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A STUDIO VASE IN THE MANNER OF HANS COPER, shaped as a large goblet, 23cm high, impressed to base 'Newport Pottery Barnstaple'

A particularly elegant example of what is widely accepted as Coper's most well known form. In T material white clay, the upper section with a creamy white exterior glaze, the interior glazed dark brown with traces of ochre. The narrow central stem is predominantly dark brown, on the base the brown manganese glaze has been scoured and textured to reveal the lighter clay beneath in a classic Coper surface treatment technique. Hans Coper seal impressed to the base. Probably manufactured in his Hammersmith studio, circa 1965. Height: 25cm, diameter: 8.3cm Provenance: From the collection of John Crowther. Condition Report: There is a 4 cm section of abrasion to the rim which at one point is a slight chip.

Hans Coper & Lucie Rie Studio Pottery bowl of slightly oval form with speckled limestone glaze impressed marks to the base. 15cm diameter x 7cm high Condition - no obvious sign of damage or repair

‡ Dame Lucie Rie D.B.E (1902-1995) a stoneware bowl glazed to the foot with a pale grey glaze with manganese speckles and drips, and Hans Coper a book by Tony Birks, impressed seal mark, chip to top rim 15.5cm. diam. (2)

‡ Dame Lucie Rie D.B.E (1902-1995) and Hans Coper (1920-1981) a stoneware bowl with squared ends, the interior glazed pale blue, the exterior a speckled pale grey glaze impressed seal marks, 14.5cm. wide

‡ Hans Coper (1920-1981) ovoid volume with flattened cylinder, stoneware layered with white porcelain slips and engobes, over textured and incised body, the interior with manganese glaze impressed seal mark, 18.5cm. high Provenance Barry Moore, (1941-2015) Economist at Downing College, Cambridge. Literature Tony Birks, Hans Coper, Collins, page 178 for a comparable example covered in a burnished manganese glaze, and page 179 for a larger example covered in white porcelain slips. This example, from the Sainsbury Collection, was used as the front cover for Hans Coper 1920-1981 retrospective exhibition catalogue.

‡ Hans Coper (1920-1981) Black Cycladic Pot circa 1972, with pinched rim and incised column impressed seal mark, 19cm. high Provenance Barry Moore, (1941-2015) Economist at Downing College, Cambridge. Literature Design Phillips London 1st October 2015 lot 54 for a comparable vase.

‡ Dame Lucie Rie D.B.E (1902-1995) and Hans Coper (1920-1981) a stoneware plate, the exterior glazed pale grey to the rim, the interior with manganese glaze with incised band impressed seal marks, 17.5cm. diam. Literature Margot Coatts Lucie Rie & Hans Coper Potters in Parallel, Barbican Art Gallery, 1997, page 57 catalogue number 2.30 for a service in a comparable design., circa 1955

‡ Dame Lucie Rie DBE (1902-1995) and Hans Coper (1920-1981) a stoneware pouring vessel, glazed speckled white to exterior and deep brown to interior, impressed seal marks, minor professional restoration to tip of spout, 10.5cm. high

Two Hans Coper reference books (2).

Two Hans Coper and Lucie Rie reference books (2). CONDITION REPORT: Postage within UK would cost £7.50. Potters in Parallel: good condition, no pages missing, scratch mark to title page, signed and dated by Alan Firth. Hans Coper: Bottom right hand corner slightly folded, some discolouration to page edges especially title pages, no pages missing.

Two Hans Coper and Lucie Rie reference books (2). CONDITION REPORT: Postage within UK £18 (due to weight). Potters in Parallel: good condition, no pages missing. Modern Pots: good condition, no pages missing, dust jacket intact.

Two Hans Coper and Lucie Rie reference books, in original cases (2).

Four full sheets of commemorative stamps featuring ceramics by Hans Coper, Lucie Rie, Bernard Leach and Elizabeth Fritsch (100 per sheet) (4).

LUCIE RIE (1902-1995); a tall stoneware bottle, flared undulating rim and ovalled neck, eruptive glaze with bluish tones, impressed LR mark, made c. 1980, height 28.5cm. Provenance: Purchased from The Peter Dingley Gallery, Stratford-upon-Avon, 1981. Exhibited: Sheffield City Museum and Mappin Art Gallery, Lucie Rie, 1985; Barbican Art Gallery, London, Lucie Rie and Hans Coper: Potters in Parallel, 1997. CONDITION REPORT: Professional restoration to the rim, otherwise appears good with no further obvious signs of faults or damage.

