In 1966 Lies Cosijn just had been moved from Amsterdam (Kloveniersburgwal) to the village of Petten. In Amsterdam she had tasted the atmosphere and life in the red light district. The short stay in this area explains most probably why the artist often uses the theme of erotism.
The goblet with cover which we are offering here is executed in rough chamotte clay. The piece is made up of a column thrown on a wheel. At the top a first beaker has been mounted. In this beaker we see an incised decoration with two birds, a ban the bomb sign and the text: "Een bordeel voor Jacques" (a bawdy-house for Jack). In this beaker a second beaker has been mounted. At the outside the bodies of naked women are moulded. The cover carries the face of a girl.
An early piece in this size by Lies Cosijn is relatively rare. The piece comes with a black metal foot. The first owner bought this piece around 1966 in the at that time leading ceramic Galerie Het Kapelhuis in Amersfoort.
In 1966 Lies Cosijn just had been moved from Amsterdam (Kloveniersburgwal) to the village of Petten. In Amsterdam she had tasted the atmosphere and life in the red light district. The short stay in this area explains most probably why the artist often uses the theme of erotism.
The goblet with cover which we are offering here is executed in rough chamotte clay. The piece is made up of a column thrown on a wheel. At the top a first beaker has been mounted. In this beaker we see an incised decoration with two birds, a ban the bomb sign and the text: "Een bordeel voor Jacques" (a bawdy-house for Jack). In this beaker a second beaker has been mounted. At the outside the bodies of naked women are moulded. The cover carries the face of a girl.
An early piece in this size by Lies Cosijn is relatively rare. The piece comes with a black metal foot. The first owner bought this piece around 1966 in the at that time leading ceramic Galerie Het Kapelhuis in Amersfoort.