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Lot 371
‡ Dame Lucie Rie (1902-1995) a fine, flaring conical bowl on slender foot, stoneware inlaid with green lines, with controlled golden manganese rim and band to foot, impressed seal mark, 11.5cm. high, 19.5cm. diam. Literature John Houston Lucie Rie, Crafts Council, page 63 plate 39 for a comparable bowl circa 1980-81. Cyril Frankel Modern Pots, Hans Coper, Lucie Rie and the Contemporaries, UEA, page 131 catalogue number 106 and 107 for two comparable bowls. Provenance British & Continental Decorative Arts from 1860 to the Present Day Christie's King Street, 16th November 1994 lot 16. Private collection.
Lot 681
HANS COPER (1920-1981); a stoneware cup form with cylindrical flower holder on splayed base, white slip over textured manganese ground to exterior, manganese to interior, impressed HC mark, height 13cm. (D) CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 558
HANS COPER (1920-1981) STONEWARE ELONGATED FORM ON BASE, C1967 of slightly tapered, flattened cylindrical shape with rounded lower part and separately thrown drum base, in manganese covered in brushed white slip, 23cm h, impressed monogram For two other examples of the fully developed form dating from 1967 see Birks, p150.++In fine condition
Lot 560
HANS COPER (1920-1981) STONEWARE FORM WITH COLLAR, C1965 the white slip over a textured surface, 23.5cm h, impressed monogram Three other examples of the form, which was made during Coper's Hammersmith period, are illustrated Birks, pp122-3.++Single minute (smaller than pinhead size) graze on rim
Lot 194
Hans Coper,a large bottle form with broad flared rim, circa 1955,combed design to slip glaze body, artist's seal mark to underside,48.8cm high.A vase with similar combed design forms part of the Victoria and Albert Museum Collection, illustrated in Oliver Watson's, 'Studio Pottery', Phaidon, London, 1996, pl. 137.Artist's Resale Rights are applicable.
Lot 423
‡ Dame Lucie Rie DBE (1902-1995) and Hans Coper (1920-1981) a set of five tea cups and six saucers, each covered in an off white glaze, impressed seal marks, one cup with a hairline crack, largest saucer 15.5cm. wide, (11) Provenance purchased directly from Lucie Rie at Albion Mews by the present vendor's family. Literature John Houston & David Cripps, Lucie Rie, Crafts Council, page 90 catalogue number 225 for a comparable cup and saucer illustrated and dated circa 1955.
Lot 135
‡ Julian Stair (born 1955) a porcelain vase, shouldered form with cylindrical neck, white with irregular incised bands with cobalt blue pigment colouring, the interior glazed dark blue, impressed seal mark to base, 21cm. high Provenance Crafts Council Gallery, 4th February 1992. Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 60. Literature Lucie Rie, Hans Coper and their Pupils, Sainsbury Centre for the Visual Arts, page 77 catalogue number 146-147 for comparable vases.
Lot 81
‡ Dame Lucie Rie DBE (1902-1995) and Hans Coper (1920-1981) a stoneware vase, swollen cylindrical form, covered in an creamy fat pitted glaze with iron bleeding to the outer rim, impressed seal mark to base, 17cm. high Provenance Contemporary Ceramics, Bonhams London, 21st November 1988 lot 197.
Lot 93
‡ Dame Lucie Rie DBE (1902-1995) a fine porcelain footed bowl, covered in a translucent apple green glaze with manganese speckles, the rim with fluxing and running bronze glaze, impressed seal mark to base, 10.5cm. high, 17.5cm. diam. Provenance Contemporary Ceramics, Christie's London 18th June 1990 lot 132. Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 26, illustrated on page 23 and the front cover. 20th Century British Studio Pottery from the Collection of an Oxford Graduate, Ashmolean Museum 14th April-14th August 1994, catalogue number 45. Literature Lucie Rie, Hans Coper and their Pupils, Sainsbury Centre for the Visual Arts, page 30-31, catalogue number 41, for a similar bowl, also illustrated on the front cover.
