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Click here to subscribe†LUCIE RIE (1902-1995) & HANS COPER (1920-1981); a pair of stoneware side plates covered in black glaze, impressed LR and HC marks to one plate, made circa 1955, diameter 13.5cm (2).Condition Report: Nick below rim to unmarked plate, otherwise appears good with no further signs of faults, damage or restorations.
†DAMEON LYNN (born 1972); two stoneware vessels in the manner of Hans Coper comprising a cycladic form on a drum base and a composite form, impressed marks, tallest 29cm (2).Condition Report: Nick to edge of disc in the composite form, otherwise appears good with no further signs of faults, damage or restorations.
†LUCIE RIE (1902-1995); a trio of stoneware cups and saucers partially covered in manganese with sgraffito decoration, impressed LR marks, made circa 1958, cup height 7.5cm, saucer diameter 13.5cm.For similar examples, see Cyril Frankel, 'Modern Pots: Hans Coper, Lucie Rie & their Contemporaries - The Lisa Sainsbury Collection' (Thames & Hudson, 2000), p. 97. Condition Report: Professional restoration to hairlines inside cups, otherwise appears good with no further signs of faults, damage or restorations.
Hans CoperEarly and large 'Thistle' form, circa 1952Stoneware, layered white porcelain slips and engobes over a body with textured and incised linear designs, the interior with manganese glaze.46.2 x 43 x 21.5 cmImpressed with artist's seal.Footnotes:ProvenancePrivate collection, United KingdomGift from the above to the present ownersLiteratureHans Coper, exh. cat., Mitochu Koeki, Tokyo, 2013, pp. 2, 31 for comparable examplesThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Hans CoperEarly and large 'Thistle' form, circa 1958Stoneware, layered white porcelain slips and engobes over a body with textured and incised linear designs, the interior with manganese glaze.45 x 39 x 20 cmImpressed with artist's seal.Footnotes:ProvenancePrivate collection, United KingdomGift from the above to the present ownersLiteratureMaya Nishi, ed., Hans Coper Retrospective: Innovation in 20th Century Ceramics, exh. cat., The Museum of Ceramic Art, Hyogo, 2009, p. 81 for a comparable exampleThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Hans Coper'Hourglass' vase, circa 1965Stoneware, layered white porcelain slips and engobes over a body with textured and incised linear designs, the interior with manganese glaze.44.5 cm high, 18 cm diameter Impressed with artist's seal.Footnotes:LiteratureMichael Casson, Pottery in Britain Today, New York, 1967, pp. 13-14 for comparable examplesTony Birks, Hans Coper, London, 1983, pp. 57, 60, 125-26 for comparable examplesCyril Frankel, Modern Pots: Hans Coper, Lucie Rie & their Contemporaries: The Lisa Sainsbury Collection, London, 2000, p. 49 for a comparable exampleThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Dame Lucie Rie D.B.E. (1902-1995) and Hans Coper (1920-1981), a pair of stoneware bowls and a third stoneware bowl by Dame Lucie Rie, the pair of bowls off-white glazed the interior and half the exterior, the lower half in a dark brown glaze, impressed seal marks,13cm diameter the single Rie bowl covered in a brown and white striped glaze and incised with lines to the exterior, impressed seal mark, 1.9cm diameter, 6.4cm high, all damaged***CONDITION REPORT***One of the pair with two long cracks downward from rim, one reaching footrim, the other almost, both cracks visible inside and out. The other matching bowl with chip to bowl rim, approx. 6x2mm. The third bowl with two long cracks downward from bowl rim, visible both inside and out, both almost reaching footrim; minor shallow graze at outside edge of footrim.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
†LUCIE RIE (1902-1995) & HANS COPER (1920-1981); a stoneware pourer covered in pitted white glaze to the exterior and manganese the interior, impressed LR and HC marks, made circa 1955, diameter 14cm (excluding handle). Condition Report: Professional restoration to rim, otherwise appears good with no further signs of faults, damage or restorations.
Two books on studio ceramics including a first edition of 'Hans Coper' by Tony Birks (Harper & Row, 1983), eight Bonhams auction catalogues on contemporary ceramics, and 'Studio Pottery', a presentation pack of four stamps designed by Tony Evans featuring works by Bernard Leach, Elizabeth Fritsch, Lucie Rie and Hans Coper, pack no. 184, October 1987 (11).
