briglin pottery
briglin studio pottery london vase. owl & dog money boxes vase & owl impressed
1960s / 70s briglin studio pottery teapot, with brushwork decoration of an apple .
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briglin pottery dougal / dog animal (red clay). vintage moneybox stamped. 70s bank
nice looking pair of briglin pottery owl shaped money boxes. 12 cms tall and 8 cms tall both impressed briglin mark to base .
a. arnold,' briglin pottery 1948 - 1990. the story of a studio pottery in the west end of london', maidstone 2002
very interesting book about this pottery and the people who ran it. ideal for studio pottery collectors .
here is a retro briglin studio pottery 7. 5
high vase with a sgraffito thistle design .
briglin pottery - tall mug beautiful vintage briglin pottery mug. brown with abstract pattern. briglin impressed or side of base. 4 1 / 2
high. excellent condition. lovely piece for the retro briglin collector. thanks for viewing. please visit our ebay shop for lots of similar items .
briglin pottery. it is impressed briglin on the base rim (see photo). cylindrical vase decorated with a stylised leaf design in tan & black .
vintage' briglin pottery' money box - owl shaped, c. 1960, 1970, hand crafted ,
vintage' briglin pottery' money box - cone shaped, c. 1960, 1970, hand crafted ,
this is a sugar bowl in the briglin swirl pattern. it is marked
briglin
on the base .
stamped to the base rim
briglin
. a super collectable briglin pot! wax resist abstract swirls in browns .
stamped to the base rim
briglin
. a super collectable briglin mug! wax resist abstract swirls in browns .
an excellent if short book on the history of briglin pottery. this book was sent quickly and the transaction was very efficient .
briglin pottery was set up in 1948 by brigitte goldschmidt and eileen lewenstein in crawford street, in london' s fashionable w1 area .
an adorable stylised hedgehog by briglin pottery, london, from the 60s or 70s. a lovely collectable example of a briglin creature. we employ at our studio fifteen people and make over three thousand pieces a week .
an adorable stylised large owl by briglin pottery, london, from the 60s or 70s. a lovely collectable example of a briglin creature. we employ at our studio fifteen people and make over three thousand pieces a week .
an adorable stylised dougal style dog by briglin pottery, london, from the 70s or so. stamped to base with' briglin'. unused moneybox - ie empty. (these had no option to open to get money out). lewenstein left the pottery in 1959 to set up her own studio .
impressed briglin and also has two rare labels. one is a briglin made in england label, the other is for the british design centre london .
dating from around 1970, these briglin goblets (11cm / 4. 5
tall) feature a funky swirl pattern. impressed briglin mark to the base of each item .
i have a copy in front of me on my coffee table, it sits beside a briglin lamp and a few 70' s tiles and some briglin pottery i have collected. the book is for the briglin collector. if you want to know about briglin then it' s a good book. i would like more pictures and more items, more colour and something about all the potters who worked there, but since it' s the only book about briglin pottey then i can' t complain. thanks anthea, bw, alex .
the pottery closed in 1990. brigitte appleby died in april, 2000 and eileen lewenstein in march, 2005 .
he has the briglin and england incised to the base.' owl' shaped. hand crafted .
they all have the briglin mark. one has a small chip on the edge the handle as shown .
as seen and is stamped with briglin on base. it stand approx 11 cms and mug part is 7 cms deep .
in 1948, in a baker street basement, lewenstein set up the immediately successful briglin pottery with appleby, producing lively, functional, scandinavian - inspired earthenware. in 1959, she left briglin to work on her own, inspired by the hand - built ceramics of ruth duckworth and helen pincombe, and the idiosyncratic clay sculpture made by the self - taught cer - amicist catherine yarrow .
an account of a pottery in london, which was producing work, not t0 my (bernard leach - ish) taste. a good description
donald mills, at whose pottery the ladies met, worked with them for the first four years. in 1950, when she married, brigitte' s surname became appleby - the name she is remembered by. eileen left briglin in 1959 to set up her own studio .
