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The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Four small footed vessels with partly covered top, and a double rimmed crater bowl in brown exterior and blue interior Porcelain footed vessels, stoneware bowl Underside impressed 'DB' seal Footed vessels approx 10cm diameter, 6.5cm-8cm high, bowl: 16cm diameter, 4.5cm high. (5) 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 pots have some chips to the rim, another has a firing crack to the inner rim, the brown vessel and bowl no issues found.

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Three vessels with partly covered top; two brown seed-form, one white with manganese drip rim; and two flower form bowls with narrow stem foot and fine undulating rim, in yellow glaze, one with brown speckles to interior Porcelain Underside impressed 'DB' seal Vessels 10.5cm and 9cm diameter, 8.5cm and 7.5cm high, flower forms approx 9cm diameter, 12cm long, and approx 10cm diameter, 9cm long.  (5) 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 seven small rounded vessels with small opening and pierced and impressed decoration Porcelain Underside impressed 'DB' seal Largest 10cm diameter, 6.5cm high, Smallest 5cm diameter, 3cm 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: Largest has surface marks and imperfections in the making including a dent 1cm and a 2cm arc shaped fold.  No other issues found.

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics A miniature inverted baluster vase in buff with blue band to rim, and a bowl in black and teal applied in spirals, with impressed circles and small cut-out to rim Stoneware Bowl impressed 'DB', vase unmarked Bowl 11.5cm diameter, vase 13cm 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. 

The Studio Works of Deirdre Burnett (1939-2022) Byron Temple (1933-2002) Studio Pottery and Contemporary Ceramics Burnett brown glazed teapot, sugar, and 2 jugs (unmarked) made for a London restaurant, and a white teapot, along with a teapot with cane handle by Byron Temple, and another teapot with cane handle attributed to Byron Temple Stoneware Unmarked except one teapot stamped for Byron Temple Brown teapot 15cm high, cane handled teapots 21cm high.  (7) 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. 

▴ Peter Collingwood (1922-2008)'M.48 No.9'a microgauze wall hanging of woven khaki linen and steel, signed on label and stamped 'Peter Collingwood M.48 No.9',62.5cm wide 128.5cm highPurchased from Park Square Gallery Ltd., 57 St Paul's Street, Leeds, 4 November 1970. With original invoice and inscribed to paper roll 'Khaki'. Peter Collingwood (1922-2008) was at the forefront of weaving for fifty years. His wall hangings use the traditional craft to create visual abstraction and are admired worldwide. Trained, after national service, by the master weaver Ethel Mairet, he worked with Alastair Morton, who became the visionary Artistic Director at the Edinburgh Weavers.In 1952, Peter set up a studio at Archway in North London and sold his work in Liberty’s and Heal's. He also exhibited at the Red Rose Guild and the Arts and Crafts Society. He later moved to Digswell Arts Trust in Hertfordshire, where he met and exhibited with Hans Coper.Collingwood moved to Nayland near Colchester in 1964, where he worked until his death in 2008.Condition ReportSome sections slacking slightly - most notably to the lower section, and the upper right hand side. Some minor spotting to the rods. Some general dust and dirt to the threads - more notable due to the green colour of the weave. Additional images uploaded.

§ Anthony Hepburn (British 1942-2015) Slab Built Box with Stripes, 1960s stripes in red and yellow, and white glazeDimensions:28cm high, 31cm across, 31cm deep (11in high, 12.25in across, 12.25in deep)Provenance:ProvenanceGifted by Anthony Hepburn to Ann Sutton O.B.E.Note: Having trained at Camberwell School of Art, where he was taught by Lucie Rie, Hans Coper and Bryan Newman, Hepburn was also deeply influenced by the American movement in ceramics. His work can be compared with the 1960s West Coast movement known as Funk, even though Hepburn did not use the 'bawdy locker-room' images, such as tea pots with penis spouts for example - as those used by Robert Arneson. His work was dominated by slab built boxes, and plinths supporting simularcra telephones, a toaster and milk bottles. For Ann Sutton, Hepburn was 'the first exciting craft ceramics of our time', the embodiment of a new movement and spirit of young artists in the crafts movement of the late 1960s. He exhibited a gallery of slab built boxes and slip-casts multiples at the Crafts Centre in 1969, where this current rare example probably originated.