λ JOHN WARD (BRITISH 1938-2023)A LARGE VESSELStoneware, of flattened disc form with tapering neck, matt white glaze with radiating green lines, impressed with JW sealHeight: 35.5cm (14 in.)Provenance:Private CollectionCompare with a similar example illustrated by Emma Crichton-Miller, The Pottery of John Ward, p.66 and on the coverAt the age of 28 John Ward applied to Camberwell School of Arts & Crafts. He was initially drawn to this particular college as he knew that Lucie Rie and Hans Coper were visiting tutors and after having seen their works at pottery exhibitions in London he was keen to learn more. Ward said 'Lucie Rie's work, which I first saw in a sunlit exhibition room, glowed with its light, life and colour.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 33Ward's life in metropolitan London certainly paved the way for his career in ceramics but it was his move to Pembrokeshire with his family in 1979 which allowed him to take up a slower pace of life, surrounded by serenity and nature. Ward was inspired by the sudden change in colours he witnessed from the city to the coast. The monumental rock formations teetering on the edge of cliffs reiterated the energy and power of nature. His fascination with light and the way in which it fell through the trees making shapes and patterns on the woodland floor were certainly all influential in the development of both his design and form. He hand-built his pots using strips of clay to build vessels of design over function. Cutting and re-joining sections of clay resulted in beautiful unique forms, experimenting also with textured surfaces. The works he created drew inspiration from architectural design, nature's elements found on the shoreline and historic roman vessels. Ward was fascinated by the self-containment of a single vessel combined with the dynamism of design which created an object full of energy and yet 'a still point of the turning world.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 12In 1982 John Ward had his first one-man show at the Peter Dingley Gallery. This exhilarating body of work showcased his wide variety of new forms, including gourd-shaped vessels, double-grooved bowls, square necks and flanged bowls. Ward set himself off on a journey to find 'rightness' which to him was the perfect balance between form, achieved through quality of clay, and decoration, through the experimentation of glazes. Included in this private collection of works by John Ward we are able to identify examples of many of his favourite glazes including three green and white pots with geometric glazes, striking black, tantalising blue and innocent white, like porcelain. Important examples of Ward's ceramics can be found in the Ashmolean Museum in Oxford and The Museum of Modern Art in New York. Condition Report: In good original condition. No evidence of damage, repair or restoration. Condition Report Disclaimer
λ JOHN WARD (BRITISH 1938-2023)A MATT BLUE VASEStoneware, impressed with JW seal Height: 25cm (9 7/8 in.)Provenance:Courcoux & Courcoux, Hampshire Private Collection (Acquired from the above on 22nd February 1991)At the age of 28 John Ward applied to Camberwell School of Arts & Crafts. He was initially drawn to this particular college as he knew that Lucie Rie and Hans Coper were visiting tutors and after having seen their works at pottery exhibitions in London he was keen to learn more. Ward said 'Lucie Rie's work, which I first saw in a sunlit exhibition room, glowed with its light, life and colour.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 33Ward's life in metropolitan London certainly paved the way for his career in ceramics but it was his move to Pembrokeshire with his family in 1979 which allowed him to take up a slower pace of life, surrounded by serenity and nature. Ward was inspired by the sudden change in colours he witnessed from the city to the coast. The monumental rock formations teetering on the edge of cliffs reiterated the energy and power of nature. His fascination with light and the way in which it fell through the trees making shapes and patterns on the woodland floor were certainly all influential in the development of both his design and form. He hand-built his pots using strips of clay to build vessels of design over function. Cutting and re-joining sections of clay resulted in beautiful unique forms, experimenting also with textured surfaces. The works he created drew inspiration from architectural design, nature's elements found on the shoreline and historic roman vessels. Ward was fascinated by the self-containment of a single vessel combined with the dynamism of design which created an object full of energy and yet 'a still point of the turning world.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 12In 1982 John Ward had his first one-man show at the Peter Dingley Gallery. This exhilarating body of work showcased his wide variety of new forms, including gourd-shaped vessels, double-grooved bowls, square necks and flanged bowls. Ward set himself off on a journey to find 'rightness' which to him was the perfect balance between form, achieved through quality of clay, and decoration, through the experimentation of glazes. Included in this private collection of works by John Ward we are able to identify examples of many of his favourite glazes including three green and white pots with geometric glazes, striking black, tantalising blue and innocent white, like porcelain. Important examples of Ward's ceramics can be found in the Ashmolean Museum in Oxford and The Museum of Modern Art in New York. Condition Report: In good original condition. No evidence of damage, repair or restoration. Condition Report Disclaimer