LUCIE RIE (1902-1995); a tall stoneware bottle, undulating flared rim, cream glaze over clay body with an integrated manganese spiral, impressed LR mark, made c. 1976, height 33.5cm. Provenance: Purchased from The Peter Dingley Gallery, Stratford-upon-Avon, 1976. Exhibited: Sheffield City Museum and Mappin Art Gallery, Lucie Rie, 1985; Barbican Art Gallery, London, Lucie Rie and Hans Coper: Potters in Parallel, 1997. CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration.

LUCIE RIE (1902-1995); a porcelain squat vase, creamy glaze with variegated colours, vertical and radiating inlaid lines, darkened rim, impressed LR mark, made 1978, height 18.5cm. Provenance: Purchased from The Peter Dingley Gallery, Stratford-upon-Avon, 1978. Exhibited: Sheffield City Museum and Mappin Art Gallery, Lucie Rie, 1985; Barbican Art Gallery, London, Lucie Rie and Hans Coper: Potters in Parallel, 1997. CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration.

LUCIE RIE (1902-1995); a porcelain vase, straight sided with slender neck and flared rim, bronze glaze with sgraffito lines to underside of rim, sgraffito through blue slip to neck and rim bordered by inlaid mauve rings, impressed LR mark, made c. 1974, height 25cm. Provenance: Purchased from the artist, 1975. Exhibited: Barbican Art Gallery, Lucie Rie and Hans Coper: Potters in Parallel, 1997. CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration.

HANS COPER (1920-1981); an early small stoneware cup, band of sgraffito decoration, white glazed interior, impressed HC mark, made 1950s, height 9cm. Provenance: Purchased from The Casson Gallery, London, 1975. Literature: Illustrated in Tony Birks, Hans Coper (London, 1983), p. 97. CONDITION REPORT: Hairline extending 3cm from rim, otherwise appears good with no further obvious signs of faults, damage or restoration.

HANS COPER (1920-1981); a large stoneware flower holder, oval and pinched bulbous form, white slip over textured manganese ground to exterior, brown manganese interior, impressed HC mark, made c. 1974, height 19.5cm. Provenance: Purchased from The Peter Dingley Gallery, Stratford-upon-Avon, 1975. CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration.

HANS COPER (1920-1981); a small stoneware flower holder, squared and pinched cup on drum base, burnished black slip, impressed HC mark, made 1974-76, height 9.5cm. Provenance: Purchased from Queensberry Hunt Ceramic Design, 1984. Exhibited: Barbican Art Gallery, London, Lucie Rie and Hans Coper: Potters in Parallel, 1997. CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration. There are a few firing imperfections that are part of the texture. Tiny mark on bottom edge - also a firing imperfection. All as expected.

HANS COPER (1920-1981); a squared stoneware flower holder on drum base, white slip over a textured manganese ground on exterior, manganese brown interior, impressed HC mark and gallery label, made c. 1974, height 20cm. Provenance: Purchased from Kettle's Yard, Cambridge, 1974. CONDITION REPORT: Appears good with no obvious signs of damage, repair or restoration.

HANS COPER (1920-1981); a stoneware elliptical flower holder on drum base, burnished black slip, impressed HC mark and collector's reference label 7/68 to inside of foot, made c. 1974, height 12.5cm. Provenance: Purchased from the artist, 1975. CONDITION REPORT: Appears good with no obvious signs of damage, repair or restoration. Minute bubble firing imperfections - part of the texture - expected to be seen.

HANS COPER (1920-1981); a stoneware flower holder, oval and pinched bowl form on drum base, white slip over textured manganese ground, pronounced to one side, impressed horizontal line to bowl, impressed HC mark, made c. 1976, height 14.5cm. Provenance: Purchased from The Peter Dingley Gallery, Stratford-upon-Avon, 1976. CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration.

HANS COPER (1920-1981); an oval stoneware flower holder on drum base, burnished manganese black, impressed HC mark, made c. 1974, height 13cm. Provenance: Purchased from Kettle's Yard, Cambridge, 1974. Exhibited: Shipley Art Gallery, Gateshead, Fitzwilliam Museum, Cambridge and Paisley Museum and Art Gallery, Primavera: Pioneering Craft and Design, 1945-1995, 1995-96. CONDITION REPORT: Appears good with no obvious signs of damage, repair or restoration.

HANS COPER (1920-1981); a large stoneware 'winged' spade form, white slip over textured manganese ground to exterior, brown manganese interior, impressed HC mark, made c. 1974, height 28cm. Provenance: Purchased from the artist, 1975. CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration.

