'Cycladic' winged bud form

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  • Provenance

    Anya Coper, UK
    Ben Williams, London, 2003

  • Exhibited

    ‘Masterworks: Lucie Rie and Hans Coper’, Leamington Spa Art Gallery and Museum, Royal Pump Rooms, 21 April-3 June 2001 (from collection on temporary loan, 2001-2002)
    Birmingham Museums and Art Gallery, Gallery 10 and the Industrial Gallery, June 2002-June 2004 (from collection on temporary loan, June 2002-June 2004)
    ‘Masterpieces of Studio Pottery’, Shipley Art Gallery, Gateshead, 29 January-15 May 2005 (from collection on temporary loan, 26 August 2004-31 July 2007)
    ‘Lucie Rie & Hans Coper: Art Alive is Always Modern’, MIMA, Middlesbrough, 28 November 2008-15 February 2009 (from collection on temporary loan, 1 February 2008-21 August 2012)

  • Literature

    Tony Birks, Hans Coper, Yeovil, 2005, p. 71 for a similar example at Hans Coper’s final gallery exhibition at the Robert Welch Gallery, Chipping Campden, 1975
    Cyril Frankel, Modern Pots: Hans Coper, Lucie Rie & their Contemporaries: The Lisa Sainsbury Collection, London, 2000, p. 56, fig. 39

  • Artist Bio

    Hans Coper

    German • 1920 - 1981

    Hans Coper learned his craft in the London studio of Lucie Rie, having emigrated from Germany as a young Jewish engineering student in 1939. He initially assisted Rie in the studio with the ceramic buttons she made for the fashion industry, as well as ceramic tableware, but soon Coper was producing his own work. By 1951 he had received considerable recognition exhibiting his pots in the "Festival of Britain." 

     

    Coper favored compound shapes that, while simple in appearance, were in fact complex in construction. Similar to the making of Joseon Dynasty Moon Jars (Rie in fact displayed a Moon Jar in the studio), he would build his vessels by bringing several thrown forms together, for example joining bowls rim to rim. Coper eschewed glazes and preferred the textured surfaces achieved through the application of white and black slips, evoking the abraded texture of excavated vessels. This interest in ancient objects was very much in step with other modernists of his time—Coper admired Constantin Brancusi and Alberto Giacometti and his textured markings have been compared to sculptors such as William Turnbull.

     

    In the last phase of his career, Coper reduced the scale of his work creating small "Cycladic" pots that stood on pedestals or drums, recalling the clay figures of Bronze Age Greece. 

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264

'Cycladic' winged bud form

circa 1976
Stoneware, layers of vitreous porcelain slip over a textured body painted with iron and manganese, the interior with a rich manganese glaze, black cuboid base.
24 cm (9 1/2 in) high
Impressed with artist’s seal.

Estimate
£25,000 - 30,000 

sold for £55,000

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Design

London 25 April 2013 2pm