λ JOHN WARD (BRITISH 1938-2023)A LARGE GREEN AND BROWN BOWLStoneware with textured surface, impressed with JW seal24 x 41cm (9½ x 16 1/8 in.)Provenance: Amalgam Art Ltd, Barnes Private Collection (acquired from the above on 13th May 1993)At the age of 28 John Ward applied to Camberwell School of Arts & Crafts. He was initially drawn to this particular college as he knew that Lucie Rie and Hans Coper were visiting tutors and after having seen their works at pottery exhibitions in London he was keen to learn more. Ward said 'Lucie Rie's work, which I first saw in a sunlit exhibition room, glowed with its light, life and colour.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 33Ward's life in metropolitan London certainly paved the way for his career in ceramics but it was his move to Pembrokeshire with his family in 1979 which allowed him to take up a slower pace of life, surrounded by serenity and nature. Ward was inspired by the sudden change in colours he witnessed from the city to the coast. The monumental rock formations teetering on the edge of cliffs reiterated the energy and power of nature. His fascination with light and the way in which it fell through the trees making shapes and patterns on the woodland floor were certainly all influential in the development of both his design and form. He hand-built his pots using strips of clay to build vessels of design over function. Cutting and re-joining sections of clay resulted in beautiful unique forms, experimenting also with textured surfaces. The works he created drew inspiration from architectural design, nature's elements found on the shoreline and historic roman vessels. Ward was fascinated by the self-containment of a single vessel combined with the dynamism of design which created an object full of energy and yet 'a still point of the turning world.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 12In 1982 John Ward had his first one-man show at the Peter Dingley Gallery. This exhilarating body of work showcased his wide variety of new forms, including gourd-shaped vessels, double-grooved bowls, square necks and flanged bowls. Ward set himself off on a journey to find 'rightness' which to him was the perfect balance between form, achieved through quality of clay, and decoration, through the experimentation of glazes. Included in this private collection of works by John Ward we are able to identify examples of many of his favourite glazes including three green and white pots with geometric glazes, striking black, tantalising blue and innocent white, like porcelain. Important examples of Ward's ceramics can be found in the Ashmolean Museum in Oxford and The Museum of Modern Art in New York. Condition Report: In good original condition. No evidence of damage, repair or restoration. Condition Report Disclaimer
λ JOHN WARD (BRITISH 1938-2023)A LARGE VESSELStoneware, with soft white and mottled green glazes over a textured surface, flattened with bands of concentric rings following the contours of the form front and back, with angled cut rim, impressed with JW sealHeight: 46cm (18 in.)Provenance:Private CollectionCompare with a similar example illustrated by Emma Crichton-Miller, The Pottery of John Ward, p.86At the age of 28 John Ward applied to Camberwell School of Arts & Crafts. He was initially drawn to this particular college as he knew that Lucie Rie and Hans Coper were visiting tutors and after having seen their works at pottery exhibitions in London he was keen to learn more. Ward said 'Lucie Rie's work, which I first saw in a sunlit exhibition room, glowed with its light, life and colour.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 33Ward's life in metropolitan London certainly paved the way for his career in ceramics but it was his move to Pembrokeshire with his family in 1979 which allowed him to take up a slower pace of life, surrounded by serenity and nature. Ward was inspired by the sudden change in colours he witnessed from the city to the coast. The monumental rock formations teetering on the edge of cliffs reiterated the energy and power of nature. His fascination with light and the way in which it fell through the trees making shapes and patterns on the woodland floor were certainly all influential in the development of both his design and form. He hand-built his pots using strips of clay to build vessels of design over function. Cutting and re-joining sections of clay resulted in beautiful unique forms, experimenting also with textured surfaces. The works he created drew inspiration from architectural design, nature's elements found on the shoreline and historic roman vessels. Ward was fascinated by the self-containment of a single vessel combined with the dynamism of design which created an object full of energy and yet 'a still point of the turning world.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 12In 1982 John Ward had his first one-man show at the Peter Dingley Gallery. This exhilarating body of work showcased his wide variety of new forms, including gourd-shaped vessels, double-grooved bowls, square necks and flanged bowls. Ward set himself off on a journey to find 'rightness' which to him was the perfect balance between form, achieved through quality of clay, and decoration, through the experimentation of glazes. Included in this private collection of works by John Ward we are able to identify examples of many of his favourite glazes including three green and white pots with geometric glazes, striking black, tantalising blue and innocent white, like porcelain. Important examples of Ward's ceramics can be found in the Ashmolean Museum in Oxford and The Museum of Modern Art in New York. Condition Report: In good original condition. No evidence of damage, repair or restoration. Condition Report Disclaimer
λ JOHN WARD (BRITISH 1938-2023)A GLOBULAR SQUARE NECKED VASEStoneware, covered in streaked white and pale blue glaze, impressed with JW sealHeight: 38cm (15 in.)Provenance: Private Collection, Peter Dingley Private Collection (acquired from the above in 5th October 1991)Compare with a similar example illustrated by Emma Crichton-Miller,The Pottery of John Ward, p. 62 shown in situ at the Peter Dingwall Gallery Exhibition, 1987At the age of 28 John Ward applied to Camberwell School of Arts & Crafts. He was initially drawn to this particular college as he knew that Lucie Rie and Hans Coper were visiting tutors and after having seen their works at pottery exhibitions in London he was keen to learn more. Ward said 'Lucie Rie's work, which I first saw in a sunlit exhibition room, glowed with its light, life and colour.