§ Mary Farmer (British 1940-2021) Float 1, 1982/3 signed (to label), tapestry wool / worsted weft on cotton warpDimensions:82cm high x 83cm wide (32 1/4in high x 32 1/2in wide)Provenance:ProvenancePurchased by Ann Sutton O.B.E. from Woven Colours Exhibition at Southampton City Art Gallery, 1983.Note: This lot is sold together with a postcard from Mary Farmer to Ann Sutton featuring the current work from the Southampton exhibition in 1983. Mary Farmer studied Fine Art at Beckenham School of Art (1958-1961) followed by a prestigious Digswell Arts Fellowship (1964). This was the visionary arts residency programme established by Henry Morris in 1957 and whose other early residents or ‘fellows’ included Michael Andrews, Peter Collingwood and Hans Coper. Mary established her first studio in Guildford developing her ideas in both gouache and tapestry with the latter attracting early interest. The V & A Museum’s Circulation Department made an important acquisition of a monochrome rug and works were included in the significant US touring show of British design organised with the Smithsonian (1969-1971). Mary began teaching at Farnham Art School and further major awards from South East Arts (1979) and the Crafts Council (1980) cemented her position as a leading figure in innovative contemporary tapestry. In 1981 she and her husband, potter Terry Moores, acquired a wonderful early nineteenth century wharf side building in Boston, Lincolnshire, which they converted into studios and living accommodation, and which remained her creative base throughout her life. In 1983 she joined the Textile Department at the Royal College of Art, London as a tapestry tutor going on to establish and develop a newly independent Tapestry Course within the Fine Art Painting School until its closure in 1997. Her mastery of colour and inventive use of the language of abstraction in weave led to a growing number of invitations to exhibit both nationally and internationally with works acquired by the Government Art Collection; Sainsbury Centre; Crafts Council and HRH The Duke of Edinburgh. Important public commissions and acquisitions included British Oxygen Company; Channel 4 Television and Lambeth Palace. Her active career came to an end in the late 1990s following injury and illness which made it impossible for her to work. A modest memorial exhibition of extant material from her archive and studio is being organised in collaboration with her family this autumn in London. Details of dates and venue to be confirmed. Please email Philip Smith to be sent details, philip.smith@lyonandturnbull.com. Ann Sutton’s acquisition of ‘Float One’ in 1983 coincided with another show organised by Ann herself for the John Hansard Gallery also in Southampton entitled ‘Attitudes to Tapestry’. Ann says about this work from her collection: ‘I knew Mary and was deeply interested in her work before I went to her exhibition Woven Colours at Southampton City Art Gallery in 1983, where I fell in love with, and purchased, her red/blue masterpiece ‘Float 1’. The thrusting red form angling into the blue ground beneath is breath-taking in its power and simplicity. The colour-depth of dyed wool, as opposed to paint, intensifies the image. Mary Farmer was a master of imagery and her chosen technique, tapestry weaving. The apparent simplicity of her images was probably responsible for her re-think of the traditional technique. She chose to weave on a traditional shaft loom, used usually for weaving cloth. This way she was able to insert different colours, linking them in the traditional tapestry way but ensuring perfect surfaces and clean juxtapositions.’ Mary went to considerable lengths to source fine wool (often from Sweden) and would dye wool herself if she could not find the exact tone or colour she needed for the work. She commented in interview: ‘Colour is to me the single most powerful and emotive visual sensation. I use wool for its incomparable intensity and saturation of colour; tapestry for its richness and for the personal control possible over its construction and substance.’ Her work is included in several significant catalogues and publications including: The Maker’s Eye (Crafts Council, 1981)Mary Farmer was one of 14 leading designers invited by the then (highly influential) Head of Exhibitions at the Crafts Council, Ralph Turner, to select objects that defined their personal experience and interests at the time. It proved a significant show which helped launch many careers and consolidate others.British Craft Textiles (Collins, 1985) organised and edited by Ann Sutton.This is a very comprehensive review of textiles in UK in the period. Tapestry by Barty Phillips (Phaidon, 1994) We would like to thank Amanda Game for her assistance in cataloguing the current work.

