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Julian Trevelyan (1910-1988)
New York Bridges (1982)
Oil on canvas 76 x 61 cm (29.9 x 24 in.) In artist's original wooden frame. Provenance: the estate of Mary Fedden from the estate of her husband Julian Trevelyan. 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. -
Julian Trevelyan (1910-1988)
Cretan Windmills (1964)
Oil on canvas 61 x 77 cm Peasants and a donkey, followed by a cow and goat, travel along the Cretan shore. Windmills dominate the shoreline - Julian Trevelyan was markedly inspired by the windmills he saw while visiting Crete in the 1960s. The composition is substantially made up of triangular forms; the inverted floating pyramid hovers above the flashing blades of the windmills. Combined with the man, woman, and donkey in the foreground, the pyramid detail suggests Mary and Joseph’s Flight into Egypt. 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. -
Terry Frost (1915-2003)
Autumnal Landscape in Red, Black and Yellow
Watercolour 40 x 58 cm Signed and dated 1958 Framed in hand-finished grey 'Nicholson' butt-jointed frame. 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. In 1954 Frost moved to Leeds to become Gregory Fellow at the University. This began a period when he painted yellow and black and white paintings, inspired by the Yorkshire landscape. In 1958 he joined the London group and then moved to St Ives. This painting dates to this era. -
Bryan Ingham (1936-1997)
Upright Jug (1993-95)
Pencil and oil on board 64 x 19 cm Provenance: Bohun Galleries, Paintings in Hospitals. Signed, titled and dated 1993-95 (on backboard). Bryan Ingham was born in Yorkshire. For his National Service he joined the RAF, and spent his time in Germany as an airman. After demobilisation, his final report included the statement that "Ingham is an artistic sort of airman." In his spare time he had started painting in oils, and by the time he left the RAF he had completed a large number of paintings. He studied at St Martin's School of Art in London, where he had the tuition of a fine post-war generation of teachers who helped him to hone his draughtsmanship and other skills, and he swiftly showed a capacity for painting that drew the attention of his tutors and peers. On graduating he was offered and accepted a post-graduate place at the Royal College of Art, where in his second year he was awarded a Royal Scholarship and was a contemporary of a number of now better-known names including David Hockney. Ingham applied for and received a Leverhulme travel award to explore the sites of the great Renaissance painters, and spent many happy months engaged in this expedition. He spent time at the English Art school in Rome, where he lived well and busied himself the same studio that Barbara Hepworth had used. At this stage of his career, Ingham consciously rejected the prospect of pursuing a career as an establishment artist, although the RA was open to him, and he went to live in remote cottage in Cornwall. The subsequent years were varied and highly productive, and Ingham's personal artistic voice emerged in his oeuvre in the form of an always-developing dialogue with influences both of landscape and other artists of every age. His preoccupation with etching resulted in several hundred plates, some very large, and the results are as unmistakable as they are varied, but invariably of outstanding quality. He produced a number of sculptures in bronze and in plaster, while his lifelong output of paintings remained small but again of very high quality. He taught etching regularly until about 5 years before his death, latterly at Falmouth Art School, and also at Farnham Art College. During the late eighties he established a relationship with the art dealer Francis Graham-Dixon, who had a London gallery. This meant that his paintings were professionally marketed for the first time, and prices for his work rose steadily in the last ten years of his life, and subsequently. He was able to purchase a cottage in Helston for his parents, who lived there until their deaths. He then moved into a fine set of converted-barn studios with a patch of garden, quietly situated off the High St in Helston, and it was here, on 22 September 1997, that he died, having quietly suffered from cancer for nearly a year. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally excellent; framed. -
John Piper (1903 - 1992)
Cartoon for Baptistry Chapel Window, Coventry Cathedral
Gouache and mixed media art 127 x 54 cm Labelled B101 by the artist and initialled. A gouache design for one of the Coventry Cathedral Baptistry Window panels. John Piper was commissioned to design the Baptistry Window in 1955, in partnership with glassmaker Patrick Reyntiens. The window is made of 198 panels of stained glass and is 26 metres high.Piper commented in his book “Stained Glass: Art or Anti-Art?” that ‘The function, the flesh and blood and bones of stained glass – its whole being – is to gratify light and to intensify atmosphere in a room or building, not necessarily to provide colour – or a message.’ The ambiguous post-war tenor of the design is striking: the khaki palette, the soldier-like figure, and the landscape evoking a 20th century theatre of war.