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 33Ward's life in metropolitan London certainly paved the way for his career in ceramics but it was his move to Pembrokeshire with his family in 1979 which allowed him to take up a slower pace of life, surrounded by serenity and nature. Ward was inspired by the sudden change in colours he witnessed from the city to the coast. The monumental rock formations teetering on the edge of cliffs reiterated the energy and power of nature. His fascination with light and the way in which it fell through the trees making shapes and patterns on the woodland floor were certainly all influential in the development of both his design and form. He hand-built his pots using strips of clay to build vessels of design over function. Cutting and re-joining sections of clay resulted in beautiful unique forms, experimenting also with textured surfaces. The works he created drew inspiration from architectural design, nature's elements found on the shoreline and historic roman vessels. Ward was fascinated by the self-containment of a single vessel combined with the dynamism of design which created an object full of energy and yet 'a still point of the turning world.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 12In 1982 John Ward had his first one-man show at the Peter Dingley Gallery. This exhilarating body of work showcased his wide variety of new forms, including gourd-shaped vessels, double-grooved bowls, square necks and flanged bowls. Ward set himself off on a journey to find 'rightness' which to him was the perfect balance between form, achieved through quality of clay, and decoration, through the experimentation of glazes. Included in this private collection of works by John Ward we are able to identify examples of many of his favourite glazes including three green and white pots with geometric glazes, striking black, tantalising blue and innocent white, like porcelain. Important examples of Ward's ceramics can be found in the Ashmolean Museum in Oxford and The Museum of Modern Art in New York. Condition Report: In good original condition. Inspection under UV reveals a couple of scratches/impurities in the clay. Otherwise no evidence of damage, repair or restoration. Condition Report Disclaimer
λ JOHN WARD (BRITISH 1938-2023)A LARGE BROWN GLAZED BOWLStoneware, impressed with JW seal27 x 34.5cm (10 5/8 x 13 1/2 in.)Provenance: Beaux Arts, BathPrivate Collection (acquired from the above on 13th September 1991)Compare with a similar example illustrated, Emma Crichton-Miller, The Pottery of John Ward, p.73At the age of 28 John Ward applied to Camberwell School of Arts & Crafts. He was initially drawn to this particular college as he knew that Lucie Rie and Hans Coper were visiting tutors and after having seen their works at pottery exhibitions in London he was keen to learn more. Ward said 'Lucie Rie's work, which I first saw in a sunlit exhibition room, glowed with its light, life and colour.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 33Ward's life in metropolitan London certainly paved the way for his career in ceramics but it was his move to Pembrokeshire with his family in 1979 which allowed him to take up a slower pace of life, surrounded by serenity and nature. Ward was inspired by the sudden change in colours he witnessed from the city to the coast. The monumental rock formations teetering on the edge of cliffs reiterated the energy and power of nature. His fascination with light and the way in which it fell through the trees making shapes and patterns on the woodland floor were certainly all influential in the development of both his design and form. He hand-built his pots using strips of clay to build vessels of design over function. Cutting and re-joining sections of clay resulted in beautiful unique forms, experimenting also with textured surfaces. The works he created drew inspiration from architectural design, nature's elements found on the shoreline and historic roman vessels. Ward was fascinated by the self-containment of a single vessel combined with the dynamism of design which created an object full of energy and yet 'a still point of the turning world.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 12In 1982 John Ward had his first one-man show at the Peter Dingley Gallery. This exhilarating body of work showcased his wide variety of new forms, including gourd-shaped vessels, double-grooved bowls, square necks and flanged bowls. Ward set himself off on a journey to find 'rightness' which to him was the perfect balance between form, achieved through quality of clay, and decoration, through the experimentation of glazes. Included in this private collection of works by John Ward we are able to identify examples of many of his favourite glazes including three green and white pots with geometric glazes, striking black, tantalising blue and innocent white, like porcelain. Important examples of Ward's ceramics can be found in the Ashmolean Museum in Oxford and The Museum of Modern Art in New York. Condition Report: In good original condition. No evidence of damage, repair or restoration. Condition Report Disclaimer
λ JOHN WARD (BRITISH 1938-2023)A GREEN AND MATT WHITE BOWLImpressed with JW seal Height: 20cm (7 7/8 in.)Provenance:Private CollectionAt the age of 28 John Ward applied to Camberwell School of Arts & Crafts. He was initially drawn to this particular college as he knew that Lucie Rie and Hans Coper were visiting tutors and after having seen their works at pottery exhibitions in London he was keen to learn more. Ward said 'Lucie Rie's work, which I first saw in a sunlit exhibition room, glowed with its light, life and colour.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 33Ward's life in metropolitan London certainly paved the way for his career in ceramics but it was his move to Pembrokeshire with his family in 1979 which allowed him to take up a slower pace of life, surrounded by serenity and nature. Ward was inspired by the sudden change in colours he witnessed from the city to the coast. The monumental rock formations teetering on the edge of cliffs reiterated the energy and power of nature. His fascination with light and the way in which it fell through the trees making shapes and patterns on the woodland floor were certainly all influential in the development of both his design and form. He hand-built his pots using strips of clay to build vessels of design over function. Cutting and re-joining sections of clay resulted in beautiful unique forms, experimenting also with textured surfaces. The works he created drew inspiration from architectural design, nature's elements found on the shoreline and historic roman vessels. Ward was fascinated by the self-containment of a single vessel combined with the dynamism of design which created an object full of energy and yet 'a still point of the turning world.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 12In 1982 John Ward had his first one-man show at the Peter Dingley Gallery. This exhilarating body of work showcased his wide variety of new forms, including gourd-shaped vessels, double-grooved bowls, square necks and flanged bowls. Ward set himself off on a journey to find 'rightness' which to him was the perfect balance between form, achieved through quality of clay, and decoration, through the experimentation of glazes. Included in this private collection of works by John Ward we are able to identify examples of many of his favourite glazes including three green and white pots with geometric glazes, striking black, tantalising blue and innocent white, like porcelain. Important examples of Ward's ceramics can be found in the Ashmolean Museum in Oxford and The Museum of Modern Art in New York. Condition Report: In good original condition. No evidence of damage, repair or restoration. Condition Report Disclaimer