Hans CoperLarge bell-form vase with 'Saturn' ring, circa 1965Stoneware, layered porcelain slips and engobes over a textured body with ring, the neck, lip and interior with a manganese glaze.21 cm high, 24 cm diameterImpressed with artist's seal.Footnotes:ProvenanceBonhams, Knightsbridge, 'Contemporary Ceramics Masterworks', 13 November 1997, lot 96Private collection, London, acquired from the aboveThence by descent to the present ownerLiteratureMaya Nishi, ed., Hans Coper Retrospective: Innovation in 20th Century Ceramics, exh. cat., The Museum of Ceramic Art, Hyogo, 2009, p. 73 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

Lucie Rie (1902-1995) - Stoneware coffee cup and saucer, with oatmeal, manganese glaze, decorated with fine sgraffito lines, cup 3.15ins diameter x 3ins high, saucer 5.25ins diameter, with impressed marks to base for Lucie Rie and Hans Coper Note: A set of six cups and saucers similar to this sold at Sotheby's September 2022, Lot 29

† HANS COPER (1920-1981); part of a working model for Coper's candlestick commission for Coventry Cathedral, a tapered stoneware form with spiralling line covered in mottled iron glaze, height 22cm.The piece is one-third actual size and corresponds to the top part of the slightly narrower manganese candlesticks at Coventry, the final cup size and shape being different from the model. Provenance: From the family of the sculptor John W Mills who shared the studio at Digswell with Coper and assisted him with the commission.Condition Report: Nibbles to inside and base of cup, otherwise appears good with no further signs of faults, damage or restorations.

TONY BIRKS, 'Hans Coper' published by Harper & Row, New York, first US edition, 1983, and Paul Rice, 'British Studio Ceramics' published by Crowood Press, Marlborough, 2002 (2).Condition Report: Dust jackets dirty, internally very good.

Isabella Pope studio pottery Planet Pot Vase, 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. Tiny nip to upper most rim - height 72cm

Isabella Pope studio pottery Planet Pot vase, height 49cm. Experimental form and glaze. 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.

Isabella Pope studio pottery Planet Pot vase, signed & dated 1993, 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 35cm.

'Hans Coper' by Tony Birks. Signed by the author, pictorial card wraps, illustrated throughout, Sainsbury Centre for Visual Arts, Norwich, 1983.

Two publications. Lucie Rie: A Survey of Her Life and Work. John Houston and David Cripps. Published 1981 by Crafts Council and the Authors. Hardback.Potters in Parallel: Lucie Rie & Hans Coper. Barbican Art Gallery. Gallery Guide 1997.

Thelma Marcuson (1919-2009), Studio Pottery ovoid-form vase with fine manganese rim, circa 1980, Porcelain, Painted 'TM' to underside, 15cm high.Footnote:Inspired by the work of Lucie Rie, Marcuson met Rie and Hans Coper on her overseas trips and collected their work. She was also inspired by Ruth Duckworth, Bernard Leach and Mary Rogers. Marcuson started working in porcelain with the help of Tim Morris in 1975. Later in life, Marcuson settled in London and exhibited in both Johannesburg and London.Please refer to department for condition report

Thelma Marcuson (1919-2009), Studio Pottery yellow crackle glaze bottle vase, mid 1980s, Porcelain, Painted 'TM' to underside, 37cm high.Footnote:Inspired by the work of Lucie Rie, Marcuson met Rie and Hans Coper on her overseas trips and collected their work. She was also inspired by Ruth Duckworth, Bernard Leach and Mary Rogers. Marcuson started working in porcelain with the help of Tim Morris in 1975. Later in life, Marcuson settled in London and exhibited in both Johannesburg and London.Please refer to department for condition report

Tim Morris (1941-1990), Large Studio Pottery vase with abstract Japanese blossom motifs, circa 1970s, Glazed stoneware, Inscribed signature to underside, 31cm high.Footnote:Born in Windsor, England, studied at Lancing College, then at Brighton Art School and The St. Martin’s School of Art, London with fellow students David Hockney and Elizabeth Fritsch. Later Bill Newland suggested he study ceramics, which he did at Central School of Art under Ruth Duckworth, Kenneth Clark, Gordon Baldwin others. Morris was very strongly influenced by Dan Arbied, Hans Coper, Lucie Rie, John Colbeck and Ruth Duckworth. He eventually settled in South Africa and became a founder member of the Association of Potters of Southern Africa (APSA), now known as Ceramics Southern Africa.Please refer to department for condition report

Mo Jupp (1938-2018), Five Studio Pottery Cylindrical Vases , late 1990s, Porcelain, Underside incised ‘MOJA’ for Archway Ceramics, The tallest 10cm high.Footnote:Mo Jupp enrolled at Camberwell School of Arts and Crafts where he was taught by Hans Coper, Lucie Rie and Colin Pearson. He then trained in ceramics at the Royal College of Art where he studied under David Queensbury.Please refer to department for condition report

Studio ceramic vase, influenced by Hans Coper, deep flared rim, incised linear form, pottery seal mark (unidentified), 18.5cm.