a nice little book about the pottery in london, informative and some nice pictures, but would have liked to have seen a few more of their later work... the animals etc
impressed briglin, england on the base. money box in the shape of the dougal dog. lovely textured dog with droopy ears, small tail and large button nose .
a terracotta coffee set, painted with a splash flowerhead design, comprising; coffee pot and cover, milk and sugar basin, six cans and saucers impressed briglin 22cm. high
started in 1948 in a basement in the west end of london in the 1960s and 1970s, this pottery became one of the most important training grounds for fast, good throwing, finally closing in 1990 .
the mark is the word' briglin' sometimes in a circular' hand made in england'. the painted initials' ab' indicate that a piece is decorated by anthony barson .
dating from around 1970, this briglin coffee pot (30. 5cm / 12
tall), milk jug (11. 5cm / 4. 5
tall) and sugar bowl (6. 5cm / 2. 5
tall) feature a funky swirl pattern .
sweet little briglin bird. i assume it is a salt cellar as has a hole in the base and the eyes are holes. (i have another the same but solid) the stopper is missing, but could easily be replaced. about 1. 5 inches tall. i cant find another on the internet so i assume they are rare. lovely glaze .
studio pottery set up by brigitte goldsmith (1926 - 2000) and eileen mawson (1925 - 2005) in the basement of 66 baker street, london, moving to 22 crawford st in 1958. in 1966 a shop and gallery was openind at 23 crawford street and the first exhibition was held in 1967, opened by sir david attenborough. brigitte goldsmith, later appleby, was born in leipzig; her family settled in the uk in the 1930s. she married in 1950. eileen mawson, later lewenstein, was born in london, studied painting at the west england school of art in bristol, then at beckenham school of art. they met at the central schools of arts & crafts where they both took pottery classes with donald mills. eileen married to oscar lewenstein, who had run the unity theatre in london and became director of the royal court theatre in 1952 .
the review' s co - editor until 1997, and a founder member of the craftsmen potters association, lewenstein was crucial in giving a public face and scholarly documentation to the postwar studio pottery movement. she knew all the leading ceramicists of the day, and also mixed with the radical intelligentsia, including the writers alexander baron and edward upward, and theatre director joan littlewood. her interests embraced innovative theatre and film, avant - garde music, leftwing politics and feminism .
in 1945, while teaching at derby high school for girls, she attended pottery evening classes given by rj washington, one of william staite murray' s most imaginative pupils. she joined the communist party in that year and, in 1946, was back in london. together with brigitta appleby, a fellow central school student, she became a co - partner in a pot tery in the borough district of southwark, south london, set up by her lover and fellow cp member donald mills .
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their object was to produce well designed, attractive pots that could be used in the home, and to sell them at affordable prices. although this concept did not fit well with their chosen address, and despite their style being quite different to that in vogue at the time, the venture was successful. the white - glazed earthenware pots with painted decoration were, as specified, appealing, functional and reasonably priced .
both women were active in the forming of the craft potters association and served it for many years .
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in 1970, eileen lewenstein, who has died aged 79, and her co - editor emmanuel cooper, brought out the first issue of ceramic review, still today one of the world' s best ceramics journals .
from the start, it was filled with thoughtful editorials and articles by scholars, practitioners and polemicists. in those early days, it was also a beautiful example of modernist typographical design, and, as a meticulous virgo, lewenstein made sure it ran at a profit .
lewenstein was born in london; her father worked for the pearl assurance company and her mother was a keen amateur watercolourist. in 1939, aged 14 and billeted in a luxurious house in surrey, she was introduced to the principles of socialism by a fellow evacuee; subsequently, at school in bristol, she read herbert read' s the meaning of art. the key interests of her life - art and politics - were beginning to emerge .
she studied painting on a scholarship to the west of england school of art, went on to beckenham school of art and, in 1944, took an art teaching diploma at the institute of education, london. students were sent to the central school of arts and crafts for practical classes, and it was there that eileen was introduced to clay .
