I gave this book to James for Christmas (yes – it was for me really). In the Autumn we delivered work to Oxford Ceramics where we found a beautiful black and white tea set by Lucie Rie. We were allowed to handle the pieces and eventually left the gallery thoroughly charmed and inspired by them.

These days one of the things I enjoy about biographies is the historical context; the packaging around the person. Lucie was the same age as my Granny and both were in London during the war, stoically doing what they could to be of use. After the war, the concept of Studio Ceramics was in its infancy which makes for fascinating comparisons with our experience of it now.

It occurred to me that one of the reasons for her work developing the way it did was due to her unusual technique of applying the glazes with a brush, then single firing. It is much more typical to dip or pour glaze onto a biscuit fired pot, then fire it a second time. Lucie Rie’s method must have required much closer involvement; it would have taken longer to apply the glaze and demanded much gentler handling. Different coloured bands would have appeared as an inevitable part of the process as she was painting slips and glazes onto a bowl centred on the wheel. I suspect it would naturally follow that this approach would lead her to experiments with mark-making and materials.
Circumstances played an interesting role: when she started making pots she had to cycle her work across Vienna to fire it, so single fired in order to minimize the amount of travelling. By the time she set up her studio in London, complete with kiln, single-firing had simply become the way she was used to working. (She was Austrian, Jewish and escaped to London in 1938.)
Hans Coper was also a key influence. They were both modernists, influenced by The Bauhaus and contemporary Architecture rather than seeing themselves as part of a ceramics tradition as Bernard Leach and Michael Cardew did. Coper must have been a most welcome kindred spirit and given her confidence in her own ideas about how to work as a potter.
I found it refreshing that Tony Birks, despite obviously having been a huge fan, pointed out examples of Rie’s work that he didn’t like. There were also several (different ones) which, despite being a huge fan, I don’t like. The point is that she was incredibly inventive and experimental so there were bound to be a few misses amongst the hits. And for me the “misses” (I feel a bit rude calling them that) are helpful encouragement to take risks, follow hunches etc.
She was also a perfectionist. I was reassured and amused to read that “she signed her name over 250 times to get a really good signature for the cover of this book.” I’ll have to remember that next time I want to accuse James of splitting hairs!
Hi both
This is so late in the day after your post, but I was researching the area after an extensive property search. I trained as a Ceramicist almost 30 years ago, and the greatest compliment was a likeness to Lucie Rie in terms of my own work. I don’t think I deserved comment but her work always leaves me with goosebumps. I recently saw an exhibition at Birmingham Art Gallery, a potter who had the foresight to collect then share with the nation. Her work was refreshing, but form with delicate hints of colour were so carefully and intelligently applied as to create an object of beauty. Although I appreciate Bernard Leach was the grandfather of studio ceramics and sought to achieve accessibility for the masses, I suppose as William Morris did to an extent, she moved her work to a higher level. Porcelain can be unforgiving to work with, but her work encompasses such accuracy is terms of mastering form, glaze and hints of decorative design it still leaves me in absolute awe.
I love your work! Well done in keeping this wonderful craft alive.
Hi Tilla,
I too have a copy of this book, bought many years ago and read then. Time to read it again I think. I met her twice: the first time when I went with my mother to collect my 18th birthday present, one of Lucie’s bowls from her home/studio in Paddington and then again when I photographed her in 1982/3. She was charming and fascinating, having known everyone and lived through such times.
I’m looking forward to getting it off the shelf now!
Ben
PS, the pictures are on my website: http://www.benboswell.co.uk/search.php?subject=Lucie+Rie
Hi Ben – thanks for that – what a lovely link with her – enviable… and great pictures too! XXT
I also bought this book for my husband about 25 years ago, long before I had any idea I would end up making pots myself. Over the years I have read and re-read it and poured over the images but now I look at it in a very different way, trying to examine the forms and decipher glaze effects.
The Hans Coper book by Tony Birks is equally inspiring.
Hello Jo, Well thank God for husbands! And thanks for your comment and the Coper book recommendation. I haven’t felt drawn to Hans Coper in the same way but I’m sure it would be interesting. Best wishes, Tilla
Within the context of todays political turmoil and the European cultural milieu, Lucie Rie’s contribution to British ceramics remains a blessed gift and is a secure, stable reference for us all. Thanks Tilla, for drawing my attention again to this wonderful book. The photos of her beautiful pots are probably the next best thing to holding them.
Thanks for commenting David, I totally agree. Best wishes, Tilla
That was really interesting Tilla, and I absolutely love Lucie Rie’s work. I always find myself drawn to her work; I love the shapes and colours she uses. She certainly was very talented and a risk taker as you mentioned. C x
Thanks Catherine, so glad you enjoyed the post. I can’t remember when I discovered her but I think she was probably the first potter to inspire me to make pots. Best wishes, Tilla
Thanks, Tilla. It was really interesting to read about her applying glaze and slips to the green and then transporting the vessel on her bike to the kiln!!!!
Inspirational, really! Ann
Hi Ann, I know – can’t have been easy can it?! Thanks and best wishes, Tilla
Fascinating background – thank ye for forwarding that info Tilla: always good to keep learning!
Jane x
Hi Jane, my pleasure! Thanks for reading and commenting. XXT
I have the same book. Different cover. I told my dear friend Dr. Richard Blum, may his name be for a blessing – that I’d started to learn ceramics. He said than I would surly be taught of his dear friend Lucie Rie. He talked of visiting her in her home studio. She made wonderful soups. She said they were better from what she learn making her glazes. He told me many stories of her. Bringing her to life in my mind. Dr. Richard made sure I got this book on his passing. It is signed, and has correspondence between them, and news clippings. His home had a small collection of personal gifts from Lucie. I’m an older student in California. Her work has greatly influenced me.
Dear Stephen, how lovely to have that connection. It must give you such an insight into her – and such inspiration for your own work. Thanks so for telling me. Best wishes, Tilla