5x Studio Pottery Bowls and Jug - Lucie Rie and Hans Coper

Dame Lucie Rie (1902-1995) a tureen and cover, stoneware, flaring circular form with flat, domed cover with open finial, covered in a bronze glaze with sgraffitio lines to base and radiating lines to cover, the interior pitted grey, impressed seal mark 23.7cm. diam, 15cm. high Literature Lucie Rie & Hans Coper, Potters in Parallel, Barbican Art Gallery, page 60 cat. no. 3.14 for a comparable bowl and cover, circa 1964.

Hans Coper, Hourglass VaseHans CoperHourglass Vase. Steinzeug. Matte, leicht reliefierte Oberfläche in lasierenden Sandtönen, partiell hell grau, über dunkelbraunem, partiell durchscheinenden Grund. Hourglass-Form. Gestrecktes Gefäß mit doppelkonisch geformtem Bauch und hohen, sich zur Mündung hin leicht gebaucht weitenden Hals. H. 32,4 cm, D. 11 cm. Am Boden bezeichnet mit Werkstattmarke (Prägestempel).Literatur: Vgl. Birks, Tony. Hans Coper. London 1983, S. 62f., S. 153.

Hans Coper, Ovoid Pot with disc topHans CoperOvoid pot with disc top/ ovoides Gefäß mit scheibenartiger Mündung. Steinzeug, schwarz braun glasiert. Ovoider Korpus mit kleinem zylindrischen Hals und großer flacher scheibenartiger Mündung. H. 17,3 cm. D. 14,5 cm. Am Boden bezeichnet mit Werkstattmarke (Prägestempel).Literatur: Vgl. Birks, Tony. Hans Coper. London 1983, S. 134f.

Two 1980s exhibition posters to include Eduardo Paolozzi, Underground, Royal Academy of Arts 1986, designed by Lilian Lindblom, framed, 74cm x 54cm, and Hans Coper, Serpentine Gallery, Kensington Gardens, 1984, together with a soft back book copy of Hans Coper by Tony Birks, published by Marston House. (3)

Hans Coper (1920-1981) Bottle with disc top lip, stoneware, layered engobes over a textured body, the neck and disc top lip with a manganese glaze, circa 1967, marked underneath with oval HC mark. Provenance: Bernardine de Neeve (1915-1996), the first chief curator Applied Arts of Museum Boijmans van Beuningen in Rotterdam, thence by descent. De Neeve curated the "Lucie Rie Hans Coper" exhibition in this Rotterdam museum (16 April - 11 June 1967). 18,5 cm. h.

Lucie Rie (1902-1995) A white glazed porcelain bowl with incised bands of lines, to the inside as well as alongside the base rim, produced 1960s, signed underneath with RL seal. Restauration alongside top rim (0,7 x 2,3 cm.), visible due to discoloured area.Lit. : Tony Birks, 'Lucie Rie', Catrine 2009, p. 157 (the present bowl illustrated). Provenance: Bernardine de Neeve (1915-1996), the first chief curator Applied Arts of Museum Boijmans van Beuningen in Rotterdam, thence by descent. De Neeve curated the "Lucie Rie Hans Coper" exhibition in this Rotterdam museum (16 April - 11 June 1967). 7 cm. h. x 14,3 cm. diam.

HANS COPER (1920-1981); a small cylindrical stoneware vessel partially covered in pale grey glaze, incised R9 test code for both colour and body, made 1959-63, height 11cm, and a letter of authentication signed by John W Mills (2). (D)Provenance: Retrieved from the pile of rejects and test pieces in Coper's studio at Digswell by Mills's son, Dylan.Additional InformationChips to rim, otherwise appears good with no further signs of faults, damage or restorations.This lot qualifies for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org

A collection of books and pamphlets on Hans Coper and Lucie Rie (8).

A collection of books on or by Bernard Leach, Michael Cardew, David Leach, Lucie Rie and Hans Coper (9).

▴ Peter Collingwood (1922-2008)'M.199 No.2'a microgauze wall hanging of woven linen and steel, signed on label and stamped 'Peter Collingwood M.199 No.2'42cm wide 173cm highPeter Collingwood (1922-2008) was at the forefront of weaving for fifty years. His wall hangings use the traditional craft to create visual abstraction and are admired worldwide. Trained, after national service, by the master weaver Ethel Mairet, he worked with Alastair Morton, who became the visionary Artistic Director at the Edinburgh Weavers.In 1952, Peter set up a studio at Archway in North London and sold his work in Liberty’s and Heal's. He also exhibited at the Red Rose Guild and the Arts and Crafts Society. He later moved to Digswell Arts Trust in Hertfordshire, where he met and exhibited with Hans Coper.Collingwood moved to Nayland near Colchester in 1964, where he worked until his death in 2008.Condition ReportThe hanging is in good order.It appears all the strands are complete - some have certain tufts which are shown in the photos.It is hanging in the saleroom now, has been rolled in tissue paper - the lower section is slightly slack - this may resolve in time.Further images added for you to see more detail.