Lot 95
‡ Hans Coper (1920-1981) a stoneware vase, tapering pear shape with cylindrical neck, covered in a black glaze, impressed seal mark to base, 20cm. high Provenance Contemporary Ceramics Christie's London 20th June 1998 lot 188. Literature Tony Birks Hans Coper Collins, page 122-123 for three examples of this form illustrated. Exhibited 20th Century British Studio Pottery from the Collection of an Oxford Graduate, Ashmolean Museum 14th April-14th August 1994, catalogue number 35.
Lot 96
‡ Hans Coper (1920-1981) a Digswell stoneware composite vase, tapering foot supporting swollen disc body and flaring neck, covered in a black matt glaze, impressed seal mark, small frit to top rim, 22.5cm. high Provenance Contemporary Ceramics Bonhams London, 19th June 1997 lot 114. Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 40 Literature Tony Birks Hans Coper Collins, page 51 for a comparable vase from the Crowther collection.
Lot 97
‡ Hans Coper (1920-1981) a stoneware vase,, the body with subtle impressed panels, glazed with iron manganese to rim and white slips to body, impressed seal mark, 13.5cm. high Provenance Contemporary Ceramics, Bonhams London 19th June 1997 lot 111. Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 41. Literature Tony Birks, Hans Coper, Collins, page 162-163 for examples of this form illustrated.
Lot 98
‡ Hans Coper (1920-1981) a large Poppy Head stoneware vase, swollen form with collar rim, white slip over manganese, the top rim painted with ribs in manganese, impressed seal mark to base, 30cm. high Provenance Contemporary Ceramics, Bonhams, London 25th September 2001 lot 102. Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 39. Literature Tony Birks, Hans Coper, Collins, page 87 this vase illustrated.
Lot 317
‡ Dame Lucie Rie DBE (1902-1995) a stoneware planter or Bonsai jardiniere, flaring cylindrical form with incised bands, glazed to the foot with a pitted oatmeal glaze, impressed seal mark, frost crack to top rim, 35.5cm. diam. Catalogue notes These planters were commissioned from Lucie Rie and Hans Coper by Bunny Roger and his brother Sandy for use outside. On Bunny's death in 1997 they were sold with his collection at Sotheby's. Provenance Bunny Roger Private collection.
Lot 468
A monumental stoneware vessel, white and brown textured surface, in the manner of Hans Coper, Waistel Cooper and Colin Pearson, height 37cm.Provenance: Purchased from an art gallery in Cumbria in the 1960s/70s. CONDITION REPORT: Some glaze crawling to rim (inherent to manufacture), otherwise appears good with no further obvious signs of faults, damage or restoration.
Lot 49
HANS COPER (1920-1981); two small cylindrical vessels, incised test numbers for colour and glaze, height 10cm; together with a certificate of authenticity. (D)Coper and the sculptor John W Mills (with whom Coper shared a studio at Digswell House) used these when casting one of Coper's large ceramic pieces.Literature: Tony Birks, Hans Coper (London 1983), p. 42 includes a photograph by Jane Gate (later Coper's wife) of the piece in question. CONDITION REPORT: Rim chip to one vessel, otherwise appears good with no further obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 228
Hans Coper (1920-1981). A waisted vase stoneware vase, the surface with alternating cream and dark brown patches, impressed mark to base, height 18.5cm Provenance: The vendor's parents purchased this vase from Berkeley Galleries, London c. 1957. Around this time they visited Dame Lucie Rie, at Albion Mews, who was sharing a studio there with Hans Coper at the time.
Lot 179
Lucie Rie (1902-1995) Set of five cups and six saucers, 1956 the cups horizontally incised on manganese ground each impressed potter's seal the cups 7cm high, the saucers 14cm diameter. Provenance: Purchased directly from Lucie Rie at Albion Mews in 1956. Sold together with original receipt. Literature: see Margot Coates (ed.), Lucie Rie & Hans Coper: Potters in Parallel, Barbican Art Gallery, Herbert Press, 1997, cat. 2.26 for a pouring vessel with similar decoration.
