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Click here to subscribeKenneth Quick (1931-1963): A Stoneware Vase, running green ash glaze, impressed potter's mark and Leach Pottery,24cm highJeremy Leach (b.1941): A Stoneware Jar and Cover, tenmoku glaze, impressed potter's mark and Lowerdown Pottery,25.5cm high (2)The vase has some crazing. The jar and cover are in good order.
SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) PAISLEY LAWN TENNIS CLUB Signed and dated 1889, oil on canvas 63.5cm x 76cm (25in x 30in) Presented by James Begg, Esq., President of Paisley Art Institute (1920-27), 1917. Exhibited:Paisley, Paisley Art Institute, Annual Exhibition, 1918, no.157, where titled ‘Courts of the Paisley Lawn Tennis Club, June 1889’;St Andrews, Crawford Art Centre, John Lavery: The Early Career, 1880-1895,1983, no.13;Paisley, Paisley Museum & Art Galleries, A Paisley Legacy: The Paisley Art Institute Collection, 2015, no.12.Literature: McConkey, Kenneth, Sir John Lavery, Canongate Press, Edinburgh, 1993, p.42;McConkey, Kenneth, ‘Tennis Parties’, in Ann Sumner ed., Court on Canvas, Tennis in Art, Barber Institute & Philip Wilson Publishers, 2011, pp.63-64, repr. fig 3.17. During the early summer of 1889 Lavery returned to Paisley to make kit-kat sketches of dignitaries who had been invited to the reception held for The State Visit of Queen Victoria to the Glasgow International Exhibition in the previous year.[1] These tiny portraits would come together with 250 others in a large commemorative canvas depicting the event (Glasgow Museums). His year had begun in a flurry of travel arrangements and studio appointments. By the late Spring the project was well underway. Lavery had just returned from Darmstadt where he had painted the portrait of Princess Alix of Hesse (Private Collection), and other members of the royal retinue, when the short trip from Glasgow to Paisley took place. A visit, however brief, could not be made without calling upon friends in the town where he had staged his first solo exhibition in 1886. Principally these were members of the Fulton family who, on one particular day, had taken their daughter, Alice, to the local tennis club. [2] While the girl is omitted from the present canvas, both small oil sketches produced in preparation for it include her, while focussing upon the figure group at the right of the composition. A note in the minutes of Paisley Art Institute in 1915 identifies the women taking afternoon tea as Mrs William MacKean and Mrs Archibald Coats of Woodside, while the lady in the background wearing a red shawl was Mrs Stewart Clark of Filnside.[3] The three tennis players, glimpsed through blossoming trees are Nina Fullerton, Hugh Macfarlane and the watercolourist, Alexander Balfour McKechnie.[4] The note concludes by describing the present work as ‘an excellent example of the artist’s earlier “Impressionist” style’, implying that, as with the preparatory sketches, it was completed on the spot. The spot, the original Paisley lawn tennis club in Garthland Place, is likely to have been sited on land partly occupied by the Abercorn Bowling Club, close to the railway line.[5]Lawn tennis was, by 1889, approaching the height of its popularity. Invented by Major Clopton Wingfield in 1874, with the unappealing name, ‘Sphairistike’, it quickly replaced croquet as a middle-class pastime when boxed sets of essential equipment went on the market.[6] For the fashion-conscious factory-owners of Paisley, as the present canvas confirms, it provided the ideal theatre for social rivalries. For the artist however, in the midst of a year when time was measured in end-on appointments, dropping into the Paisley Lawn Tennis Club was a moment of delight. One had only to open a little pochade box or erect a lightweight tripod easel for the picture to come to him, unbidden. Lavery would later describe such moments as ones that brought him to ‘concert pitch’. These were times when in an elysian garden of women, the scene composed itself if you were quick enough to grasp its essence. In the present instance, there was no hesitation.We are grateful to Professor Kenneth McConkey for writing this catalogue entry.[1] McConkey 2010, pp. 43-48.[2] Two sketches are known to have been painted on the spot. A companion sketch (Private Collection) shows Alice holding a racquet on her lap while the women on the left, one holding a scarlet parasol, have swapped places. The background, simply indicated with a broad brush, represents one of the courts.[3] These women were of course, dynastic leaders of west of Scotland society. I am grateful to Andrea Kusel of Paisley Museum & Art Galleries for bringing this note to my attention in 2011.[4] Both Macfarlane and McKechnie were prominent members of the Club, the former taking on the role of Honorary Treasurer by the 1891-92 season.[5] Kusel, as above. I am also grateful to Michael Durning and Victoria Irvine, (emails 2015-18), for their valuable work on Lavery’s Fulton connections.[6] Sumner, 1911, p. 13.