Dame Lucie Rie (1902-1995) and Hans Coper (1920-1981). An oval stoneware bowl with dark brown glaze with white rim and inner foot, impressed LR and HC monograms, 14.8 long, 11.1cms deep, 7.3cms high.Provenance: Gifted by Lucie Rie to the vendor's parents who were close personal friends.

HANS COPER (GERMAN 1920-1981) - LARGE STONEWARE STUDIO POTTERY VASE. (d) An 'hourglass' shaped vase with a slender tapering body, with white porcelain slips over a stoneware body and incised linear designs. With a manganese glaze to the interior. With a seal mark to the base, 37cms high, *Artist Resale Rights applies to this lot. * Generally the condition seems good, it rings nicely around the top of the neck and no noticeable chips or restoration. Small spots of glaze loss near the footrim, possibly from manufacture., *This lot qualifies for Artists Resale Rights. **BP 22.5% inc VAT + Lot Fee of £8

HANS COPER (GERMAN 1920-1981) - STONEWARE STUDIO POTTERY 'THISTLE' VASE. (d) A stoneware 'Thistle' shaped vase, with manganese and white slip highlights. Seal mark to the base, 18cms high., *This lot qualifies for Artists Resale Rights. * It has a couple of small chips/nicks to the rim (pretty minor) and a small chip to the side of the footrim. Where the top section is joined to the body there is a narrow firing crack along that edge. Otherwise it seems fine, it has some initials on the base probably from a security pen in case of theft. **BP 22.5% inc VAT + Lot Fee of £8

HANS COPER (GERMAN 1920-1981) - STUDIO POTTERY 'SPADE' VASE. (d) A stoneware 'Spade' shaped vase, with white slip over a textured ground to the exterior, and with a manganese glaze to the interior. With incised linear decoration to the lower section, seal mark to base. 20.5cms high, 14cms across at widest point., *This lot qualifies for Artists Resale Rights. * There is a very small blemish to the rim (on one end), with a small hairline which runs in a curve for around 2.5cms. It's very difficult to see and possibly from manufacture, I can't hear any crack when tapping around the top section. There is a small mark/blemish to the side of the rim, at the bottom of the top section is a couple of tiny firing cracks underneath as it joins the base. **BP 22.5% inc VAT + Lot Fee of £8

LUCIE RIE INSCRIBED BOOK & OTHER STUDIO POTTERY BOOKS. Including 'Lucie Rie by Tony Birks, 1987, and inscribed inside by Lucie Rie. Also with other books including 'Hans Coper by Tony Birks, 1991, 'Lucie Rie published by the Crafts Council (also inscribed, no dust cover), 'Bernard Leach, Hamada & Their Circle, Wingfield Digby Collection, 1992', David Leach by Emmanuel Cooper (signed by David Leach, 03), 'Nicholas Homoky, 1997', Drawings Verse & Belief, Bernard Leach, 1988 (signed by David Leach), 'The Leach Legacy, 1996', 'Claudi Casanovas, 1996', 'Glass Art, Peter Layton (signed) and other books. (15). * Generally good. **BP 22.5% inc VAT + Lot Fee of £8

Hans CoperImportant tall bottle vase with disc, circa 1968Stoneware, layered white porcelain slips and engobes over a body with textured and incised linear designs, the neck, disk, and base with manganese glaze.50.5 cm high, 20.5 cm diameter Impressed with artist's seal.Footnotes:ProvenanceGalerie Besson, LondonAcquired from the above by the present owner, 2005LiteratureLucie Rie, Hans Coper, and their pupils: A selection of contemporary ceramics illustrating their influence, exh. cat., Sainsbury Centre for Visual Arts, University of East Anglia, Norwich, 1990, p. 16 for a comparable exampleMienke Simon Thoms, ed., The Essential Potness: Lucie Rie and Hans Coper in Museum Boijmans van Beuningen, exh. cat., Rotterdam, 2014, fig. 43 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 CoperBottle vase with disc, circa 1957Stoneware, layered white porcelain slips and engobes over a body with textured and incised linear designs, the shoulder, neck and disk with manganese glaze.38.5 cm high, 15.2 cm diameter Impressed with artist's seal.Footnotes:ProvenanceGalerie Besson, LondonAcquired from the above by the present owner, 2005This 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

David Sharp at Rye Potterymodel of a cat with multi-coloured decoration, signed to the base, 13cm high, a Poole pottery dish decorated with flowers, stamped mark to the base, 13cm across and a studio pottery vase after Hans Coper (1920-1981), with indistinct mark to the base, 17cm high (3)Overall with minimal marks and some scratches, minor glaze faults in places. No major damage.