HANS COPER (1920-1981); a stoneware spade form, white slip over textured manganese ground to exterior, brown manganese interior, impressed HC mark and painted collector's reference number 6/58 to inside of foot, made c. 1974, height 20.5cm. Provenance: Purchased from The Peter Dingley Gallery, Stratford-upon-Avon, 1974. Exhibited: Sainsbury Centre for Visual Arts, Norwich, Hans Coper 1920-1981, and subsequently to London, Dusseldorf and Rotterdam, 1983-84. CONDITION REPORT: Appears good with no obvious signs of damage, repair or restoration.

HANS COPER (1920-1981); a slender stoneware hourglass vase, white slip with spiralling linear band, yellowing manganese interior, impressed HC mark, made c. 1975, height 31.5cm. Provenance: Purchased from The Robert Welch Studio Shop, Chipping Campden, 1975. Literature: Illustrated in Tony Birks, Hans Coper (London, 1983), p. 194. CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration.

HANS COPER (1920-1981); a stoneware hourglass vase with cylindrical neck, white slip over textured manganese ground, band of incised lines to lower half, burnished black interior, impressed HC mark, made 1964-66, height 17cm. Provenance: Purchased from Lucie Rie, 1979. Exhibited: Barbican Art Gallery, London, Lucie Rie and Hans Coper: Potters in Parallel, 1997. CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration.

HANS COPER (1920-1981); a stoneware hourglass vase, burnished black slip, incised spiralling lines to rim and lower body, impressed HC mark, made c. 1975 , height 30.5cm. Provenance: Gift from the artist, 1976. Exhibited: Barbican Art Gallery, London, Lucie Rie and Hans Coper: Potters in Parallel, 1997. CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration.

HANS COPER (1920-1981); a stoneware hourglass vase, white slip over textured manganese ground, blistered band to middle, impressed HC mark, made 1976, height 29cm. Provenance: Purchased from The Peter Dingley Gallery, Stratford-upon-Avon, 1976. Exhibited: Barbican Art Gallery, London, Lucie Rie and Hans Coper: Potters in Parallel, 1997. CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration.

HANS COPER (1920-1981); a stoneware hourglass vase, white slip over textured manganese ground, pronounced to lower half, burnished black interior, impressed HC mark, made c. 1966, height 26.5cm. Provenance: Purchased from Lucie Rie, 1979. Exhibited: Barbican Art Gallery, London, Lucie Rie and Hans Coper: Potters in Parallel, 1997. CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration.

HANS COPER (1920-1981); a stoneware pinched cup form on drum base, white and manganese brown slips on exterior, heavily blistered, manganese brown interior, impressed HC mark, made 1974, height 12.5cm. Provenance: Purchased from The Peter Dingley Gallery, Stratford-upon-Avon, 1974. Exhibited: Barbican Art Gallery, Lucie Rie and Hans Coper: Potters in Parallel, 1997. CONDITION REPORT: Appears good with no obvious signs of damage, repair or restoration.

HANS COPER (1920-1981); a stoneware flattened bottle with flat circular lip, turned lines under burnished black slip, impressed HC mark and collector's reference number 5/46 pencilled to base, made 1973-74, height 15.5cm. Provenance: Purchased from The Peter Dingley Gallery, Stratford-upon-Avon, 1974. Exhibited: Sainsbury Centre for Visual Arts, Norwich, Hans Coper 1920-1981, and subsequently to London, Dusseldorf and Rotterdam, 1983-84; Barbican Art Gallery, London, Lucie Rie and Hans Coper: Potters in Parallel, 1997. Alan and Pat called this pot 'The Sandeman' (a reference to the Sandeman port advert). CONDITION REPORT: Appears good with no obvious signs of damage, repair or restoration.

HANS COPER (1920-1981); a large stoneware lobed ovoid form, vertical impressions front and back, white slip over textured manganese ground to exterior, darkened and blistered band to rim, brown manganese interior, impressed HC mark, made c. 1974, height 31.5cm. Provenance: Purchased from Kettle's Yard, Cambridge, 1975. Exhibited: Sainsbury Centre for Visual Arts, Norwich, Hans Coper 1920-1981, and subsequently to London, Dusseldorf and Rotterdam, 1983-84. Alan described this pot as 'a giant egg which stands on a small depression on its underside. Its oval mouth has been slightly drawn down at the centre and a firmly impressed line falls vertically down each side for about three quarters of the pot. This piece at £124 was by far the most expensive pot we had bought at this stage. Pat had been saving a small amount each month for the past year in order to buy a personal piece at the Kettle's Yard show. She and Bill Ismay had discussed their preferences - each had come up with the same two pots; Bill gave Pat the first choice'. CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration.