λ JOHN WARD (BRITISH 1938-2023)A LARGE 'TULIP' VASEStoneware, covered in streaked white and pale blue glazes, impressed with JW sealHeight: 30cm (11 7/8 in.)Provenance:Private CollectionAt the age of 28 John Ward applied to Camberwell School of Arts & Crafts. He was initially drawn to this particular college as he knew that Lucie Rie and Hans Coper were visiting tutors and after having seen their works at pottery exhibitions in London he was keen to learn more. Ward said 'Lucie Rie's work, which I first saw in a sunlit exhibition room, glowed with its light, life and colour.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 33Ward's life in metropolitan London certainly paved the way for his career in ceramics but it was his move to Pembrokeshire with his family in 1979 which allowed him to take up a slower pace of life, surrounded by serenity and nature. Ward was inspired by the sudden change in colours he witnessed from the city to the coast. The monumental rock formations teetering on the edge of cliffs reiterated the energy and power of nature. His fascination with light and the way in which it fell through the trees making shapes and patterns on the woodland floor were certainly all influential in the development of both his design and form. He hand-built his pots using strips of clay to build vessels of design over function. Cutting and re-joining sections of clay resulted in beautiful unique forms, experimenting also with textured surfaces. The works he created drew inspiration from architectural design, nature's elements found on the shoreline and historic roman vessels. Ward was fascinated by the self-containment of a single vessel combined with the dynamism of design which created an object full of energy and yet 'a still point of the turning world.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 12In 1982 John Ward had his first one-man show at the Peter Dingley Gallery. This exhilarating body of work showcased his wide variety of new forms, including gourd-shaped vessels, double-grooved bowls, square necks and flanged bowls. Ward set himself off on a journey to find 'rightness' which to him was the perfect balance between form, achieved through quality of clay, and decoration, through the experimentation of glazes. Included in this private collection of works by John Ward we are able to identify examples of many of his favourite glazes including three green and white pots with geometric glazes, striking black, tantalising blue and innocent white, like porcelain. Important examples of Ward's ceramics can be found in the Ashmolean Museum in Oxford and The Museum of Modern Art in New York. Condition Report: In good original condition. No evidence of damage, repair or restoration. Condition Report Disclaimer
λ JOHN WARD (BRITISH 1938-2023)A LARGE BROWN 'SHOULDER POT'Stoneware, the flattened form rising to a tapering neck with gently dipped rim, with impressed JW sealHeight: 49cm (19¼ in.) Provenance: Oxford Gallery, Oxford Private Collection (acquired in December 1993)Compare with a similar example illustrated by Emma Crichton-Miller, The Pottery of John Ward, p.68 and p. 94At the age of 28 John Ward applied to Camberwell School of Arts & Crafts. He was initially drawn to this particular college as he knew that Lucie Rie and Hans Coper were visiting tutors and after having seen their works at pottery exhibitions in London he was keen to learn more. Ward said 'Lucie Rie's work, which I first saw in a sunlit exhibition room, glowed with its light, life and colour.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 33Ward's life in metropolitan London certainly paved the way for his career in ceramics but it was his move to Pembrokeshire with his family in 1979 which allowed him to take up a slower pace of life, surrounded by serenity and nature. Ward was inspired by the sudden change in colours he witnessed from the city to the coast. The monumental rock formations teetering on the edge of cliffs reiterated the energy and power of nature. His fascination with light and the way in which it fell through the trees making shapes and patterns on the woodland floor were certainly all influential in the development of both his design and form. He hand-built his pots using strips of clay to build vessels of design over function. Cutting and re-joining sections of clay resulted in beautiful unique forms, experimenting also with textured surfaces. The works he created drew inspiration from architectural design, nature's elements found on the shoreline and historic roman vessels. Ward was fascinated by the self-containment of a single vessel combined with the dynamism of design which created an object full of energy and yet 'a still point of the turning world.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 12In 1982 John Ward had his first one-man show at the Peter Dingley Gallery. This exhilarating body of work showcased his wide variety of new forms, including gourd-shaped vessels, double-grooved bowls, square necks and flanged bowls. Ward set himself off on a journey to find 'rightness' which to him was the perfect balance between form, achieved through quality of clay, and decoration, through the experimentation of glazes. Included in this private collection of works by John Ward we are able to identify examples of many of his favourite glazes including three green and white pots with geometric glazes, striking black, tantalising blue and innocent white, like porcelain. Important examples of Ward's ceramics can be found in the Ashmolean Museum in Oxford and The Museum of Modern Art in New York. Condition Report: In good original condition. Inspection under UV reveals a couple of scratches/impurities in the clay. Otherwise no evidence of damage, repair or restoration. Condition Report Disclaimer
