Lucie Rie

Acquired directly from the artist by the present owner, circa 1980

Tony Birks, Lucie Rie, London, 1987, p.177 for a similar example of this technique and colourway

Overall very good condition consistent with age. The underside rim of the foot with a very minor and shallow dent which appears to have been inherent in its production. A miniscule possible hairline to the rim. The bowl has been inspected under ultra violet light, and it appears that no restoration has been undertaken.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

One of the true masters of her craft, Lucie Rie made her reasoning for forming a lifelong relationship with the earth clear: ‘… my dream was to become a sculptor. But when I first saw a pottery wheel, I decided at once to become a potter.’ Initially influenced by the Vienna Seccesionist movement, Rie developed a new, modern visual language in each of her designs. Rie’s consideration of her materials was thorough. She developed many of her own clay mixtures and glazes, the details of which she rarely divulged. When throwing her works on the wheel, she used a sparse amount of water. Her glazes were much thicker in consistency and were directly applied to unfired works. This practice was not without risk. It was a technique that could potentially damage the pieces whilst in the kiln, yet it allowed her to achieve the colour, texture and form she so desired.