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Click here to subscribeElizabeth Fritsch (1940) stoneware vase, oval, ‘Blown Away, Moon Pocket Vase’, 28cm high From the collection of the late Maurice Costley Acquired from the Fine Art Society, New Bond Street, London, Elizabeth Fritsch Exhibition, 12th-27th November 2008, cat. no. 7. Condition ReportOverall in good order. Some minor glaze scratching to underside of base and minute surface wear overall. No restoration or damage apparent when inspected under UV light.
Katy Siegel: 'High Times, Hard Times: New York Painting, 1967-1975', New York, Independent Curators International, 2006, 1st edition, 176pp, illustrations (chiefly colour) throughout, original pictorial wraps, original shrink wrap. "During the lats 1960s and early 1970s, when 'painting is dead' was a popular slogan, experimental abstract painting actually was thriving, energized by a diverse group of New York artists". Features works by Jo Baer, Lynda Benglis, Mel Bochner, Dan Christensen and many others. Uncommon; together with Elizabeth Fritsch; Edward Lucie Smith: 'Elizabeth Fritsch. Vessels from Another World: Metaphysical Pots in Painted Stoneware.', London, Bellew, 1993, 1st edition, 71pp, colour ills. throughout, original pictorial wraps. Uncommon (2)
PLEASE NOTE THIS POT IS BY MARGARET FRITHA Studio Pottery stoneware jar and cover by Elizabeth Fritsch CBE, 14cm high, with elephant finial, marked to underside Please Note:- The potter's marks have now been identified as those of Margaret Frith (b.1943) of the Brookhouse Pottery and not as previously described
Two books on studio ceramics including a first edition of 'Hans Coper' by Tony Birks (Harper & Row, 1983), eight Bonhams auction catalogues on contemporary ceramics, and 'Studio Pottery', a presentation pack of four stamps designed by Tony Evans featuring works by Bernard Leach, Elizabeth Fritsch, Lucie Rie and Hans Coper, pack no. 184, October 1987 (11).
Jacqueline Poncelet (b.1947) Studio Pottery and Contemporary Ceramics Buff coloured vessel, circa 1977 Earthenware Unsigned 13cm high, max width approx 20cm. ARRProvenance From a Private Collection acquired directly from the Artist. Footnote Jacqui Poncelet was part of a group of radical female artists (along with Elizabeth Fritsch, Carol McNicoll, Jill Crowley, Glenys Barton and Alison Britton) graduating from the Royal College of Art in the early 1970s who laid the foundations for 'The New Ceramics' movement and sought to re-establish the ‘vessel’ as an abstract form. Ceramic works by Poncelet are held at various public collections worldwide, including MOMA in New York, the V & A, and Tate Gallery London. Condition Report: Patch of dark crazing to interior, no damage or restoration.
Jacqueline Poncelet (b.1947) Studio Pottery and Contemporary Ceramics Vessel with orange and black stripes on buff ground, circa 1977 Earthenware Unsigned 25.5cm high, max width 18cm ARR Provenance From a Private Collection acquired directly from the Artist. Footnote Jacqui Poncelet was part of a group of radical female artists (along with Elizabeth Fritsch, Carol McNicoll, Jill Crowley, Glenys Barton and Alison Britton) graduating from the Royal College of Art in the early 1970s who laid the foundations for 'The New Ceramics' movement and sought to re-establish the ‘vessel’ as an abstract form. Ceramic works by Poncelet are held at various public collections worldwide, including MOMA in New York, the V & A, and Tate Gallery London. Condition Report: No damage or restoration.
Jacqueline Poncelet (b.1947) Studio Pottery and Contemporary Ceramics Large angular slab-built vessel with geometric design in brown on buff, chequered exterior and striped interior, 1977 Earthenware Unsigned 26cm high, approx 36cm max width. ARR Provenance From a Private Collection acquired directly from the Artist. Footnote A similar slab-built earthenware vessel is held at the British Museum, London. Jacqui Poncelet was part of a group of radical female artists (along with Elizabeth Fritsch, Carol McNicoll, Jill Crowley, Glenys Barton and Alison Britton) graduating from the Royal College of Art in the early 1970s who laid the foundations for 'The New Ceramics' movement and sought to re-establish the ‘vessel’ as an abstract form. Ceramic works by Poncelet are held at various public collections worldwide, including MOMA in New York, the V & A, and Tate Gallery London. Condition Report: Minor rubbing to one bottom corner, no other damage or restoration.
Jacqueline Poncelet (b.1947) Studio Pottery and Contemporary Ceramics Large angular slab-built vessel with geometric design in copper-brown on buff ground, circa 1977 Earthenware Unsigned 29cm high, max width approx 34cm. ARR Provenance From a Private Collection acquired directly from the Artist. Footnote A similar slab-built earthenware vessel is held at the British Museum, London. Jacqui Poncelet was part of a group of radical female artists (along with Elizabeth Fritsch, Carol McNicoll, Jill Crowley, Glenys Barton and Alison Britton) graduating from the Royal College of Art in the early 1970s who laid the foundations for 'The New Ceramics' movement and sought to re-establish the ‘vessel’ as an abstract form. Ceramic works by Poncelet are held at various public collections worldwide, including MOMA in New York, the V & A, and Tate Gallery London. Condition Report: Tiny nick to two underside corners not seen when placed - otherwise no damage or restoration.