λ JOHN WARD (BRITISH 1938-2023)A LARGE WHITE 'SHOULDER POT'Stoneware, the flattened form rising to a tapering neck with gently dipped rim, impressed with JW sealHeight: 43cm (16 7/8in.)Provenance: Victoria and Albert Museum, Crafts Council Shop, London Private Collection (acquired from the above on 5th September 1989, no. 17)Please Note: The measurements should read Height: 43cm (16 7/8in.)Compare with a similar example illustrated by Emma Crichton-Miller, The Pottery of John Ward, p. 95At the age of 28 John Ward applied to Camberwell School of Arts & Crafts. He was initially drawn to this particular college as he knew that Lucie Rie and Hans Coper were visiting tutors and after having seen their works at pottery exhibitions in London he was keen to learn more. Ward said 'Lucie Rie's work, which I first saw in a sunlit exhibition room, glowed with its light, life and colour.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 33Ward's life in metropolitan London certainly paved the way for his career in ceramics but it was his move to Pembrokeshire with his family in 1979 which allowed him to take up a slower pace of life, surrounded by serenity and nature. Ward was inspired by the sudden change in colours he witnessed from the city to the coast. The monumental rock formations teetering on the edge of cliffs reiterated the energy and power of nature. His fascination with light and the way in which it fell through the trees making shapes and patterns on the woodland floor were certainly all influential in the development of both his design and form. He hand-built his pots using strips of clay to build vessels of design over function. Cutting and re-joining sections of clay resulted in beautiful unique forms, experimenting also with textured surfaces. The works he created drew inspiration from architectural design, nature's elements found on the shoreline and historic roman vessels. Ward was fascinated by the self-containment of a single vessel combined with the dynamism of design which created an object full of energy and yet 'a still point of the turning world.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 12In 1982 John Ward had his first one-man show at the Peter Dingley Gallery. This exhilarating body of work showcased his wide variety of new forms, including gourd-shaped vessels, double-grooved bowls, square necks and flanged bowls. Ward set himself off on a journey to find 'rightness' which to him was the perfect balance between form, achieved through quality of clay, and decoration, through the experimentation of glazes. Included in this private collection of works by John Ward we are able to identify examples of many of his favourite glazes including three green and white pots with geometric glazes, striking black, tantalising blue and innocent white, like porcelain. Important examples of Ward's ceramics can be found in the Ashmolean Museum in Oxford and The Museum of Modern Art in New York. Condition Report: In good original condition. Inspection under UV reveals a couple of scratches/impurities in the clay and a hand print, most likely that of the artist. Otherwise no evidence of damage, repair or restoration. Condition Report Disclaimer
λ JOHN WARD (BRITISH 1938-2023)A BLACK AND WHITE VASEStoneware, matt white and black glaze, Impressed with JW seal Height: 23cm (9 in.)Provenance:Private CollectionAt the age of 28 John Ward applied to Camberwell School of Arts & Crafts. He was initially drawn to this particular college as he knew that Lucie Rie and Hans Coper were visiting tutors and after having seen their works at pottery exhibitions in London he was keen to learn more. Ward said 'Lucie Rie's work, which I first saw in a sunlit exhibition room, glowed with its light, life and colour.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 33Ward's life in metropolitan London certainly paved the way for his career in ceramics but it was his move to Pembrokeshire with his family in 1979 which allowed him to take up a slower pace of life, surrounded by serenity and nature. Ward was inspired by the sudden change in colours he witnessed from the city to the coast. The monumental rock formations teetering on the edge of cliffs reiterated the energy and power of nature. His fascination with light and the way in which it fell through the trees making shapes and patterns on the woodland floor were certainly all influential in the development of both his design and form. He hand-built his pots using strips of clay to build vessels of design over function. Cutting and re-joining sections of clay resulted in beautiful unique forms, experimenting also with textured surfaces. The works he created drew inspiration from architectural design, nature's elements found on the shoreline and historic roman vessels. Ward was fascinated by the self-containment of a single vessel combined with the dynamism of design which created an object full of energy and yet 'a still point of the turning world.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 12In 1982 John Ward had his first one-man show at the Peter Dingley Gallery. This exhilarating body of work showcased his wide variety of new forms, including gourd-shaped vessels, double-grooved bowls, square necks and flanged bowls. Ward set himself off on a journey to find 'rightness' which to him was the perfect balance between form, achieved through quality of clay, and decoration, through the experimentation of glazes. Included in this private collection of works by John Ward we are able to identify examples of many of his favourite glazes including three green and white pots with geometric glazes, striking black, tantalising blue and innocent white, like porcelain. Important examples of Ward's ceramics can be found in the Ashmolean Museum in Oxford and The Museum of Modern Art in New York. Condition Report: AMMENDMENT:There is a very small chip to the inner rim. This does not effect the outer edge. In otherwise good original condition. No evidence of restoration or repair. Condition Report Disclaimer
