Finch and Co Vases Vessels
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Dame Lucie Rie (1902 - 1995) ‘Bottle Vase’ with Flaring Rim
By Lucie Rie
Located in London, GB
Dame Lucie Rie (1902 - 1995) ‘Bottle Vase’ with Flaring Rim
Stoneware, blue / white volcanic glaze
’LR’ seal mark to base
Circa 1980
Size: 27.5cm high, 14cm wide, 12cm deep - 1...
Category
Vintage 1980s British Vases
Materials
Stoneware
A Fine Monumental Ovoid Bronze Vase or Ewer 'after the antique'
Located in London, GB
A Very Fine and Monumental Ovoid Vase or Ewer ‘after the antique’
Bronze
The bulbous body with a spout springing from a grotesque mask, the loop handle cast and chased with fruit a...
Category
Antique Late 18th Century French Vases
Materials
Bronze
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Vivienne Foley is based in Gloucestershire where she produces exquisite ceramic sculpture. Although in essence they are often functional pieces in form, it is their appearance that makes each unique work so much more. From dramatic structures to gentle sweeping curves, Foley's inherent understanding of porcelain is more than evident and testament to her patience with this most difficult of materials.
Having worked with porcelain for over 5 decades, it is Foley’s dedication that gives her such sensitivity towards her medium. This combined with her expert glazing and acknowledgement of this material’s vast history, results in very fresh and modern works that equally pay homage to what has gone before. Flower forms, poppy heads, bracts and petals translate into foliate rims and sinuous necks, carved and pleated or swept into a spiral. A contemporary marriage of craft, history and nature.
In her own words:
“As a professional potter I have been producing thrown porcelains for over fifty years and so logic would dictate that I have ‘seen it all, done it all’ by now, but on the contrary I still continue to be challenged and interested. The technical frustrations and the uncertainty of results all seem worthwhile when one opens a successful kiln firing. The heart leaps!
I have never been afraid to push my materials to the limit, to accept failures and to follow trails, but I am always excited when basic techniques and familiar methods result in something new. My primary interest is in ‘form’ and in finding solutions for what I call ‘damp engineering’. The comparatively non-plastic nature of porcelain dictates my having to join sections together, but a form must ‘flow’ and construction methods should not be obvious.
Over the years I have fired every sort of kiln and dallied with glazes, spending untold hours testing and rejecting, but since I now work in a small space I find simple black and white glazes and slips are less distracting and best enhance my forms.
I am not influenced by any particular thing – rather, I am interested in everything; always looking for quality and workmanship. I love all aspects of the design world from architecture to textiles. Museums, galleries and exhibitions are my addiction, with photography and the natural world a constant inspiration.
My travels to China and my ongoing study of Chinese ceramics have also been an enduring theme and I have been lucky enough to handle and photograph some of the world’s great collections”
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