Jacqueline Poncelet (b.1947) Studio Pottery and Contemporary Ceramics Large angular slab-built vessel with geometric design in brown on buff ground with each slab alternating squares and stripes, circa 1977 Earthenware Unsigned 26cm high, max width approx 30cm. ARR Provenance From a Private Collection acquired directly from the Artist. Footnote A similar slab-built earthenware vessel is held at the British Museum, London. Jacqui Poncelet was part of a group of radical female artists (along with Elizabeth Fritsch, Carol McNicoll, Jill Crowley, Glenys Barton and Alison Britton) graduating from the Royal College of Art in the early 1970s who laid the foundations for 'The New Ceramics' movement and sought to re-establish the ‘vessel’ as an abstract form. Ceramic works by Poncelet are held at various public collections worldwide, including MOMA in New York, the V & A, and Tate Gallery London. Condition Report: A couple of very tiny nicks to the balancing 'leg', otherwise no damage or restoration.
Elizabeth Fritsch signed Studio Pottery FDC. 13/10/87 postmark. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Tim Morris (1941-1990), Large Studio Pottery vase with abstract Japanese blossom motifs, circa 1970s, Glazed stoneware, Inscribed signature to underside, 31cm high.Footnote:Born in Windsor, England, studied at Lancing College, then at Brighton Art School and The St. Martin’s School of Art, London with fellow students David Hockney and Elizabeth Fritsch. Later Bill Newland suggested he study ceramics, which he did at Central School of Art under Ruth Duckworth, Kenneth Clark, Gordon Baldwin others. Morris was very strongly influenced by Dan Arbied, Hans Coper, Lucie Rie, John Colbeck and Ruth Duckworth. He eventually settled in South Africa and became a founder member of the Association of Potters of Southern Africa (APSA), now known as Ceramics Southern Africa.Please refer to department for condition report
Elizabeth FritschVessel, 1974Stoneware, colored slips.9.5 x 15 x 12cmFootnotes:ProvenanceAcquired directly from the artist at the Crafts Advisory Committee exhibition by the present owner, 1974ExhibitedCrafts Advisory Committee, London, 1974This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Elizabeth Fritsch, Shadow of Death, a studio pottery vase, 1974, flattened sleeve form, soft grey blue chalk glaze with brown rim, 21cm long, 12cm high Note: Artist Resale Rights may apply Provenance: David Cripps collection; The Maker's Eye exhibition 1981; see: Carol McNichol, Tanya Harrod and RoseLee Goldberg, The City Gallery, Leicester, 2003 p. 43 for an illustration of the full selection including this Pot
Elizabeth Fritsch CBE MA (RCA) (b.1940): A Hand-Built Stoneware Optical Vase with Ascending Intervals, circa 1978-79, painted with slip, in purple, white, black, orange and pale green, 30.5cm (restored) See illustration From Pots about Music Tour 1978-79 Artists' Resale Rights/Droit de Suite may apply to this lot, please refer to Terms of Business
‡ Elizabeth Fritsch CBE (born 1940) Tlön, a handbuilt stoneware vase, (minor professional restoration), 33.5cm. high Provenance Professor John Ball (1931-2010), The Hargreaves & Ball Trust. Literature Keith Vaughan, Prunella Clough and Elizabeth Fritsch (a selection of works from the Hargreaves and Ball Trust) Anthony Hepworth Fine Arts, 2010, page 36
‡ Elizabeth Fritsch CBE (born 1940) Dark Windows, a hand-built stoneware Spout Pot, 42cm. high Provenance Professor John Ball (1931-2010), The Hargreaves & Ball Trust. Literature Keith Vaughan, Prunella Clough and Elizabeth Fritsch (a selection of works from the Hargreaves and Ball Trust) Anthony Hepworth Fine Arts, 2010, page 37.
‡ Elizabeth Fritsch CBE (born 1940) Corner Vase, a stoneware vase, 34cm. high Provenance Professor John Ball (1931-2010), The Hargreaves & Ball Trust. Exhibited Keith Vaughan, Prunella Clough and Elizabeth Fritsch (a selection of works from the Hargreaves and Ball Trust) Anthony Hepworth Fine Arts, 2010.
*Esperanza Romero (Spanish, b.1956)a vase, 1986, incised with figures and a winged horse, signed and dated,42cm highEsperanza Romero studied at Camberwell School of Art (1977-81) and at the Royal College of Art. She was a student of Elizabeth Fritsch, Eduardo Paolozzi and Alison Britton. She also worked in the studio of Carol McNicoll and Colin Deeks.*Artist's Resale Right may apply to this lot.
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