Latest news with #Coper
Yahoo
4 days ago
- Business
- Yahoo
The incredible ceramics collection with a very surprising owner
Among the students of Oxford University, Sylvanus Sydney Denton was a name to be conjured with. For many years, he made his money selling bicycles to students, while simultaneously developing a passion for modern and contemporary ceramic art. He amassed a collection of over 220 examples which he kept in a specially built kitchen extension. Denton died last year at the age of 90 and his collection has gone on view at Sotheby's this week prior to being sold at the end of the month. It is estimated to fetch as much as £1.7 million. It is not known exactly when Denton caught the ceramic bug, but it was probably not until his late forties. Having done his National Service in Kenya he found work back home in Oxford fixing bikes and refurbishing caravans before investing in a bike and toy shop. By 1982 he had four shops and was displaying his ingenuity buying vintage 19th century bikes on which he posed for the local press. Sotheby's believes his journey to ceramics began with Modern British art (Henry Moore, LS Lowry and Barbara Hepworth) before he discovered more affordable ceramics by the likes of 1930s refugees from Nazi Germany, Hans Coper and Lucy Rie whose pots were beginning to be seen as fine art and superior to craft. According to the sale catalogue, one of Denton's earliest acquisitions was a work by Coper which he bought in 1988 at the trailblazing Oxford Gallery, which presented contemporary ceramics with avant-garde modern art by the likes of Terry Frost and Patrick Heron. Two works he bought there in the 1990s were by Edmund de Waal, the ceramicist and author of The Hare with Amber Eyes, long before he was swept up by the upmarket Gagosian contemporary art gallery. Denton also shopped at auction and in 1997 bought a Black Cycladic Form Arrow pot by Coper at Bonhams for about £9,000. To give an idea how Coper's prices have moved, another Cycladic Form Arrow pot bought by a different collector in the 1970s for £250 sold in 2018 for £381,000. Denton's example at Sotheby's is a comparatively tame £100,000 (check). Sotheby's describes Denton's collection as 'one of the finest collections of studio and contemporary ceramics in private hands'. Apart from Coper there are several delicate works by Rie in the £25,000-50,000 range, and a standout work by Elizabeth Fritsch, who is currently enjoying a high-profile exhibition at The Hepworth Wakefield museum near Leeds. Denton bought Fritsch's 20-inch, vividly coloured 'Spout' Pot (1998) for a double estimate record £10,160 at Bonhams in 2004, since when her record has risen to £51,400 last year. The estimate for Spout Pot has now doubled to £12,000-18,000. Another auction buy was a playfully twisted 'Monumental Body Pot', by Joanna Constantinidis which Denton bought for a record £1,600 at Bonhams in 2002, two years after she died. Posthumously, her prices have crept up to £15,000 for another Body Pot in 2021 so Denton's example, now estimated at £4,000-£6,000 should make more. His favoured method of acquisition, however, was to buy directly from the artists themselves; he was very popular with potters. One was Dame Magdalene Odundo, the British Nigerian who was the subject of an impressive exhibition at The Hepworth Wakefield in 2019. Three burnished terracotta pots by her in the sale all date from 1990/91, before she was famous. There is no record of their cost, but by this point art dealers were charging £5,000, compared to £250 in the 1970s. Since then, her prices have been multiplying. At auction in around 2010 they were selling for £10,000-£15,000, but after The Hepworth Wakefield show was announced and she was signed up by leading contemporary art dealer Thomas Dane, wealthy collectors like fashion designer Jonathan Anderson (who has been announced as the new head designer at Dior) began buying her work and at auction they soared to a record £533,400 for one of her pots in 2023. The estimate on that work was £100,000, a record for Odundo at the time. Now Sotheby's has gone a step further with two from Denton's collection estimated at £150,000 each. This is, though, a collection of value extremes. While most of the value is concentrated in just a handful of artists, the majority of lots are estimated at under £3,000 each, some with no reserve minimum price. Other artists include Janet and David Leach, the wife and son of the influential potter Bernard Leach, and Richard Batterham, a student of Leach who died in 2021 the same year that a pair of his pots hit a record £20,000 at auction. So, for fledgling ceramic collectors it's time to get on your bikes and bid. The sanctions that were imposed on Russian businesses after Putin's invasion of Ukraine in 2022 put an end to the regular art sales, worth millions of pounds, which London used to stage mainly for the benefit of Russian buyers. Russian art auctions in London went from being worth over £100 million a year to nothing. But last year, Sotheby's held a sale – unnoticed by the press – entitled Fabergé, Imperial & Revolutionary Works of Art, which included Russian paintings, and it exceeded its £2.9 million estimate to make £3.9 million. And this November they are planning a repeat. So what is going on? According to analysis conducted by advisory group Overstone Art Services, Russian art continues to appear, but in different sale categories – from Old Master and 19th century to Modern. Russian art can be bought and sold, so long as the client is not a Russian passport holder or on a sanctions list. This April, for instance, Sotheby's included two paintings by the 19th century artist Richard Zommer, who