HANS COPER (1920-1981); a lobed stoneware ovoid form, pinned to drum base, burnished black slip, impressed HC mark, made 1975, height 16cm. Provenance: Purchased from The Robert Welch Studio Shop, Chipping Campden, 1975. Exhibited: Barbican Art Gallery, London, Lucie Rie and Hans Coper: Potters in Parallel, 1997. CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration.

HANS COPER (1920-1981); a stoneware bulbous cycladic form pinned to blistered drum base, white slip over textured manganese ground to one side, brown manganese interior, impressed HC mark, made 1975, height 22cm. Provenance: Purchased from The Peter Dingley Gallery, Stratford-upon-Avon, 1975. Literature: Illustrated in Tony Birks, Hans Coper (London, 1983), p. 193. CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration.

HANS COPER (1920-1981); a stoneware cycladic arrow form pinned to drum base, incised lines to neck, white and grey slips, brown manganese interior, impressed HC mark, made c. 1975 , height 33.5cm. Provenance: Purchased from the artist, 1976. The Firths last purchase from Coper at his studio in Frome. Alan described his visits, how he would be seated at a table with a lamp and Coper would bring pots to him individually, for scrutiny and discussion. Eventually he would decide which to purchase. CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration.

HANS COPER (1920-1981); a stoneware cycladic form on blistered drum base, white slip over textured manganese ground, impressed HC mark, made 1974, height 27.5cm. Provenance: Purchased from The Peter Dingley Gallery, Stratford-upon-Avon, 1974. Exhibited: Sainsbury Centre for Visual Arts, Norwich, Hans Coper 1920-1981, and subsequently to London, Dusseldorf and Rotterdam, 1983-84; Barbican Art Gallery, London, Lucie Rie and Hans Coper: Potters in Parallel, 1997. CONDITION REPORT: Appears good with no obvious signs of damage, repair or restoration.

* Hans Coper (1920-1981), "Cycladic but pot", of ovoid form, with integral brown glazed ceramic square base and "HC" impressed mark. Height 19 cm, label inscribed "HC173" (see illustration). ARR CONDITION REPORT: This piece appears to be in very good condition. We can see no evidence of any damage, repairs or restoration. We have looked at the pot under UV light which reveals no issues other than surface and ingrained dirt.

'Hans Coper' The book by Tony Birks Published by the Sainsbury Centre for Visual Arts in 1983

PETER LANE: STUDIO CERAMICS, 1984 reprint, orig cl silvered d/w + VICTOR ARWAS: ART DECO SCULPTURE, 1975 1st edn, orig cl gt d/w + CYRIL FRANKEL: MODERN POTS, HANS COPER, LUCIE RIE AND THEIR CONTEMPORIES, 2000 1st edn, orig cl gt d/w + MERETE BODELSEN & OTHERS: DANSKE KERAMIK, Gyldendal 1960, orig cl d/w (4)

Dame Lucie Rie (1902-1995) and Hans Coper (1920-1981): A Stoneware Bowl, of elliptical form, pitted oatmeal glaze to exterior and green-yellow interior, impressed LR and HC seal, 7.5cm high, 14.5cm wide Good condition. 02.04.2015

Turner (Jane, - editor ) The Dictionary of Art, 34 vol., Grove editor ) The Dictionary of Art, 34 vol., Grove, 1996 § Campbell (Colin) William Nicholson: The Graphic Work, New York, 1983 § Guillaud (J. & M.) Matisse: Le Rythme et la Ligne, embossed stamp on title, Paris & New York, 1987 § Cachin (F.) Manet, 1991 § Birks (Tony) Hans Coper, New York, 1983 § Kenseth (Joy, editor ) The Age of the Marvelous, original wrappers, Hanover, N.H., 1991, illustrations, some colour, the first original cloth or boards, all but the first with dust-jackets, some a little rubbed, labels on spines ; and c.40 others, art, some catalogues, v.s. (Qty)

A HANS COPER DESIGN POTTERY STEM VASE.

Geoffrey Swindell (born 1945) three porcelain vases, glazed in colours incised S marks, 15cm. high (tallest) (3) Literature Lucie Rie, Hans Coper and Their Pupils, Sainsbury Centre for Visual Arts, page 62 catalogue number 110-112 for Swindell vases.