KENNETH QUICK. * A large Kenneth Quick, Leach Pottery bottle vase with fluted body. Impressed personal & Pottery marks. Height 29cm. Provenance: from the Sir Geoffrey & Lady Holland collection. Condition Report: Appears to be no damage or restoration. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CANNOT SHIP THIS LOT due to fragility, size or weight. Our recommended carrier is MBE Plymouth on +44 (0) 1752 257224 or info@mbeplymouth.co.uk.
Kenneth Quick/ Tregenna Hill Pottery, a ten-piece stoneware part coffee set, comprising coffee pot, hotwater jug, two cups, five saucers, and milk jug with side handle, studio seal mark, coffee pot 23cm, damages. Condition report:One jug has two vertical hairline cracks. The milk jug has a chip to its spout. Please see additional uploaded images.
Attributed to David Leach (1911-2005) at Leach Pottery celadon glazed preserve pot, decorated with an oak leaf to the lid, impressed Leach pottery mark to the footrim, 7.5cm high, a Marianne de Trey (1913-2016) bowl, with small running facet cuts to the exterior, impressed shell potters mark to the footrim, 10cm high x 11.5cm across, a Kenneth Quick (1931-1963) at Tregenna Hill Pottery small fluted vase, with impressed seal mark to the footrim, 7cm high (3) Overall wear, marks and scratches to all. All with minimal glaze and firing faults. The David Leach preserve pot has an underglaze chip to the rim, made when potted, not damaged. Otherwise seems ok.
PHILIP WILSON STEER (BRITISH 1860-1942) THE CASINO, BOULOGNE-SUR-MER Oil on canvas Signed and dated 92 (lower right) 51 x 61cm (20 x 24 in.)Provenance: Private Collection, Thomas Humphry Ward Esq.(1845-1926), Art critic for the Times Newspaper Private Collection, Mrs. Sandwith Private Collection, Adrian McConnel Thence by descent Exhibited: London, The Goupil Gallery, Exhibition of Paintings by P. Wilson Steer, February 1894, no. 1, as 'property of T Humphrey Ward Esq.' Literature: 'Our London Correspondence', Glasgow Herald, 26 February 1894, p. 7 'From Private Correspondence', The Scotsman, 26 February 1894, p. 7 'From our London Correspondent', Manchester Courier, 26 February 1894, p. 5 'Exhibitions', Pall Mall Gazette, 27 February 1894, p. 3 'Exhibition Review, A Modern Painter', The National Observer, 3 March 1894, p. 396 G[eorge] M[oore], 'Mr Steer's Exhibition', The Speaker, 3 March 1894, p. 250 'Art: The Goupil Gallery', Weekly Dispatch, 4 March 1894, p. 6 'Studio and Gallery', Black and White, 10 March 1894, p. 294 'Fine Art: The Goupil', The Morning Post, 10 March 1894, p. 2 George Moore, Modern Painting, 1898 (Walter Scott), p. 242 DS MacColl, Life, Work and Setting of Philip Wilson Steer, 1945 (Faber & Faber), pp. 51, 193 Bruce Laughton, Philip Wilson Steer, 1971 (Clarendon Press, Oxford), p.130, (no 52)Sketches for the present work are included in Steer's sketchbook inscribed Boulogne and dated 1888. The sketchbook is held in the V&A archives under reference E 281 - 1943. Had you been standing on the upper deck of the Folkestone steamer, steering into the harbour at Boulogne-sur-Mer at the turn of the twentieth century, your view on the port side, beyond the guard rail of the jetée de l'est, would take in the plage, and the Second Empire Casino. Sitting in public gardens that contained a saltwater bathing establishment, the lines of the casino prepared you for those of the great exhibition 'palaces' of Paris, a train ride away. A quick scan of your Baedeker would tell you that the casino opened every year for the summer season from 15 June to 15 October and a day ticket would cost you two francs. Since the lights are on in Philip Wilson Steer's view of the building, we can assume that the present canvas must represent a late summer evening. Although dated '92' we know that the painter spent the summer at Cowes in that year. He would have passed through Boulogne in 1887, 1888 and 1889, producing swift sketchbook