worked in Central Asia and would previously have been sold in a Russian art sale, in its sale of Orientalist art together with a variety of European artists. One of his paintings, a depiction of a chaikhana (or meeting place for travellers) on the Silk Road, was estimated at £20,000 and sold for a record £114,300. Trade sources believe the Russian art market is buoyant within Russia, better than property, and that Russian buyers are still active in the West but operate under a dual nationality, as Ukrainian, say, or Belarusian. In a statement released to the Telegraph last week, Sotheby's said: 'Today there is a significant diaspora of Russians who collect. As ever, we have worked to ensure that we are complying with sanctions and other restrictions placed on Russian clients and property of Russian origin. Where appropriate, we have also been offering Russian paintings in international sales across various selling locations. While the international auction market for Russian art remains significantly smaller than it was, we have seen areas of positive momentum.' The statement echoes Overstone's observation that while sale totals are down, average hammer prices for Russian artists have increased, indicating that 'growth is already beginning to occur. If this trend continues, it seems likely that the accessibility of the Russian paintings market will increase, thus allowing for the market to grow again when the situation is more settled.' Broaden your horizons with award-winning British journalism. 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Time of India
21-04-2025
- General
- Time of India
This broken flower pot from a UK garden turns out to be a $66,000 masterpiece
Source: New York Post From broken to a priceless treasure: In a dramatic twist, a broken flower vase was sold at auction for Rs 56 lakh ($66,000) in the UK. At first, it was brushed off as a mere, smashed pot, but it was subsequently recognised as a 'lost piece of art' by 19th-century avant-garde artist Hans Coper . The 4-foot-tall pot, which was discarded in a garden, proved to be a rare and priceless work of art that had been lost for decades. This shocking find emphasises the surprising fashions in which art can remain concealed in plain sight, subverting beliefs of worth and the characterisation of a masterpiece. Broken flower pot sold for $66,000 at UK auction London's Chiswick Auctions had initially valued the broken flower pot between Rs 6.7 lakh and Rs 11 lakh. However, the auction soon became a bidding war, with several parties showing interest. A US bidder eventually won the piece at an astonishing Rs 56 lakh. Maxine Winning, Chiswick Auctions' design head, was thrilled: "Everyone is overjoyed. The vendor didn't anticipate the vessel reaching its estimate, so they are on cloud nine. According to the New York post, there was a contest for it between a bidder from America, Denmark, and a woman in the room." Winning went on to highlight the implication of the sale: "The fact you can sell a very broken ceramic for that amount says how collectable and highly thought of Hans Coper is." by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Writing in English Doesn't Have to Feel Hard Grammarly Learn More Undo Man behind broken flower pot auctioned Hans Coper, who was born in Germany, escaped to the UK in 1939, fleeing the chaos of World War II. Coper was a well-known figure in ceramics and was instructing at the Camberwell School of Arts in London during 1964 when he painted this specific artwork. His cutting-edge works were extremely popular, and his contribution to the world of ceramic art remains high today. History of the surprising broken flower pot The flower pot was made by Coper in 1964 when he was commissioned by a mystery female client. The owner prized the vase for many years, holding onto it. But when it got broken, she did not throw the piece away. She instead had it repaired and reused it as a decorative flower pot, situating it in her garden in London. After the owner died, her grandchildren inherited the estate and saw the worth of the vase. Knowing that it was valuable historically, they phoned Chiswick Auctions for a general valuation, and more importantly, for the flower pot. Jo Lloyd, the ceramics expert at Chiswick Auctions, was assigned to inspect the vase. In spite of the rough restoration and damage, Lloyd knew the vase was authentic because of Coper's signature seal at the base. Lloyd further noted that this vase is among Coper's tallest pieces because most of his pieces are usually between 10 cm and 40 cm in height. Cost of restoration of broken flower pot While the vase was broken, its heritage value was not. Specialists project that it will take around Rs 9 lakh to restore the pot completely. In spite of its condition, the value of the vase was unmistakable, and it translated into its amazing auction price. Also Read | This Japanese singer flies 1,000 kilometers daily to attend classes, spending Rs 20,000 each day
New European
16-03-2025
- Entertainment
- New European
A great British refugee's pottery throwdown