Lot 78
§ Peter Collingwood, (British, 1922-2008), M.3D6/3, a macrogauze wall hanging, woven linen and stainless steel, stamped signature and title plate to lower edge 300 x 94cm (117 x 37in) Provenance: Commissioned by the vendor's parents directly from Peter Collingwood in 1989 Other Notes: Peter Collingwood was the pre-eminent British artist weaver of the post-war era. His technical and aesthetic innovations have been influential throughout the world - most notably, his Macrogauze wall-hangings. Collingwood trained as a doctor, but had already discovered his vocation was for weaving. He was sent to Jordan during his National Service and whilst there, he created his own loom out of two deckchairs and made scarves for the officers’ wives. He was given a Bedouin tent-hanging which remained a treasured possession throughout his life and which formed the basis of his lifelong interest in textile structures from around the world. On his return to England, he studied weaving with Ethel Mairet and subsequently Barbara Sawyer and Alastair Morton. In 1957, he was given accommodation and workspace at the Digswell Arts Trust in Hertfordshire where he met the potter, Hans Coper. In 1969, Coper and Collingwood were given a joint exhibition at the Victoria and Albert Museum. In the catalogue, Collingwood wrote: “It is the loom’s precision that I try to use and develop in wall-hangings, aiming to produce something both controlled and impersonal. This may mean subtracting from the basic structure of the loom in order to give a new facility, as in the Macrogauze technique”. In a traditional weave the warp (the yarn which follows down the length of the loom) runs parallel to each other, however Collingwood’s Macrogauzes allowed stripes of warp to be moved sideways, to cross, twist and separate from each other and to even enter and leave the weave in the form of the weft (the yarn which runs across the width of the weave). It proved a perfect balance between the combination of traditional skill and visual abstraction. Collingwood moved to Nayland, near Colchester, in 1964 where he continued to work until his death in 2008. His work has gained worldwide recognition - as indeed has his writing, with five highly influential books on weaving which continue to have a lasting impact on contemporary weavers. He was awarded the OBE in 1974.
Lot 300
‡ Hans Coper (1921-1981) a stoneware thistle form vase, textured body with manganese and white slip highlights impressed seal mark, 15cm. high Provenance Bought directly from Lucie Rie's studio at Albion Mews circa 1958. Literature Tony Birks, Hans Coper, Collins, page 88 for a comparable, more streamlined form.
Lot 366
‡ Hans Coper (1920-1981) ovoid volume with flattened cylinder, 1972 stoneware layered with white porcelain slips and engobes, in wooden box made by Jane Coper, impressed seal mark, 14.5cm. high Provenance Given to the present owner by Jane Coper in 1991. Literature Tony Birks Hans Coper, Marston House, page 178 for a comparable example coveredin a burnished manganese glaze, and page 179 for a larger example covered in white porcelain slips.
Lot 343
JOHN W MILLS (born 1933); a cast Silicon aluminium bust of William Blake, height 37cm including plinth. (D) Produced in 1964 at Digswell House where the artist worked with Hans Coper, Peter Collingwood and John Brunsdon. The artist has confirmed he produced four of these busts alongside the commissioned William Blake memorial installed in Blake House, Marshall Steet, London on the site of Blake's birthplace. The photograph shows the artist standing before it. We would like to thank John Mills for his assistance in cataloguing this lot. CONDITION REPORT: This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 65
HANS COPER (1920-1981); an early large stoneware globular pot, white slip over textured manganese ground, sgraffito eye and linear abstract design, impressed HC mark, made c.1953 at Albion Mews, height 27cm. (D)The sgraffito decoration was cut through a coat of manganese and the pot then covered with a shiny white Lucie Rie glaze, which has an oily texture where it combines with the manganese and a pitted 'orange peel' surface where it is on its own.Provenance: Private collection since at least the 1970s.Literature: For a similar example see The Betty Lee and Aaron Stern Collection (Phillips, New York, 17 December 2013), lot 39; for a jug with the same decoration in the collection of Henry Rothschild see Tony Birks, Hans Coper (Catrine: Stenlake Publishing, 2013), p. 33. CONDITION REPORT: Professional restoration to one side of the main body, otherwise appears good with no obvious signs of other faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 66