'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.

*A stoneware vase, by Lucie Rie (Austrian-British, 1902-1995) and Hans Coper (German-British, 1920-1981), of slightly flared form, in a matte-brown glaze with linear sgraffito decoration, impressed to the underneath with artists' marks for both Hans Coper and Lucie Rie, 11cm highCondition ReportWith a crack to the side - The crack runs from the rim of the vase downward and forking off into two finer cracks. With some scuffs to the base. The artist's marks are partially pooled with glaze.

A Lucie Rie and Hans Coper elliptical studio pottery bowl with black glaze, bears both potters' stamps to base, approx 13.8 cm long x 12.4 cm wide x 7 cm high (ARR) CONDITION REPORTS Has general wear and tear conducive with age and use to include some light surface scratching to the interior. Nothing visible under UV. See images for more detail.

A stoneware studio pottery vase in the manner of Hans Coper, 1970s, with disc rim over an inverted cup form body and slender, cylindrical foot, overall matt black glaze, impressed potter's mark to underside of cupped section of body, 8 ¾in. (22.25cm.) high. * In good condition, with no damage.

A quantity of contemporary studio ceramics, to include an incised charger by Jonathan Chiswell Jones, a stoneware vessel in the manner of Hans Coper, two Nic Harrison vases, five small bowls, two bud vases, three large bowls, and others; together with a pair of Dansk design stainless steel salad servers (26)The Hans Coper style vessel has slight scratching to the exterior and chipping to the rim - please see images

LUCIE RIE, mustard ground stoneware footed bowl, signed with initials, circa 1980s; together with a LUCIE RIE AND HANS COPER black glazed stoneware pouring vessel, unsigned, circa 1950/60s. The former 13 cm diameter.

[ANTIQUES & COLLECTING]. STUDIO CERAMICS Eight assorted works, including Frankel, Cyril. Modern Pots: Hans Coper, Lucie Rie & their Contemporaries. The Lisa Sainsbury Collection, University of East Anglia, Norwich, 2000, cloth, dustjacket, illustrations throughout, tall quarto; and Yates-Owen, Eric, & Fournier, Robert. British Studio Potters Marks, first edition, Black, London, 1999, boards, dustjacket, small quarto.

HANS COPER (1920-1981); a stoneware angular vessel covered in white slip over textured manganese ground with manganese flared collar and interior, impressed HC mark, made circa 1958, height 18cm. (D) Exhibited: Primavera, London, 1958. This was Coper's first one-man show in London, for which this form was developed.  Literature: Tony Birks, 'Hans Coper' (Collins, 1983), p. 99 for further examples of these forms.   Provenance: Purchased from Oxford Ceramics Gallery, 2008. Additional InformationOld glaze flake and nibbles to outside of foot ring, otherwise appears good with no further signs of faults, damage or restorations. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

