Eileen Lewenstein

   An interesting pre-1976 bowl, very much reflecting a Briglin strain.

The mark from the bowl above.

Fits together well, marked base.
I can’t read it but maybe someone recognises the style and form .

You are brilliant Naomi. She’s another new name for me. I think the mark is after 1976 as now I know what I’m looking at then I can see a wavy line under the initials.

My only piece, A 7.5 in vase just found in a local centre. Rather heavily potted porcelain,
with some minimal incised decoration. Mark for 1976 onwards.

Pared back simple pebble vase. The sea had quite an influence on her work. The mark is her early one which she used from 1959-75, virtually as soon as she stopped working at Briglin until she moved down to Brighton in 1975. The two wavy lines on her later mark are designed to denote the sea. These pebble forms seem to have had a certain naturalistic fashion in the 60's. The early work of Mary Rogers (illustrated quite liberally in her book) and Robert Fournier pebble vases come to mind.
Not very much in fashion now, Eileen Lewenstein was quite influential in her day. Founder editor of Ceramic Review (with Emmanuel Cooper) early member of the CPA, strong left-wing political views, she seems quite forthright in her opinions.

A much under estimated potter. I think you do go to the core of the problem with her work however, she had no consistent style. She seemed to have an urgency to explore lots of all styles. Which is perhaps is no bad thing. The work of hers I have seen as always been very well made. Problem is of course Studio Pottery Collectors are very conservative and catholic in their tastes. They always seem want a specific range of style from the potters and potteries they collect. A Lucie Rie or a Hans Coper poiece are instantly recognisable. As is most Briglin or Troika.
          One suspects her production was smaller than other potters. Her husband Oscar was an impresario and film producer (he produced the very successful film Tom Jones) and was later Director of the Royal Court Theatre. They lived in a nice house in Hampstead, and seemed quite wealthy. So unlike most professional potters she did not necessarily need to make a living by her pottery. According to Emmanuel Cooper Oscar was quite a demanding husband. Combine this with having two children, co-editing CERAMIC REVIEW for thirty years, running a household....she must have been a busy lady.

Agreement on that here as well.
Used to have several of her pieces. Have got rid of them all now. Just did not stir one enough.....although it did take me a long time to get totally bored with them!