notes, three of which relate directly to the present work (fig 1). Why, in the 1880s was Boulogne and its environs so admired, and why did it supplant Walberswick in Steer's affections? The answers are various - Dannes, Étaples, Montreuil and one or two other picturesque towns nearby were supporting small colonies of British and American painters, many of whom were working in loosely Impressionist styles, while further down the coast there were the familiar haunts of Monet and Boudin. Boulogne was also one of the main points of access to Paris in the late nineteenth century, its packet-boat service having commenced in 1849. In Steer's case the specific interest in Boulogne is likely to have come first from the early work of Manet that he saw in the artist's posthumous retrospective exhibition in Paris in 1884. 'When the Manet exhibition was held', he told John Rothenstein, 'I had never heard his name. But I went and was very much interested ...The landscapes I liked very much ...' Manet had of course visited Boulogne several times in the 1860s and on one occasion on the plage, had painted the twin piers that form the harbour entrance. Fashionable promenades, these breakwaters with their white handrails had not changed when Steer painted them twenty years later.Passing through the port in the late 1880s, and again in 1891, Steer must have realized that he needed to go no further for one of the most celebrated British Impressionist paintings, Boulogne Sands. Having already painted this beach, looking north to where the hillside rolls gently towards the shore in Boulogne Sands: Children Shrimping, the Casino waterfront was a key location.There is sufficient technical variation between the Tate and Ferens canvases to leave the precise date of most works ascribed to the artist's Boulogne corpus prior to 1891, open to debate. While he was known to be capable of working in several different styles at once, the dabs and dashes of a painting of girls busily building sandcastles on a blustery day, contrast with the serenity of the present townscape - a work that takes the eye beyond the casino to the rising land of the haute ville, and the tower of the Cathédral Notre Dame. At this moment when the noisy children have gone and the casino slowly becomes incandescent, the town sinks into the crepuscular light of evening. Bruce Laughton, Steer's 1960s champion, had not seen the present painting when writing his monograph, and accepted DS MacColl's earlier assessment of it. Recalling the painting in the 1940s and thinking of the celebrated 'nocturnes' of the 1870s, MacColl had reached for the word 'Whistlerian'. It now seems most likely that the artist post-dated Casino, Boulogne '92' at the time it left his studio and when it was recalled for his solo exhibition in 1894, it had passed into the collection of Thomas Humphry Ward (1845-1926), the principal art critic and occasional leader writer on the staff of The Times. Ward apparently 'disliked that it should be known' that he was the painting's owner. George Moore was keen to make something of the fact and in praising the painting he also exposed its purchaser to a wider readership: I like ... The Casino, Boulogne, the property, I note with some interest, of Mr T Humphry Ward, art critic of The Times ... Mr Humphry Ward must write conventional commonplace, otherwise he could not remain art critic of The Times, so it is pleasant to find that he is withal an excellent judge of a picture ... The buildings stand high up, they are piled up in the picture, and a beautiful blue envelopes sky, sea, and land. Nos 1 [the present picture] and 2 show Mr Steer at his best: that beautiful blue, that beautiful mauve, is the optimism of painting, is the peculiar characteristic of Mr Steer's work. Other critics concurred, referring to its 'perfect technique' and the 'decorative charm' of its colour. Painted 'freely and flowingly', the