Bernard LeachLarge vase with 'Tree of Life' design, circa 1958Stoneware with three incised 'tree of life' designs.34.5 cm high, 29.5 cm diameter Impressed with Leach Pottery seal. Together with a copy of a letter of authenticity and correspondence from David Leach.Footnotes:ProvenanceJ.M.W. Crowther, London, circa 1958Thence by descent to the present ownerLiteratureSarah Riddick, Pioneer Studio Pottery: The Milner-White Collection, London, 1990, pl. 1 for a comparable vaseOliver Watson, Bernard Leach: Potter and Artist, exh. cat., Crafts Council, London, 1997, pl. 125, 127 for comparable vases Edmund de Waal, Bernard Leach, London, 1999, cover, p. 60 for a comparable vaseMr J.M.W. Crowther was a prolific collector of British studio ceramics, including works by Bernard Leach, Michael Cardew, Katharine Pleydell-Bouverie, Lucie Rie and Hans Coper, amongst others, and visited the latter at his studio. Mr Crowther was a great collector and admirer of Leach's work, loaning several pieces from his collection to the artist's 1977 retrospective at the Victoria and Albert Museum, London.Comparable examples of the present vase are held in the collections of the Leicester City Museums and the Cooper Hewitt, New York.This 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'Thistle' form, circa 1965Stoneware, layered porcelain slips and engobes over a textured and incised body, the interior with a manganese glaze.18 x 13.8 x 4.5 cmImpressed with artist's seal. Footnotes:ProvenanceSonja Landweer, Kilkenny, Republic of IrelandThence by descent to the present ownerLiteraturePeter Collingwood|Hans Coper: Rugs and wall-hangings by Peter Collingwood, Pots by Hans Coper, exh. cat., Victoria and Albert Museum, London, 1969, p. 17 for a comparable exampleMargot Coatts, ed., Lucie Rie & Hans Coper-Potters in Parallel, exh. cat., Barbican Art Gallery, London, 1997, p. 97 for a comparable exampleTony Birks, Hans Coper, Yeovil, 2013, pp. 161, 202 for comparable examplesThis lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Set of ten original vintage art exhibition advertising posters. 1. Original vintage advertising poster for Hans Coper 1920-1981 exhibition at Serpentine Gallery Kensington Gardens 7 June - 15 July 1984, featuring a photograph of a ceramic vase. Hans Coper (1920-1981) was German-born British studio potter, an abstract but functional vessel artist, known for making vases, fruit bowls, candle holders. Printed by Skelton's Press, Wellingborough, Northamptonshire. Good condition, creasing, folds. Country of issue: UK, designer: Unknown, size (cm): 60x42, year of printing: 1984.; 2. Lucas Samaras: Polaroid photographs 1969-1983 at the Serpentine Gallery 6 September - 12 October 1986, featuring a photograph of a nude man sat on a chair with floral and black fabric, and a face of a bearded man, possibly Samaras, looking at the camera. Lucas Samaras (b.1936) is a Greek-American artist, known for photography, sculpture, printmaking. Fair condition, folds, creasing, tears on edges. Country of issue: UK, size (cm): 84x60, year of printing: 1986.; 3. Caravaggio to Giordano Painting in Naples 1606-1705 exhibition at the Royal Academy of Arts 2nd October - 12th December 1982, featuring Portrait of a Woman by an Italian Baroque painter Massimo Stanzione (1585-1656), depicting a lady in an ornate dress with various patterns holding a chicken, Martini logo in the right bottom corner. Good condition, folds, pinholes, staining, creasing. Country of issue: UK, size (cm): 76x51, year of printing: 1982.; 4. The Treasury of San Marco presented by Olivetty - The greatest Classical, Byzantine, Islamic and Western Medieval treasures from the Basilica of San Marco, Venice at the British Museum 12 July - 2 September 1984, featuring a photograph of golden 12th century reliquary of the Holy Blood in the shape of a church, with silver and golden patterns on the walls and the domes with crosses of the church. Good condition, folds, creasing, tears, pinholes, small paper loss in top left corner. Country of issue: UK, size (cm): 76x51, year of printing: 1984.; 5. English Romanesque Art 1066-1200 at the Hayward Gallery 5 April - 8 July 1984, featuring an illustration detail of - Leaf related to the Winchester Bible c.1160-80, depicting a soldier with a sword and a shield with a crowned man holding a shield and ornate patterns. Poster designed by Philip Miles. Printed in England by UDO Litho Ltd. Good condition, folds, creasing, pinholes, country of issue: UK, size (cm): 76x51, year of printing: 1984.; 6. for Islamic Bookbindings 14 December 1983 - 4 March 1984 at the Victoria & Albert Museum as part of World of Islam Festival Trust, featuring a stunning floral pattern book binding with peacocks, deer, hares, panthers and wild goats. Good condition, folds, creasing, pinholes, country of issue: UK, size (cm): 76x51, year of printing: 1984.; 7. Murillo, presented in association with The Prado, Madrid, 15th January-27th March 1983 at the Royal Academy of Arts, Sponsored by BAT Industries, featuring an oil canvas painting Children Eating a Tart by a Spanish Baroque painter Bartolome Esteban Murillo (1617-1682), depicting two children smiling as they eat a tart, with a dog looking at them and a basket of fruit with apples and oranges before them. Good condition, creasing, pinholes, folds. Country of issue: UK, designer: Bartolome Murillo, size (cm): 76x51, year of printing: 1983.; 8. Japonisme - Japanese Reflections in Western Art that took place at the Northern Centre for Contemporary Art 18 September - 1 November 1986 Supported by Northern Arts The Great Britain, Sasakawa Foundation, Sunderland Borough Council; the poster features an artwork titled The Fisherman by a French impressionist Jean-Louis Forain (1852-1931) depicting a fisherman and a dog fishing with the sky reflection on the still water. Good condition, folds, creasing. Country of issue: UK, designer: Jean-Louis Forain, size (cm): 60x42, year of printing: 1986.; 9. Henry Peach Robinson Master of the Art of Pictorial Photography 25 February to 24 April 1988 at the Barbican Art Gallery, featuring a photograph by an English pictorialist photographer H.P. Robinson (1830-1901) titled Sleep from 1867, depicting two children asleep in bed with a window overseeing the sea. Good condition, folds, creasing. Country of issue: UK, size (cm): 76x51, year of printing: 1988.; 10. W.H. Smith illustration Awards exhibition at the Victoria & Albert Museum 15 July - 1 November 1987, featuring artwork by a Welsh illustrator Ralph Steadman (b.1936) for 'I, Leonardo', Cape, 1983, depicting a man in red and blue robes sat at the table with 'Ralph Steadman' written in black ink and illustration of gears behind him. Good condition, folds, creasing. Country of issue: UK, designer: Ralph Steadman, size (cm): 76x51, year of printing: 1987.