HANS COPER (1920-1981); a stoneware hourglass vase, white slip over textured manganese ground, band of incised lines to lower body, impressed HC mark, height 35cm. (D) Provenance: Purchased from The Peter Dingley Gallery, Stratford-upon-Avon. CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 67
HANS COPER (1920-1981); a stoneware spade form, white slip over textured manganese ground, band of incised lines to upper body and spiralling lines to lower body, impressed HC mark, height 20cm. (D) Provenance: Purchased from The Peter Dingley Gallery, Stratford-upon-Avon. CONDITION REPORT: Historic restoration to rim (only visible on inside), possibly by Coper himself as the small area of restoration has a hairline crack within it, otherwise appears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 76
§ John Ward, (British, b.1938), a square form stoneware vase, to a tapering base, impressed seal mark and Peter Dingley paper gallery label to underside 16½ x 15 x 15cm (6 x 6 x 6in) Provenance: Peter Dingley Gallery, Stratford-upon-Avon Other Notes: John Ward studied at Camberwell School of Art and moved to Dyfed in Wales in 1979. Ward coil-builds his pots, and then cuts and rejoins the curved surfaces to create more angular shapes. He only uses matt glazes. He has been influence by ancient pre-glaze pottery and the legendary potters Hans Coper for form, Lucie Rie for light and colour and Ian Godfrey for texture. He describes his work as "Form above all, but expressed through light and colour". His work is in public collections including the Fitzwilliam Museum Cambridge, the Victoria and Albert Museum and MOMA New York.
Lot 172
Hans Coper (German/British, 1921-1980) Cup on foot with central disc, circa 1965 black matt glaze with manganese drip incised spiral decoration impressed potter's seal 13.5cm high. Literature: see Muriel Rose, Artist Potters in England, 1970, fig.109 for a similar example. Provenance: Kenneth Mellon Collection.
Lot 103
§ Dame Lucie Rie (Austrian, 1902-1995), a rare dolomite glaze vase, the compressed bottle form with wrythen fluted body and slightly flared rim, seal mark to base and Peter Dingley Gallery paper trade label 20cm (8in) Dame Lucie Rie, DBE (1902-1995) is one of Britain's most eminent potters. She was born in Vienna and fled Nazi Austria in 1938 to England where she set up her studio in London, working with Hans Coper from 1946. Her goal was to make vessels that would harmonise in a domestic setting, concentrating on the simple bowl or cylindrical forms which relied upon textured or coloured glazes for surface interest. Her repertoire of forms, including the footed bowl and lipped vases such as the one now being offered at auction, balanced simplicity of line with bold and strong design. Her impact and contribution to British and world ceramics is immeasurable. Her pieces are part of the permanent collections of museums throughout the world; the Victoria and Albert Museum has a reconstruction of her studio and you need go no further than the Fitzwilliam Museum and Kettle's Yard in Cambridge to study her work.
Lot 1460
‡ John Ward (born 1938) a large hand-built stoneware vase, internally glazed green/blue the exterior black, impressed tulip mark, 26cm. high, 42.5cm. wide Provenance Private collection. Literature Lucie Rie Hans Coper and Their Pupils, Sainsbury Centre for Visual Arts, page 55 catalogue number 100 for a comparable bowl.
Lot 1465
‡ Dame Lucie Rie D.B.E (1902-1995) and Hans Coper (1920-1981) a porcelain cup and saucer, covered in a deep, rich black glaze with grey rims, impressed seal marks, 4cm. high, 14cm. diam. Literature Oliver Watson Studio Pottery, Phaidon, page 236 catalogue number 528 for a black glazed teapot dated to 1951.
Lot 445
HANS COPER (1920-1981); part of a working model for Coper's candlestick commission for Coventry Cathedral, tapered stoneware form with spiralling line to upper half, mottled brown surface, height 22cm. (D) The piece is one-third actual size and corresponds to the top part of the slightly narrower manganese candlesticks at Coventry, just below the cup. 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: Appears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 429
LUCIE RIE (1902-1995) & HANS COPER (1920-1981); a red earthenware bowl, pale yellow/green glaze interior, brown glaze exterior, impressed LR and HC marks, made 1947-58, diameter 13.5cm. (D) CONDITION REPORT: Faint hairline to base, otherwise appears good with no obvious signs of other faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
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487 item(s)/page