in 1947, having volunteered to design a bulletin for the socialist unity theatre, eileen was interviewed by oscar lewenstein, then manager of the goldington street unity theatre and later a theatrical impresario (luther, billy liar, what the butler saw) and film producer (a taste of honey, tom jones). they married in 1952 .
the 1960s were a time of great success. lewenstein had two small sons; she was a lecturer at hornsey school of art, from 1960 to 1969; and she was producing ambitious work in stoneware, culminating in a 1966 show of a series of abstract forms in a grid framework at the eva hauser gallery. a commission for a large external screen for the convent of our lady of sion, in chepstow villas, west london, followed .
lewenstein left the cp at the beginning of the 1960s, but retained an interest in eastern europe. her book new ceramics (1974), co - written with cooper, gave full coverage to studio ceramics in eastern and western europe for the first time. her membership of the council of the international academy of ceramics gave further scope to her international outlook .
in 1975, she and oscar moved to live permanently in their second home, in east sussex. lewenstein had a fine collection of pots (including well - chosen oriental examples) and paintings, and a wonderful ceramic library. her walks along the beach - often with camera in hand, for she was an imaginative photographer - enabled her to build up an ever - changing vocabulary of ceramic forms .
there was a grand sequence of press - moulded dishes decorated with shimmering waves of colour. there were tough - looking modules that could be configured in an infinite number of sequences, based on the angular forms of the concrete breakwaters near her house. perhaps loveliest of all were her paired, thrown and altered porcelain pieces that interlocked. memories of brancusi' s the kiss float up as two vessels are transformed into a pair of lovers .
generous with her time, a kind but firm critic of both writing and ceramics, lewenstein was an essentially shy person, though she could also be formidable, even steely. she never abandoned her radicalism, but, perhaps uncharacteristically, accepted a richly deserved obe in 2002. her work can be seen in many collections, including the victoria and albert museum .
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owl money box approx height 4 1 / 2
( 11. 5cms) x width 3
( 7. 5cms) x depth 3 1 / 8
( 8cms) small chip on the one ear. as seen in the photos. vase approx height 4 1 / 8
( 10. 5 cms) x width 4
( 10cms) at widest part .
3 sunflowers on front and back. it has a good cane handle with no defects .
this lovely wine goblet has a smooth blue speckled glaze and a rough biscuit colour to the foot and stem. the front has a grey circle which shows an embossed church. the banner inscription says st elizabeth' s minsteracres 1854 - 2004. measuring 12. 2 cm tall 9 cm rd rim 7. 5 cm rd base i can' t see a definite makers mark anywhere but i' m not sure if the base has markings which have faded. please see photos. thanks for viewing and why not come follow me at my ebay shop as i am always adding new and varied stock at birch & roses collectables. i use recycled materials whenever possible for postage and i aim to post asap .
approx height 4 1 / 8
( 10. 3 cms) x width 4
( 10cms) with lid. in good condition .
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excellent value for hardback & so interesting for the collector & enthusiast, would highly recommend, best price i could find on interne .
