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John Piper
Skeabost, Skye 1975
Lithographic print by Curwen Studio Printed on Arches by Kelpra Studio and published by Marlborough Fine Art 68x89cm Signed in crayon; an un-numbered proof print aside from the edition of 70. Levinson 250 From the Series 'Five Scottish Chapels (in ruins)' If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
John Piper C.H. (1903-1992)
Garn Fawr
Watercolour and gouache on paper; executed 1969 Titled and dated lower left 'Garn Fawr 12 VIII 69' 37×54 cm (14.5 x 21.25″) It was Piper's wife, Myfanwy - whom he met whilst she lived in London with her Welsh family - who first introduced Piper to West Wales in the 1930s. The Pembrokeshire landscape became his muse as it did also for Graham Sutherland, another great neo-romantic painter. Having lived in various parts of Wales in the post-war period, in 1962 the Pipers bought a cottage by Garn Fawr, on the Pembrokeshire Coast. Garn Fawr volcanic outcrop, the site of an Iron Age hill fort it had also been used as a high viewpoint during the First World War. Having started out as an artist practising abstraction, Piper had moved more towards realism, and more towards depictions of buildings, by the stage he painted the present picture. However he continued with abstraction and it is possible here to imagine him on a warm summer's day outside his cottage by the sea painting the landscape as he saw it. King George VI famously remarked to Piper, as he recorded Windsor Castle during the Second World War, "You seem to have very bad luck with your weather, Mr Piper.' Here, instead, we have a more joyful picture; Piper's dark and brooding habit having largely been dispatched by the glories of the Welsh countryside. The blue probably represents the sea, white horses or rocks the white shapes within. The different blocks of colour represent different fields, and flowers and plants the bright - and dark - splashes of colour ensuring that Piper's characteristic darkness is not entirely absent. For other works by the artist and biographical details, click here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
J Phillip Davies (British, 20th Century)
Selwyn College Cambridge
Oil on board c. 1970 60x89cm A rare view of Selwyn College Cambridge, captured here in all the glory of its Victorian red brick. -
Hilary Hennes (1919-?) British The Steelworks c. 1940 18x26" Gouache A view of a steelworks within a British town. If you are interested please email info@manningfineart.co.uk or telephone 07929 749056
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Harold Hope Read (1881-1959)
Conversation on the Beach
Pen and watercolour 23x31cm Born in Greenwich to a Quaker family, Read attended art college and in 1907 took up at Bolton Studios in South Kensington. By 1910 he was in Brighton, seeking inspiration from the beaches and residents of the town. He took a studio at College Place, where William Orpen also had a studio, and was introduced to William Rothenstein, the younger brother of Read’s patron Charles Lambert Rutherston. Rutherston, having inherited a fortune, was a collector of works by the members of the New English Art Club and was a well-known patron of young artists. Rutherston presented Manchester City Art Gallery with a large volume of works in 1928, the Rutherston Gift, which includes paintings by Read. Read was a regular exhibitor at – for instance - the New English Art Club, Royal Institute of Painters in Watercolours, and The Pastel Society, also exhibiting in 1927 at the Royal Academy. Additionally he drew political cartoons for Punch and the London Evening Standard. Narrative scenes, with figures involved in day-to-day life but often with a hint of the comic, are a hallmark of Read’s work. Here an elderly gentleman, somewhat inappropriately attired for the beach even in Edwardian terms, is looking away from the sea, probably heading home from the beach. A smartly-dressed lady beside him wearing high heels, surely a challenge on the beach, regards the bathers in the sea. Meanwhile two pairs of figures on the right are engaged in conversation. An older pair perhaps discussing the incongruity of the elderly gentleman’s attire whisper conspiratorially; a younger pair, sitting on the sand – one wearing a red hat providing a splash of colour in the centre of the painting – chat happily, and a smaller child looks on, probably uncomprehendingly. -
Alfred Daniels (1924-2015)
Almshouses Canning Circus Nottingham
Conte and wash 33x62cm Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
John Piper C.H. (BRITISH, 1903-1992)
Blue Hydrangea
(Levinson 429) 400 x 540 mm Screenprint in colours, 1990, on Arches, initialled JP, a proof print aside from the numbered edition of seventy, published by Marlborough Graphics Ltd. Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Walter Hoyle
Jesus College Cambridge
Linocut, 1965 76x48 cm Signed and titled in pencil. Printed on handmade Japanese Hosho paper by the artist at Editions Electo Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Walter Hoyle (1922 - 2000)
King's College Chapel West End, Cambridge (1965)
Linocut Cambridge Series 51/75, Signed and Titled. Printed by the artist at Editions Alecto71x41cm Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.ukor call us on 07929 749056. -
John Piper
Westminster School II (1961)
Lithographic print by Curwen Studio 43x58cm If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Richard Beer (1928-2017)
Spanish Hillside (1964)
Colour etching and aquatint on Velin Arches, published by Editions Alecto 45x61cm (17.7×24.2 inches) Proof print A copy of this print is in the Government Art Collection. Click here for biography and other works by this artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Richard Beer (1928-2017)
Siracusa (1966)
Colour etching and aquatint on Velin Arches, published by Editions Alecto 60x40cm (23.7×15.9 inches) Proof print A copy of this print is in the Government Art Collection. Click here for biography and other works by this artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Richard Beer (1928-2017)
Quattro Canti (1966)
Coloured etching and aquatint on Velin Arches, published by Editions Alecto 60.2x45cm (23.7×17.7 inches) Proof print A copy of this print is in the Government Art Collection. Click here for biography and other works by this artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Richard Beer (1928-2017)
Piazza Amerina II (1966)
Colour etching and aquatint on Velin Arches, published by Editions Alecto 60.2x45cm (23.7×17.7 inches) Unsigned proof print - trial proof in yellow A copy of this print is in the Government Art Collection. Click here for biography and other works by this artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Richard Beer (1928-2017)
Piazza Amerina II (1966)
Colour etching and aquatint on Velin Arches, published by Editions Alecto 60.2x45cm (23.7×17.7 inches) Proof print - trial proof in pink A copy of this print is in the Government Art Collection. Click here for biography and other works by this artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.