peacefulness of this evening on the French coast was conveyed with splendid spontaneity. It had, more than the overtly 'Impressionist' studies of 1891, a 'unity of vision' that Steer considered one of the essential 'laws' of good painting. He insisted, echoing Whistler, that scenes like that of the casino, may be 'commonplace and ordinary' to the layperson, but it was for the painter to find beauty in them. As one pulled into the harbour of an evening, this called for the subtle palette of warm greys and ochres of a hillside and buildings that surround the ghostly gaming house, framed between the hints of mauve in a peaceful sky and the cool cerulean blues of a rippling tide. Kenneth McConkey
Kenneth Quick (1931-1963) a stoneware teapot, brown glaze, with a looping cane handle, with impressed marks, 19.5cm high including handle CONDITION REPORT: very small chips to the glaze to the rim of the spout. No obvious cracks. ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
A collection of signed theatre flyers comprising an Autograph Album With 28 Flyers and Approximately One Hundred and Forty Signatures: The Royal Baccarat Scandal; Single Spies; Steel Magnolias; King Lear; The Black Prince; Sherlock Holmes The Musical; An Ideal Husband; M. Butterfly; The Merchant of Venice; Russ Abbot & Friends; Aspects of Love; Frankie & Johnny; Anything Goes; Last of the Red Hot Lovers; Look Back In Anger, Veterans Day, Exclusive, Another Time, Prin; Paris Match; Boswell For The Defence; The Cherry Orchard; Stairway To The Stars; Stop The World; A Life In The Theatre; Aladdin; Noel And Gertie; & Barnaby And The Old Boys. The Signatures Include: Alan Bennett, Simon Callow, Prunella Scales, Eric Porter, Ian McDiarmid, Anthony Hopkins, Julie Walters, Brian Cox, Bernard Cribbins, Elaine Paige, Emma Thompson, Kenneth Branagh, Jack Lemmon, Michael Gambon, Paul Scofield, Albert Finney, Sheila Hancock, Leo Mckern, Judi Dench, Samuel West, Cilla Black, Patricia Hodge, Simon Cadell, and Jill GascoinePLAYS & MUSICALS: AUTOGRAPH ALBUM with 32 flyers and approximately one hundred and thirty signatures: The Ride Down Mt. Morgan; The Glory of the Garden; Dick Whittington (Wimbledon); Verdict; Lady Audley’s Secret; 80 Years of the London Palladium; Rose-Marie In Concert; The Cabinet Minister; Our Town; Becket (2); The Sound of Music; Malcolm Arnold Pre-Concert Talk; Cinderella; Dick Whittington (Hackney Empire); It’s Ralph; Sooty & Friends; Jack & The Beanstalk (2); Elmo & Sandra; Babes In The Wood; Jim’s Blue Xmas Party; Cinderella (3, All Different); Dick Whittington & His Cat; Painting Churches; Good Rockin’ Tonite; The Cotton Club; The Fancy Man; & The Cutting. The Signatures Include: Buster Merryfield, Tom Conti, Arthur Miller (Author), Jill Gascoine, John Nettles, Diana Quick, Anita Harris, George Sewell, Rose-Marie, Maureen Lipman, Derek Nimmo, Derek Jacobi, Robert Lindsay, Liz Robertson, Malcolm Arnold (Composer), Pauline Quirke, Linda Robson, Timothy West, Jack Shepherd, Matthew Corbett, Ronnie Corbett, Howard Lew Lewis, Jim Davidson, Mike Osman, Ken Goodwin, Timmy Mallett, Cilla Black, Linda Regan, Josie Lawrence, Philip Bird, Debby Bishop, Paul Freeman and Sian ThomasPLAYS & MUSICALS: AUTOGRAPH ALBUM- with 28 flyers and approximately one hundred and eighty signatures, including: The Best of Friends; You Never Can Tell; When Did You Last See Your Trousers; The Importance of Being Earnest; The Business of Murder; A Touch of the Poet; Andromache; Blues In The Night; Me and My Girl; Shirley Valentine; Lettice and Lovage; Run For Your Wife; Hapgood; Curtains; The Browning Version; The Tutor; The Common Pursuit; Journey’s End; Married Love; Uncle Vanya; Winnie; Easy Virtue; The Deep Blue Sea; One Day Pendulum; Too Clever By Half; Driving Miss Daisy; How The Other Half Loves; & Exclusive Yarns. The Signatures Include: John Gielgud, Michael Hordern, William Gaunt, Hinge & Bracket, Richard Todd, Vanessa Redgrave, Timothy Dalton, John Barron, Carol Woods, Karl Howman, Louise English, Pauline Collins, Maggie Smith, Ernie Wise, Felicity Kendal, Nigel Hawthorne, Jean Anderson, Paul Eddington, Stephen Fry, Susan Hampshire, Michael Gambon, Robert Hardy, Virginia Mckenna, Jane How, Penelope Keith and Wendy Hiller