They were among countless refugees from Nazi-occupied Europe who contributed to the rebuilding of British society and cultural life after the war, and Coper's career was nurtured by state-sponsored arts commissioning that, along with the NHS and the welfare state, marked a new and radically progressive approach to government. Photo: Jane Coper Photo: Jane Coper Photo: Jane Coper For this reason, The Arc, in Winchester makes the ideal setting for Hans Coper: Resurface, a small and tightly curated exhibition with three murals – the only three Coper ever made – each one a public commission, at its heart. A gallery space is just one element of this thriving cultural centre, which hosts performances, classes, and community services, as well as a well-used library and café. It's a beacon of municipal pride, but it's also symptomatic of the erosion of state provision – The Arc is administered not by the local council but by Hampshire Cultural Trust, an independent charity established in 2014 to take over the running of cultural concerns previously under the care of Hampshire County Council and Winchester City Council. A different atmosphere prevailed in the late 1950s and 1960s, when Hans Coper was commissioned to make the three murals at the heart of this exhibition, seen together here for the first, and quite probably the only time. Together, the Swinton School Mural, the Powell Duffryn Mural and the Royal Army Pay Corps Mural exemplify the 'art for all' ethos of those years, embodied by the Arts Council, founded in 1946 to distribute public funds for the arts. For architects and town planners, the provision of new housing, schools, shopping precincts and other municipal spaces was a chance to realise a utopia, and in new towns, like Harlow, Essex, public sculpture was integral to this vision. From the late 1950s, a number of architects began to invite collaborations with artists, notably at Coventry Cathedral, which like the 1951 Festival of Britain showcased British creative talent with an array of contributions from across the arts. It was for Coventry that Coper produced his most famous public work, six seven-foot-tall candlesticks, small maquettes for which are on display in this exhibition. Far more common were commissions for schools and other public buildings, where murals in particular, often made out of novel materials such as fibreglass, cement, and in Coper's case, ceramic, enjoyed a period of booming popularity. According to a 2016 report by Historic England: 'The demand for mural works was so great that an average of more than one substantial work per fortnight was installed in England during the 1950s and 1960s.' Coper's involvement with architectural projects began in 1959, when he accepted an invitation from the educationalist and founder of the Cambridgeshire Village Colleges, Henry Morris, to take up a residency at the Digswell Arts Trust in Hertfordshire. The Trust was founded by Morris in 1957 as a complex of studios and accommodation for artists engaged in civic projects, and over the years many distinguished figures spent time there, notably the painter Michael Andrews, the potter Elizabeth Fritsch, the sculptor Ralph Brown, and the weaver Peter Collingwood. For Coper, the move marked a turning point in his career: when he became Rie's studio assistant in 1946 he had no prior experience, though Rie would never accept that he had been her student or apprentice, insisting that, 'He educated me, he knew much more than I did'. In 1951 he exhibited alongside her at the Festival of Britain, and when in 1961 he installed the Swinton School Mural, it was Rie who helped him. That commission, along with the other two murals were a product of the Digswell residency, likewise the commission for the Coventry Cathedral candlesticks. But he was also engaged on many more prosaic projects, designing bricks, and cladding tiles for the prefabricated buildings developed to solve the housing crisis, represented here by a plaster mould for manufacturing acoustic tiles. Coper continued making pots all along, and the 20 or so examples on show here trace his development of increasingly sculptural designs, made always using the same industrial white clay, and finished with a marvellously complex patina. Though Rie and Coper are very often discussed as a pair, and there are similarities between their work, Rie always worked to a domestic sensibility, while Coper remained true to his early aspirations as a sculptor. Still, Coper's path was not simply the result of his happy meeting with Rie, as is made clear in his only surviving statement, written for a 1969 exhibition at the V&A in which his work appeared alongside that of his Digswell contemporary Peter Collingwood. In it, he describes a 'pre-Dynastic Egyptian pot, roughly egg-shaped, the size of my hand, made thousands of years ago possibly by a slave, it had survived in more than one sense.' He concluded: 'This is the only pot that had ever really fascinated me. It was not the cause of me making pots, but it gave me a glimpse of what man is.' This sense of survival, and of a vessel, nominally utilitarian as it is, acting as a repository of accumulating sensations and experiences, is embodied in Coper's designs, which not only appear to bear the scars of time, but evoke the hand tools of the Stone Age, in 'Spade', 'Disc' and 'Thistle' forms. Later in his career, the echoes of this 'egg-shaped' pot seem to become louder, the eggshell-like walls of a Cycladic 'Bud' Pot , c.1975, bringing a startling fragility to its robust, egg-shaped form. There's a striking socialising tendency to Coper's works, deriving in part from their functional, convivial roots, and expressed in the ease with which they sit with one another in arrangements captured to splendid effect in the black and white photographs taken by Jane Coper, his wife. It's an idea intrinsic to Coper's works, which often consist of multiple forms brought together in a single object, and made explicit in the Tripot, c.1956, on display here, in which three vessels are fused at the rim. It's a remarkable exhibition that reveals as much about the spirit of social justice and shared humanity that drove the public projects of the 1950s, as it does about the enigmatic figure of Hans Coper. Hans Coper: Resurface is at the Arc, Winchester, until March 25
