巴黎私人收藏（1974 年直接於費羅姆購自藝術家本人）
現藏者於1978 年繼承自上述來源
Lucie Rie, Hans Coper, exh. cat., Gemeentemuseum Arnhem, Rotterdam, 1967, p. 30 for a similar example
Collingwood | Coper, exh. cat., Victoria and Albert Museum, London, 1969, pl. 19 for a similar example
Tony Birks, Hans Coper, Catrine, 2013, pp. 38, 112, 114 for similar examples
Hans Coper 100, exh. cat., Ashmolean Museum, Oxford, 2020, p. 32 for a similar example
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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