An extensive and well annotated photograph album 'In Memory of my Cruise China Station 1932-4 H.M.S. Kent'. Containing over 700 annotated photographs of various subjects. Dring served with the 403 Fleet Fighter Flight, 5th Cruiser Squadron China, a number of the images identifying Dring amongst his colleagues and with the Fairey Flycatcher S1418 that was launched from the ship and craned back aboard after use. Other images include Malta, Port Said, Ceylon, Hong Kong, the fire at Kai Tak on December 15th 1931, Christmas celebrations 1931, Singapore, Crossing the Line ceremonies, Japanese ships in action bombarding Woosung forts and villages, Admiral Kelly's Cavalry and their Howitzer, H.M.S. Kent in Whampoa dock, trips ashore, full power trials and firing practice, the ships company, local views of people and buildings and numerous other subjects, all with annotations. Kenneth Bellairs Dring joined the R.A.F. as a boy entrant at the age of 15 years old and stayed in the service until demobbed at the age of 53 at the rank of Squadron Leader. This album was created during his time aboard H.M.S. Kent between 1932-4. He served during the Second World War in France and other countries, being made a War substantive Flight Lieutenant on the 1st of January 1943. He was awarded an MBE for entering a burning hanger on three occasions to rescue his men, and was paid £100 for inventing a quick release undercarriage device for aircraft. Service in Amman, Jordan to train engineers followed as did service with the Sudanese Airforce running a squadron for two years, ending up in Norfolk. Following his service he worked for a Hovercraft Company on the Isle of Wight writing the manuals. His family described him as a meticulous man who enjoyed every moment of his service int he R.A.F. H.M.S. Kent was laid down on the 15th November 1924 at Chatham Dockyard. Launched in 1928 she was assigned to the 5th Cruiser Squadron on the China Station. In 1929-30 she was fitted with her aircraft catapult. Eventually paid off in 1945 she remained in the reserve for a number of years before being used as a target before being broken up in 1948. The Fairey Flycatcher was one of the first aircraft specifically designed for operation from aircraft carriers. First entering service with 402 Flight, some 192 such aircraft were produced. The album, 38 x 28cm, in a fitted box 42 x 33 x 9cm. Sold by a descendant of the creator of the album with a selection of copied research including a copied photograph of him amongst a group 'Station Workshops 1943' *Condition: Buming and marks to cover, interior in fresh condition, tissue paper lacking in places and often loose and creased. Outer box distressed.
KENNETH QUICK. A Leach Pottery yunomi by Kenneth Quick. Personal & Pottery marks.The yunomi has been restored. It has been well done, with a surface ‘shine’ matching the rest of the yunomi, overall. The cracks have been left visible, comprising: 1 A vertical crack extending from the rim for approx. 6cm. 2. A deep ‘U’ shaped repair measuring a max of approx. 10cm at the rim. There are no chips anywhere on the piece.Please note that all items in this auction are previously owned & are offered on behalf of a private vendor. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
§ Kenneth Quick (British, 1931-1961), a St Ives Pottery bowl and oil pourer, the ash glazed bowl painted with iron and cobalt oxide decoration, the pourer with cobalt and tenmoku banded decorated, impressed seal marksthe bowl 6 x 13cm, the pourer 9.5cm highBoth items in good condition with no apparent restoration or damage.
