902-1995)a stoneware bottle vase with flaring rim, covered in a volcanic, running turquoise and buff glaze,impressed seal mark,23cm. high ProvenanceJoy Hallam Collection

Φ Dame Lucie Rie (1902-1995)a tall porcelain bottle vase with flaring rim, cylindrical body with leaning neck with flaring rim, pale blue and mushroom glaze,impressed seal mark, reck and rim repaired,32.5cm. high ProvenanceJoy Hallam Collection

Dame Lucie Rie DBE (1902-1995), a stoneware bowl, of circular form, the interior and exterior under volcanic green glazes, 35cm diameter 10cm high

ARR Dame Lucie Rie (1902-1995) a stoneware vase with flared rim and tapering neck in white glaze, impressed seal mark, 26.5cm highNo damage or repairs or restoration. Small area of stained crazing to the flared rim. a few pin-prick glaze blemishes to the glaze. Overall excellent.

Lucie Rie*, VaseLucie RieGlasiertes Steinzeug in cremefarbenen Tönen auf braunem Grund. Reliefiert, blasige Struktur. Runder Stand, zu zwei Seiten abgeflachter, sich nach oben verjüngender Vasenkorpus mit ovalem Mündungsrand. H. 16,5 cm, D 10,5 cm. Unterseitig bezeichnet mit Werkstattmarke. Vgl. Birks, Tony, Lucie Rie, London 1987, S. 134.

Lucie Rie*, SchaleLucie Rie*Porzellan mit blauen, parallel verlaufenden Sgraffito-Linien und unregelmäßigem, braun abgesetztem Rand. Weite sich nach unten verjüngende Schale mit rundem Stand. Laut Galerie Besson (London) von ca. 1959, die Marke spricht eher für die 1970er Jahre. H. 7, D. 16,4 cm. Unterseitig bezeichnet mit Werkstattmarke. Provenienz: 1992 in der Galerie Besson (London) erworben

'Studio Pottery', a presentation pack of four stamps designed by Tony Evans featuring works by Bernard Leach, Elizabeth Fritsch, Lucie Rie and Hans Coper, pack no. 184, October 1987. Provenance: Andy & Di McInnes collection. Condition Report: Appears good with no obvious signs of faults, damage or restoration.

† LUCIE RIE (1902-1995) & HANS COPER (1920-1981); a stoneware cup and saucer partially covered in manganese glaze with sgraffito decoration and kintsugi repair to the rims, impressed LR and HC marks, made 1950s, cup height 7cm, saucer diameter 14cm.For similar examples, see 'Lucie Rie: The Adventutre of Pottery' edited by Andrew Nairne and Eliza Spindel (Kettle's Yard, University of Cambridge, 2023), p. 56. Condition Report: There are short very tight hairlines extending from the kintsugi repairs to exterior of cup and underside of saucer, otherwise appears good with no further signs of faults, damage or restorations.

† LUCIE RIE (1902-1995); a set of six stoneware cups and saucers partially covered in manganese glaze with sgraffito decoration, impressed LR marks, made circa 1958, cup height 6cm, saucer diameter 12.5cm (6).For similar examples, see 'Modern Pots: Hans Coper, Lucie Rie & their Contemporaries - The Lisa Sainsbury Collection' by Cyril Frankel (Thames & Hudson, 2000), p. 97. Provenance: Purchased from Galerie Besson, London, mid 1980s. Condition Report: Appears good with no obvious signs of faults, damage or restoration.