Original vintage advertising poster for Hans Coper 1920-1981 exhibition at Serpentine Gallery Kensington Gardens 7 June - 15 July 1984, featuring a photograph of a ceramic vase. Hans Coper (1920-1981) was German-born British studio potter, an abstract but functional vessel artist, known for making vases, fruit bowls, candle holders. Printed by Skelton's Press, Wellingborough, Northamptonshire. Good condition, creasing, staining, small tears. Country of issue: UK, designer: Unknown, size (cm): 60x42, year of printing: 1984.

Manner of Hans Coper, a compressed double gourd vase, decorated overall with lines, 18cm high, 18cm diam, unmarked,

A large collection of First Day Covers predominently for the Isle of Man, Channel Islands etc to include a 1989 Studio Pottery First Day Cover set depicting pots of Bernard Leach, Elizabeth Ritsch, Lucie Rie and Hans Coper CONDITION REPORTS There are 85 albums in total

A set of four Lucie Rie and Hans Coper cups and saucers, all bar one cup double stamped, each approx 8 cm diameter x 7 cm high, the saucers 14 cm diameter, together with a further saucer, double stamped, two saucers unstamped and two saucers with cut indentations unstamped (13 pieces total) (ARR) CONDITION REPORTS Inspected under UV - nothing showing.All items have general wear and tear to include surface scratching, especially to the saucers where cups and cutlery have clearly been used on them. One cup has a couple of small chips to the foot although most probably done in the firing process. See images for more details. The same cup and another have a slightly dull ring however there is nothing evident to cause this. See images for more details.

A Lucie Rie and Hans Coper black glazed elliptical bowl and saucer, both bearing both marks, the bowl 13.5 cm diameter x 13 cm x 7 cm high, saucer 15 cm diameter (ARR) CONDITION REPORTS Nothing evident under UV. Saucer has some sticky residue and surface scratching to the centre where the bowl has been. There is a firing fault to the base of the saucer. Otherwise general wear and tear conducive with age and use. See images for more details.

A Lucie Rie and Hans Coper black glazed elliptical bowl and saucer, the bowl bears no maker's marks, 13.5 cm x 13 cm x 6.5 cm high, saucer bears both maker's marks, 15 cm diameter (ARR) CONDITION REPORTS Nothing evident under UV. Surface scratches to the saucer where the bowl has been. Otherwise general wear and tear conducive with age and use. In need of a clean. Some sticky residue. See images for more details.

A Lucie Rie and Hans Coper black glazed elliptical bowl and saucer, both bearing both marks, the bowl 14 cm x 12 cm x 7 cm high, saucer 15 cm diameter (ARR) CONDITION REPORTS Nothing evident under UV. Bowl in need of a good clean. Saucer has some dirt residue as well. Surface scratching conducive with use (bowl being on top). Otherwise general wear and tear conducive with age and use. See images for more details.

A Lucie Rie and Hans Coper white speckled glazed elliptical bowl with ochre interior, bearing both maker's marks to base, 11.5 cm x 14 cm x 8.5 cm high (ARR) CONDITION REPORTS Nothing evident under UV. General wear and tear conducive with age and use. See images for more details.