KENNETH QUICK. A Kenneth Quick, Tregenna Hill Pottery jug. Impressed pottery mark. Height 19cm. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
Attributed to Shoji HAMADA (1894-1978)Stoneware bowl Height 6.8cm, diameter 13.5cmCondition report: This unmarked bowl has no damage but for minor fritting to the rim and no restorationWe understand this bowl was bought from these rooms in the late 1980s. It was one of three Hamada bowls in the sale and our vendor believes they were brought back from Japan by the executors of Kenneth Quick
KENNETH QUICK (1931-1963) for Tregenna Hill Pottery; a stoneware coffee pot, impressed pottery mark, height 20cm. (D)Additional InformationNibble to base, otherwise appears good with no further signs of faults, damage or restorations.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Africa Dances signed and dated 'Ben Enwonwu 1985' (lower right)oil on board86 x 49cm (33 7/8 x 19 5/16in).Footnotes:Ben Enwonwu's interest in dance can be seen as early as the mid 1930's, whilst still a student of Kenneth C. Murray. Enwonwu represented dance in both sculpture and painting. The use of the term 'Africa Dances' only came into use after Enwonwu read Geoffrey Gorer's book of the same name whilst studying in Oxford in 1945. As Sylvester Ogbechie writes:'The Africa Dances series differed from previous representations of dancing figures because it focused on symbolic meaning of dance, while earlier images of dancing figures provided literal documentation of specific types of dance.'In this painting, Enwonwu is focusing on movement and rhythm. The artist achieves this through the use of a central dancer surrounded by multiple figures echoing the pose of the focal figure in order to give the illusion of movement. The use of a more sculptural form is also evident in this painting. Enwonwu considered himself as primarily a sculptor and this can be seen to filter into his paintings. In the artist's own words: 'I enjoy painting now better than ever before. My painting is beginning to show certain aspects of formal relationship with my sculpture and has stripped itself of the western academic veneer that I had to learn at the Slade. Slowly but unconsciously certain sculpturesque forms began to appear in my paintings.'This painting is a prime example of both the use of sculptural qualities in painting and the multiple methods by which Enwonwu was able to convey movement and rhythm through a static medium. 'In his paintings, he had tried to capture this essence [of Dance] by tracking the body in its motions through space, using fractal surfaces and many figures to convey the idea of vigorous movement, which carried the eye in quick jumps to multiple points of focus.' (Ogbechie)BibliographyS. Ogbechie, Ben Enwonwu: The Making of an African Modernist, (Rochester, 2008), pp.96-190This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
KENNETH QUICK (1931-1963) for Tregenna Hill Pottery; a pair of stoneware beakers and a cup, impressed pottery marks, tallest 9cm (3). (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
KENNETH QUICK (1931-1963) for Tregenna Hill Pottery; a stoneware coffee set comprising a coffee pot, water jug, milk jug, sugar bowl, six cups and saucers, a mug and an egg cup, impressed pottery marks, tallest 21cm (12). (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Studio Pottery - a Scottish Meadows Studio Pottery jug, by Junko Shibe, tall tubular body, decorated with mottled panels in a floral design upon a multi tone brown rivulet body, shaped handle and top lip, impressed marks, 26.6cm high; a studio pottery vase, shaped tapering body incised with arched collar shoulder collar, dribbled green mottled glaze, incised No 386, Ware, indistinctly incised signature and marks, 19.5cm high; a mid 20th century Trebarum (Tregenna Hill) studio pottery stoneware vase, attributed to Kenneth Quick, tapering six stepped banded body, crackled creamy white glaze, incised marks, approx 30cm high; a late 19th century Dutch faience pottery harvest jug, moulded landscape body, farmstead, water girl, pig, rooster and Farmer, glazed with vibrant polychrome in tones of green, red, yellow, blue, grey and brown, moulded No2, painted G, 22cm high (4)
Kenneth Quick (British 1931-1963) for St Ives Pottery, a flattened ovoid jar, green glaze and incised decoration, impressed marks, 18cm high CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk/good condition with no damage or repairs
Kenneth Quick (British 1931-1963) for St Ives Pottery, a stoneware teabowl, the tapering sides painted foliage in rust on a hakeme glaze, the foot unglazed, impressed marks, 9cm high CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk/good condition with no damage or repairs