λ JOHN WARD (BRITISH 1938-2023)A MATT BROWN ORANGE AND TURQUOISE-GREEN VASEStoneware, impressed with JW sealHeight: 21cm (8¼ in.)Provenance: By repute Ian Courcoux, Hampshire Most likely acquired from the above by the present owners At the age of 28 John Ward applied to Camberwell School of Arts & Crafts. He was initially drawn to this particular college as he knew that Lucie Rie and Hans Coper were visiting tutors and after having seen their works at pottery exhibitions in London he was keen to learn more. Ward said 'Lucie Rie's work, which I first saw in a sunlit exhibition room, glowed with its light, life and colour.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 33Ward's life in metropolitan London certainly paved the way for his career in ceramics but it was his move to Pembrokeshire with his family in 1979 which allowed him to take up a slower pace of life, surrounded by serenity and nature. Ward was inspired by the sudden change in colours he witnessed from the city to the coast. The monumental rock formations teetering on the edge of cliffs reiterated the energy and power of nature. His fascination with light and the way in which it fell through the trees making shapes and patterns on the woodland floor were certainly all influential in the development of both his design and form. He hand-built his pots using strips of clay to build vessels of design over function. Cutting and re-joining sections of clay resulted in beautiful unique forms, experimenting also with textured surfaces. The works he created drew inspiration from architectural design, nature's elements found on the shoreline and historic roman vessels. Ward was fascinated by the self-containment of a single vessel combined with the dynamism of design which created an object full of energy and yet 'a still point of the turning world.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 12In 1982 John Ward had his first one-man show at the Peter Dingley Gallery. This exhilarating body of work showcased his wide variety of new forms, including gourd-shaped vessels, double-grooved bowls, square necks and flanged bowls. Ward set himself off on a journey to find 'rightness' which to him was the perfect balance between form, achieved through quality of clay, and decoration, through the experimentation of glazes. Included in this private collection of works by John Ward we are able to identify examples of many of his favourite glazes including three green and white pots with geometric glazes, striking black, tantalising blue and innocent white, like porcelain. Important examples of Ward's ceramics can be found in the Ashmolean Museum in Oxford and The Museum of Modern Art in New York. Condition Report: In good original condition. No evidence of damage, repair or restoration. Condition Report Disclaimer
Isabella Pope Studio Pottery very large Planet Pot vase, signed & dated 1991, experimental form and glazes. Signed & dated 1991, Isabella Pope - Master Potter, created these forms, inspired by Chinese and Korean historical examples, together with modernist potters such as Hans Coper. Height 84cm
The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Four brown and buff camouflage pattern bowls Stoneware Underside impressed 'DB' seal 20cm - 24cm diameter. Provenance/Footnote Estate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts.
The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Open bowl with yin yang wave decoration, and mottled bowl Stoneware Underside impressed 'DB' seal Open bowl 28cm diameter, mottled bowl 25cm diameter. Provenance/Footnote Estate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts.
The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Purple open bowl and a deep blue closed bowl, small brown vessel and blue vessel each with pierced holes to border, an off-white bowl with brown band and a ruffle top vessel Stoneware and porcelain Underside impressed 'DB' seal Open bowl 31.5cm diameter, closed bowl approx 15.5cm diameter, 15cm high, ruffle top: approx 5.5cm high, 8.5cm diameter. (6) Provenance/Footnote Estate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: Surface marks. Open bowl: some irregularities in the making. No other issues found.
The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Four scent bottles with frilly multi-layer stoppers in black, pink, white and brown Porcelain Underside impressed 'DB' seal Tallest 17cm high, shortest 9.5cm high. (4) Provenance/Footnote Estate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: Black stopper has a yellow patch but does not appear to be damaged or repaired, white stopper has a hairline crack to the upper layer and has been restored. No other issues found.
The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Two blue-green volcanic glaze bowls and two volcanic glaze vases Stoneware Underside impressed 'DB' seal Open bowl 27cm diameter, closed bowl 20cm diameter, smaller vase 14cm high, taller vase 22cm high. Provenance/Footnote Estate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: No issues found to any pieces.
The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Monumental hand built vessel of organic form with frilled layers in spherical composition on cylinder stem Stoneware Impressed 'DB' seal at top of stem 42cm high, 32cm diameter. Provenance/Footnote Estate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: No damage or restoration.
The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Six tapered vases in blue and white, and two tall frilly form vases Porcelain Underside impressed 'DB' seal Blue and white: 9cm to 15.5cm high, frilly: 10cm and 12cm high. (8) Provenance/Footnote Estate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: No issues found.
The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Four crater bowls Stoneware Underside impressed 'DB' seal Two approx 14cm diameter, 7.5-8.5cm high, two approx 23cm diameter, 6-7cm high. Provenance/Footnote Estate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: Two smaller bowls, and beige interior - no faults found. Bowl with white interior has small (approx 4mm) imperfection below the rim which was presumably created in the making (see image).
The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Six double rimmed bowls; four brown and two pale with mottled green grey Porcelain Underside impressed 'DB' seal 14-18cm diameter, 2.5cm-5cm high. Provenance/Footnote Estate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: Brown dishes would benefit from a clean, no other issues found.