Hans Coper & Lucy Rie stoneware 2 plates, bowl, 1 cup & 2 saucers in shiny white glaze with manganese rims

Hans Coper (1920-1981) an early cup form vase, resist decorated in manganese and white, the inside also glazed white impressed seal mark, 11.5cm. high Literature Tony Birks, Hans Coper, Collins, page 97 for two variants decorated with white glaze Provenance Tremayne Applied Arts, 2003 private collection

Dame Lucie Rie D.B.E (1902-1995) and Hans Coper (1920-1981) a stoneware cylindrical vase, glazed to the foot exterior bronze, the interior grey impressed seal marks, 11cm. high Provenance Primavera Gallery, Cambridge Private collection

Hans Coper (1920-1981) a large, early stoneware vase, pulled ovoid form with flat disk rim, resist decorated with white slip stripes over a manganese glaze impressed seal mark, 36.5cm. high Provenance purchased directly from Hans Coper by the present vendor Literature Tony Birks Hans Coper, Collins, page 83 for three similar vases circa 1953.

Hans Coper (1920-1981): A Stoneware Hourglass Form Vase, circa 1965, layered white porcelain slips over a textured body, with linear designs, the interior with manganese glaze, impressed with artist`s seal mark, 26cm Literature: Casson (Michael) pottery in britain today, Alec Tiranti London 1967, similar vase on front cover. Birks (Tony) Hans Coper, Yeovil, 2006, page 60. *PLEASE NOTE: Droit de Suite Royalty Charges (or ARR) apply to this lot Diameter of rim 7.5cm. Height 26cm. Appears to be in good order. Glaze flakes on the base area - glaze not taken? 111114

Hans Coper (1920-1981): A Stoneware Hourglass Form Vase, circa 1965, layered white porcelain slips over a textured body, with linear designs, the interior with manganese glaze, impressed with artist`s seal mark, 26cm Literature: Casson (Michael) pottery in britain today, Alec Tiranti London 1967, similar vase on front cover. Birks (Tony) Hans Coper, Yeovil, 2006, page 60. *PLEASE NOTE: Droit de Suite Royalty Charges (or ARR) apply to this lot Diameter of rim 7.5cm. Height 26cm. Appears to be in good order. Glaze flakes on the base area - glaze not taken? 111114

Hans Coper (German/British, 1920-1981) Small Cup on Stand, circa 1974 Stoneware, black glaze, the surface with incised spirals, impressed HC seal H 11.2cm, W 7cm, D 5.4cm PROVENANCE: Private Collection, Somerset CONDITION: Perfect condition with no damage or restoration

STUDIO POTTERY BOOKS. 'Hans Coper' & 'The Art of the Modern Potter' both by Tony Birks.

STUDIO POTTERY BOOKS. 'Hans Coper' & 'Lucie Rie' by Tony Birks. Two volumes in slip case.

A COLLECTION OF STUDIO POTTERY REFERENCE BOOKS including Tony Birks` ""Lucie Rie"" and ""Hans Coper"", 1994, two volumes in slip-case (paperbacks), a collection of ""Pottery Quarterly 1961-1971"" incomplete, together with books on Leach, Cardew, Britton, Fritsch and many others (qty)

A HANS COPER (1920-81) STONEWARE VASE, probably Albion Mews period, of tapering cylindrical form on a high foot rim, the upper section with a white abstract slip, plain glazed interior, seal mark to base, 4 1/4"" high, together with Tony Birks` ""Hans Coper"", 1983, one volume (2) (Illustrated)

A studio vase possibly Hans Coper, with part ribbed bulbous shouldered form, with H C mark to the side, 12cm high, and two Studio dishes set with a fish.

Dame Lucie Rie and Hans Coper a tall stoneware mug, with dark brown matt glaze to the lower half and mottled white glaze to the upper half, interior and base, impressed potters` marks, 4¼in. (10.7cm.) high, hairline crack visible to interior. * This mug was made as a demonstration piece by Rie in the prescence of the vendor in the mid-1950s, when she attended Farnham School of Art as a guest tutor. See Illustration

Valerie Prescott (nee Bond) (British, b.1923) Two primitive bird dishes, circa 1950 one initialled `VB` 15cm across and 14cm across (2). Valerie Bond spent a year at the Leach Pottery (1945-46) after a chance encounter with Michael Cardew. Following which she studied sculpture at the Royal College of Art under Frank Dobson and John Skeaping and later taught pottery at the Camberwell School of Art, joining the staff in 1951. Her shapes at this point were based on primitive birds and she was encouraged by Hans Coper, who had seen her work at the Berkeley Gallery. Photographs of her birds were also shown at the Festival of Britain in London in 1951. Literature: see Marion Whybrow, The Leach Legacy: St. Ives Pottery & Its Influence, Sansom and Company, 1996, pp.72-72 and Geoff Hassell, Camberwell School of Arts & Crafts: 1943-1960, 1995, p.141 for similar examples of her primitive birds.