LEACH, Bernard : Three catalogues relating to the Leach Pottery, 1946 (2), 1952. With a (historic) photograph showing the Leach entourage outside the Berkley Gallery exhibition in 1946. * the two 1946 catalogues are signed on the rear page by Bernard, David, Michael and Margaret Leach, Kenneth Quick, Muriel Rose, Michael Cardew, Patrick Heron, etc, etc. (4)
AUTOGRAPHS: A large selection of signed cards and pieces etc. by a wide variety of famous men and women including Ruggero Raimondi, Robert Merrill, Helen Donath, Edita Gruberova, Karan Armstrong, Rita Hunter, Luciana Serra, Rosalind Plowright, Dinah Sheridan, Victoria Wood, Liza Goddard, Ruth Madoc, Diana Quick, Farrah Fawcett, Patricia Hodge, Gordon MacRae, Adrian Boult, Jack Lynch, Peter Frankl, Witold Lutoslawski (A.M.Q.S.), Rudolf Firkusny, Francis Crick, Michael Dukakis, Paavo Berglund, Rex Hunt, Desmond Tutu, Steve Redgrave, Paul Gascoigne, Vivienne Westwood, Owen Chadwick, Patrick Stewart, Cathy Tyson, Marcel Marceau, Dick Covey, Richard Harris, Michael Carver, Alan Shearer, David James, Nick Park, Kenneth Armitage, John Ward, Victor Pasmore, Steve Redgrave, Deborah Bull, Angus Fraser, Ben Hollioake, John Fieldhouse, Robert Falkenburg and many others. Some duplication. Generally VG to about EX, 414
KENNETH QUICK (1931-1963) for Leach Pottery; a stoneware teapot with cane handle, iron decoration and spots on pale grey ground, impressed KQ and pottery marks, height (excluding handle) 14.5cm. (D) CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Sir John Lavery RA RHA RSA (1856-1941)The Palladian Bridge, Wilton (1920)oil on canvas board signed 'J Lavery' lower left, signed, titled & dated August 1920 on reverse 24 x 35½cm (9 x 14in)Provenance: A birthday gift from the artist to Patricia, Viscountess Hambledon; Thence by descent; The Irish Sale, Sotheby's, London, 7th May 2008 Lot 152; Private CollectionLiterature: Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books), pp. 149, 235 (note 16)In the summer of 1920, on a visit to Wilton House in Wiltshire, the home of the Earl of Pembroke and Montgomery, John Lavery's primary purpose was to paint the Double Cube Room, designed by Inigo Jones in the seventeenth century to house the magnificent series of family portraits by Van Dyck. Amidst the ornate furnishings a couple, caught in the sunlight, converse in the background, while almost masked by the back of a chair, a few feet from us, a woman sits reading. For all its splendid formality the picture provides a glimpse into the vie inconnu of the English country house. Stepping into the garden, Lavery sketched the elegant Palladian Bridge, designed by the 'architect' 9th Earl in 1737. On the opposite bank of the river Nadder, his pupil, Winston Churchill, produced his own more conventional study of the bridge, and according to the Herbert family, there was a friendly rivalry between the amateur and the professional (figs 2&3). The Irish painter's talent and training tell in the comparison. Then, in a more striking plein air conversation-piece, the present picture (fig 4), the artist encountered Lady Patricia Herbert (1904-1994) resplendent in pale vermilion leaning on the parapet of the bridge. Not yet sixteen, Lady Patricia, was the eldest child of Reginald, 15th Earl of Pembroke. From where she was standing she could overhear her mother, Beatrice, and the younger of her two brothers, the Hon David Herbert (1908-1995). In two years she would be 'coming out'; in 1928 she would marry William Smith (1903-1948) 3rd Viscount Hambleden, the WH Smith stationary heir; and after the Abdication Crisis she would become Lady-of-the-Bedchamber to Queen Elizabeth, the Queen Mother, a post she held until her death. While all of this lay unrevealed in the future, at this time when mother, brother and family pet sit patiently waiting for the painter to finish his sketch, there is a moment of calm. A year later, in the catalogue of Lavery's exhibition at the Alpine Club Gallery, Churchill would describe Lavery as 'a plein-airiste if ever there was one, painting entirely out of doors, with his eye on the object and never touching a landscape in his studio … he is so quick that no coy transience of an effect can save it from his clutches … In consequence there is a freshness and natural glow about [his] pictures which give them an unusual charm'. As is obvious in Lady Patricia's birthday gift, Lavery could seize the moment, but in so doing he may also have recalled the 'charm' of those simple folk who gazed over that other less distinguished bridge at Grez-sur-Loing in the days of his youth. Such scenes were close to the core of his life's work.Kenneth McConkey, November 2016