The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Six double rimmed bowls; three in white with blue rim, one white and two pale with green Porcelain Underside impressed 'DB' seal 14-17cm diameter, 2.5cm-4.5cm high. Provenance/Footnote Estate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: No issues found
The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Five beige and brown cratered vessels with partly covered top Porcelain Underside impressed 'DB' seal Each approx 9cm diameter, approx 8.5cm high. Provenance/Footnote Estate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: Three vessels no issues found. One has 7mm chip to rim, one linear imperfection to the enclosed upper.
The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Four ruffle vases of tapered form; the tallest with lobes mottled in blue on white with dark edging, one in blue with spade-form lobes, one in white with manganese drip edging to lobes, and one in mottled blue on white Porcelain Underside impressed 'DB' seal tp all except mottled blue and white (where mark has rubbed) Tallest 17.5cm, shortest 12cm high. (4) Provenance/Footnote Estate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts.
The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Large double rimmed crater bowl, and a lava glaze vase with blue interior Stoneware Underside impressed 'DB' seal Bowl: 30cm diameter, 8.5cm high, vase: 15.5cm high. Provenance/Footnote Estate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts.
The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Two white volcanic glaze bowls and one white tapering volcanic glaze vase Stoneware Underside impressed 'DB' seal Open bowl 22.5cm diameter, closed bowl 17cm diameter, vase 19.5cm high. Provenance/Footnote Estate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: No issues found.
The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Group of fourteen bowls with cut-out rim Porcelain Underside impressed 'DB' seal Maximum height 8.5cm, smallest diameter 8.5cm. Provenance/Footnote Estate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts.
The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics White volcanic glaze bowl with two vases Stoneware Underside impressed 'DB' seal Bowl 16cm diameter, 9.5cm high, Vases 14.5cm and 10.5cm high. (3) Provenance/Footnote Estate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: No issues found.
The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Three tapering volcanic glaze vases; one in white on brown stoneware ground, one blue and white, one mottled brown Stoneware Underside impressed 'DB' seal 14cm, 15cm, and 21.5cm high. (3) Provenance/Footnote Estate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: No issues found.
The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Tall hand built 'Maiden' form vase with crater glaze Stoneware Unmarked 38cm high, 26cm diameter. Provenance/Footnote Estate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: No issues found.
The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Three double rimmed bowls with manganese rims Porcelain Underside impressed 'DB' seal 15.5cm-17.5cm diameter, 4cm-5cm high. Provenance/Footnote Estate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: No issues found. One feels rough to touch around the edges but probably in the design.
The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Six small bowls of organic form with narrow stem foot, five in brown glaze and one in blue, along with four fine rimmed organic form bowls and one with double ruffle Porcelain Underside impressed 'DB' seal Each approx 9cm diameter, approx 9cm long. (11) Provenance/Footnote Estate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts.
The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Two volcanic glaze bowls and one volcanic glaze vase with clear glazed rim Stoneware Underside impressed 'DB' seal Open bowl 20cm diameter, closed bowl 19.5cm diameter, vase 20.5cm high. Provenance/Footnote Estate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: No issues found.
The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Large open bowl in blue-green over brown, and a deep crater bowl Stoneware Underside impressed 'DB' seal Open bowl 29.5cm diameter, deep crater bowl 21cm diameter, 11.5cm high. Provenance/Footnote Estate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts.
The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Four vessels with ruffled lobes Porcelain Underside impressed 'DB' seal Largest approx 16cm diameter, 11.5cm high, Brown approx 13cm diameter, 9cm high, white approx 9.5cm diameter, 8.5cm high, blue approx 13cm diameter, 9cm high. (4) Provenance/Footnote Estate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: Largest has hairlines cracks and repair apparent under UV to one of the lobes, surface dirt. Blue vessel has restoration to the largest lobe. No other issues found.
The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Two white volcanic glaze bowls Stoneware Underside impressed 'DB' seal 21cm diameter, 12cm high, and 24cm diameter, 8.5cm high. (2) Provenance/Footnote Estate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: The wider bowl has patches of grey rather than white glaze which are presumed imperfections in the making of the piece. No other issues found.
The Studio Works of Deirdre Burnett (1939-2022) and other artists Studio Pottery and Contemporary Ceramics Hand built vessel of organic form with frilled top in white with dark edging, and a small brown bowl with olive brown central band and rim, as well as a buff coloured vase by unknown artist with oxide to edge of the flaring rim and speckles to the body Stoneware Bowl impressed 'DB', plant vessel unmarked, vase impressed 'LP' Plant form vessel approx 21cm high, bowl 5cm high, vase 18cm high. (3) Provenance/Footnote Estate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts.
The Studio Works of Deirdre Burnett (1939-2022)Studio Pottery and Contemporary CeramicsFour lava glaze vases in mottled shades of brown and greenStonewareUnderside impressed 'DB' sealTallest 18.5cm high, smallest 9.5cm high.Provenance/FootnoteEstate of the artist. Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts.Condition Report: One with yellow sticker residue to underside. No other issues found.
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