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78pp, 12 colour pages and many black and white illustrations. cloth with jacket
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the briglin pottery was a studio pottery founded in 1948 by brigitte goldschmidt ( later known as brigitte appleby ) and eileen lewenstein in the basement of premises at 66 baker street , london . its object was " to produce well designed , attractive pots that could be used in the home , and to sell them at affordable prices . " it produced a large quantity of domestic pottery , much of it recognisable from its dark earthenware body , muted colours , white glaze and wax resist designs . in some ways briglin was atypical of post-war studio potteries : it made tin-glazed earthenware when most others were making stoneware , it employed staff at the time when most studio potters worked alone or with a few assistants , and its pottery and shop were in the west end of london when many potters preferred the country . appleby said of the pottery , “ while the london location presupposes high salaries and overheads , it has the advantage of easy access to raw materials , a perpetually changing patronage as well as an unlimited choice of assistants . we employ at our studio fifteen people and make over three thousand pieces a week . ” one of her staff , michael crosby-jones , commented , “ yes , briglin is very commercial . this means that the pottery is a viable concern and the ten full-time employees plus half a dozen part-time employees are very pleased about this . ” their staff included donald mills , who worked with them from 1948 – 52 , and anthony barson who specialised in painted decoration . due to a fire in 1952 , the pottery moved to 22 crawford street where it continued until its closure in 1990 . lewenstein left the pottery in 1959 to set up her own studio . both she and appleby were active in forming the craft potters ' association and served it for many years . lewenstein co-edited its journal ceramic review from 1970 until 1997 . brigitte appleby died in april , 2000 and eileen lewenstein in march , 2005 . in 2002 anthea arnold published a history of the pottery . example of briglin 's pottery are included in the collection of the university of warwick
the briglin pottery was a studio pottery founded in 1948 by brigitte goldschmidt (later known as brigitte appleby) and eileen lewenstein in the basement of premises at 66 baker street, london. its object was " to produce well designed, attractive pots that could be used in the home, and to sell them at affordable prices. " it produced a large quantity of domestic pottery, much of it recognisable from its dark earthenware body, muted colours, white glaze and wax resist designs. in some ways briglin was atypical of post-war studio potteries: it made tin-glazed earthenware when most others were making stoneware, it employed staff at the time when most studio potters worked alone or with a few assistants, and its pottery and shop were in the west end of london when many potters preferred the country. appleby said of the pottery, “ while the london location presupposes high salaries and overheads, it has the advantage of easy access to raw materials, a perpetually changing patronage as well as an unlimited choice of assistants. we employ at our studio fifteen people and make over three thousand pieces a week. ” one of her staff, michael crosby-jones, commented, “ yes, briglin is very commercial. this means that the pottery is a viable concern and the ten full-time employees plus half a dozen part-time employees are very pleased about this. ” their staff included donald mills, who worked with them from 1948 – 52, and anthony barson who specialised in painted decoration. due to a fire in 1952, the pottery moved to 22 crawford street where it continued until its closure in 1990. lewenstein left the pottery in 1959 to set up her own studio. both she and appleby were active in forming the craft potters' association and served it for many years. lewenstein co-edited its journal ceramic review from 1970 until 1997. brigitte appleby died in april, 2000 and eileen lewenstein in march, 2005. in 2002 anthea arnold published a history of the pottery. example of briglin's pottery are included in the collection of the university of warwick
the briglin pottery was a studio pottery founded in 1948 by brigitte goldschmidt (later known as brigitte appleby) and eileen lewenstein in the basement of premises at 66 baker street, london. its object was " to produce well designed, attractive pots that could be used in the home, and to sell them at affordable prices. " it produced a large quantity of domestic pottery, much of it recognisable from its dark earthenware body, muted colours, white glaze and wax resist designs. in some ways briglin was atypical of post-war studio potteries: it made tin-glazed earthenware when most others were making stoneware, it employed staff at the time when most studio potters worked alone or with a few assistants, and its pottery and shop were in the west end of london when many potters preferred the country. appleby said of the pottery, “ while the london location presupposes high salaries and overheads, it has the advantage of easy access to raw materials, a perpetually changing patronage as well as an unlimited choice of assistants. we employ at our studio fifteen people and make over three thousand pieces a week. ” one of her staff, michael crosby-jones, commented, “ yes, briglin is very commercial. this means that the pottery is a viable concern and the ten full-time employees plus half a dozen part-time employees are very pleased about this. ” their staff included donald mills, who worked with them from 1948 – 52, and anthony barson who specialised in painted decoration. due to a fire in 1952, the pottery moved to 22 crawford street where it continued until its closure in 1990. lewenstein left the pottery in 1959 to set up her own studio. both she and appleby were active in forming the craft potters' association and served it for many years. lewenstein co-edited its journal ceramic review from 1970 until 1997. brigitte appleby died in april, 2000 and eileen lewenstein in march, 2005. in 2002 anthea arnold published a history of the pottery. example of briglin's pottery are included in the collection of the university of warwick