KENNETH QUICK (1931-1963) for Tregenna Hill Pottery; a pair of stoneware twin-handled bowls and a milk jug, oatmeal glaze and iron banded decoration, impressed KQ marks to bowls, impressed pottery mark to jug, jug height 9.5cm (3). (D) CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
A Kenneth Quick condiment bottle and small dish, each impressed potter's seal, the bottle 10cm high, a Sidney Tustin preserve pot and cover, impressed potter's seal, 9cm high, a Lowerdown Pottery crackled celadon vase, 11cm high, a Lowerdown pottery cut-sided bowl, 11.5cm diameter, a Lowerdown pottery bud vase, 7cm high, a lidded pot and cover, impressed potter's seal, a tenmoku vase, 13cm high and two further vases, with 'A' potter's seals (10)
Recipe: take a good 3-litre Bentley chassis, mix in a good 4.5-litre engine, gearbox and transmission and add a light body with accessories to taste. The result is a motor car which, while still retaining a good vintage flavour, possesses a performance equaled by few other machines even of the most modern and expensive type' (Captain J.G. Fry, The Autocar May 14th 1943). A late Bentley 3 Litre, chassis HT1649 was initially fitted with Vanden Plas saloon coachwork and supplied new to J. Henderson Esq. Road registered as `WW 6726' by West Yorkshire County Council on 15th June 1928, an accompanying continuation buff logbook shows that it survived World War Two and was resident in Essex some twenty-six years later. Belonging to Ronald Frederick Fotheringham at the time, the Bentley is known to have passed through the hands of Kenneth Aubrey Cleave, Peter James Warren, Jack Ernest Durler, John William Bache Esq., Fred Zimmer and Ed Hubbard before entering the current ownership via Neil Davies Historic Racing in 1999. Converted into a Tourer during 1963 and reconfigured to 3/4.5 Litre specification using its original `matching numbers' engine crankcase during the 1990s, `WW 6726' was nonetheless treated to an extensive `chassis up' restoration by the vendor. A long term Bentley Drivers' Club member, he sought to create a car that was - in his own terms - as usable and enjoyable as possible. Resembling one of the nine short wheelbase (9ft 9.5in) cars that W.O. Bentley created before adopting the longer wheelbase (10ft 10in) for series 4.5 Litre production, chassis HT1649 also sports a 4.5 Litre-type radiator for improved cooling and 4.5 Litre steering box for easier manoeuvring. A veteran of numerous rallies and tours around the world, `WW 6726' has been developed with performance and reliability in mind. As such, it sports a full-flow oil filter, coil ignition, overdrive, electric fuel pumps and more modern SU HD8 carburettors. Though, the Autovac has been left in situ on the bulkhead should a new owner wish to reinstate it. Pleasingly retaining its original crankcase and magneto tower stampings, the uprated 4.5 Litre engine has not long been treated to a `Blower'-type block sourced from LMB Racing. The four-speed `C-type' manual gearbox is allied to a modern clutch, while the four-wheel drum brakes have been converted to hydraulic operation. Finished in Black with Dark Green leather upholstery, the four-seater rides on 20-inch wire wheels and utilises a 3.53:1 rear axle ratio. The chassis number HT1649 is visible on a lozenge inside the nearside front dumb iron and on the front engine cross member. With its quick-release radiator filler cap, Le Mans-style fuel tank, fold flat windscreen (complete with aero screens), nearside-mounted spare wheel and cycle mudguards, the Bentley does not want for visual drama. An old FIVA Identity Card which accompanies the 3/4.5 Litre states the following: 'The chassis, gearbox and suspension are as original. The wheels have been reduced one inch in diameter to 20 inches and the brakes have been converted to hydraulic operation. The engine retains its original numbered crankcase but has been enlarged to 4398cc. Coil ignition replaces the original magnetos and electric pumps replace the autovac. The radiator is from a 4.5 Litre Bentley of the same period'. Among the most handsome and best sorted Bentley 3/4.5 Litres that we have had the pleasure of offering, `WW 6726' is accompanied by a continuation buff logbook, V5C Registration Document, expired FIA Historic Vehicle Identity Form, old FIA Identity Card and numerous invoices from the likes of Jack Barclay, NDR, VBE Restorations, D.H. Day, John Ambler & Son, William Medcalf and FS Racing etc.
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