John Piper CH was an English painter, printmaker, and designer of stained-glass windows. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. Condition: very good. Four pin holes and a small handling mark mid left. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by John Piper. -
John Piper C.H. (1903-1992)
Garn Fawr
Watercolour and gouache on paper; executed 1969 37 x 54 cm Titled and dated lower left ‘Garn Fawr 12 VIII 69′; signed lower right. 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 also did for Graham Sutherland, another great neo-romantic painter. Having lived in various parts of Wales during the post-war period, the Pipers bought a cottage by Garn Fawr, on the Pembrokeshire Coas, in 1962. The volcanic outcrop was the site of an Iron Age hill fort, and had also been used as a high-viewpoint during the First World War. Piper started out as a mostly abstract artist, but by the 1960s he had moved more towards realism, often focusing on depicting architecture. Here, Piper paints the wet Welsh countryside. Each of the fields is complete with its own crop; the different plants and flowers are designated by characteristic splashes of dark colour. For other works by the artist and biographical details, click here. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Bryan Ingham (1936-1997)
Erotische Bild (1988)
Oil on board 62 x 11 cm Provenance: Fracis Graham-Dixon gallery. Titled to backboard and dated 1988. Bryan Ingham was born in Yorkshire. For his National Service he joined the RAF, and spent his time in Germany as an airman. After demobilisation, his final report included the statement that "Ingham is an artistic sort of airman." In his spare time he had started painting in oils, and by the time he left the RAF he had completed a large number of paintings. He studied at St Martin's School of Art in London, where he had the tuition of a fine post-war generation of teachers who helped him to hone his draughtsmanship and other skills, and he swiftly showed a capacity for painting that drew the attention of his tutors and peers. On graduating he was offered and accepted a post-graduate place at the Royal College of Art, where in his second year he was awarded a Royal Scholarship and was a contemporary of a number of now better-known names including David Hockney. Ingham applied for and received a Leverhulme travel award to explore the sites of the great Renaissance painters, and spent many happy months engaged in this expedition. He spent time at the English Art school in Rome, where he lived well and busied himself the same studio that Barbara Hepworth had used. At this stage of his career, Ingham consciously rejected the prospect of pursuing a career as an establishment artist, although the RA was open to him, and he went to live in remote cottage in Cornwall. The subsequent years were varied and highly productive, and Ingham's personal artistic voice emerged in his oeuvre in the form of an always-developing dialogue with influences both of landscape and other artists of every age. His preoccupation with etching resulted in several hundred plates, some very large, and the results are as unmistakable as they are varied, but invariably of outstanding quality. He produced a number of sculptures in bronze and in plaster, while his lifelong output of paintings remained small but again of very high quality. He taught etching regularly until about 5 years before his death, latterly at Falmouth Art School, and also at Farnham Art College. During the late eighties he established a relationship with the art dealer Francis Graham-Dixon, who had a London gallery. This meant that his paintings were professionally marketed for the first time, and prices for his work rose steadily in the last ten years of his life, and subsequently. He was able to purchase a cottage in Helston for his parents, who lived there until their deaths. He then moved into a fine set of converted-barn studios with a patch of garden, quietly situated off the High St in Helston, and it was here, on 22 September 1997, that he died, having quietly suffered from cancer for nearly a year. Condition: Generally very good, scrapes to board as intended by artist. Framed. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Wilhelmina Barns-Graham (1912-2004)
Monreale, Sicily (1955)
Pencil and wash on paper 48 x 58 cm Signed and dated lower left. A heady evocation of summer in Sicily, characterised by burnt oranges and yellows. Wilhelmina Barns-Graham, known as Willie, was born in St Andrews, Fife, on 8 June 1912. Her parents were second cousins, and their respective families were well established representatives of minor Scottish gentry from both the east and west of the country. As a child, Barns-Graham showed very early signs of creative ability. It was at school that Wilhelmina decided that she wanted to be an artist, stating later in life that "painting chose me, not I it". After school she set her sights on Edinburgh College of Art where, after some dispute with her father (who was an emotional man prone to uncontrolled anger), she enrolled in 1931. During her time at Edinburgh College, Barns-Graham was taught by tutors including portrait painter David Alison and painter William MacTaggart. Her friends there included the influential Scottish painters Robert MacBryde, Robert Colquhoun, and William Gear. After her education, Barns-Graham made study trips to Paris, London, and St Tropez before moving to St Ives, Cornwall, in 1940 (at the suggestion of the Edinburgh College of Art's Principal Hubert Wellington). Barns-Graham moved near to where a group of modernist artists had settled, at Carbis Bay - this was a pivotal moment in her life. On one of her first evenings there she met the sculptor Barbara Hepworth, who made an immediate and lasting impression on her. She then went on to meet Borlase Smart, Alfred Wallis, and Bernard Leach, as well as the painter Ben Nicholson and the sculptors Naum Gabo and Margaret Mellis. After two weeks in St Ives, Barns-Graham acquired her first studio, directly below the Porthmeor Gallery which was the administrative headquarters of the St Ives Society of Artists. Her paintings at the time were heavily influenced by the Cornish landscapes and the St Ives harbour. During 1940 and 1941, Barns-Graham contributed to the war effort by volunteering in a factory making camouflage nets. In 1942 Barns-Graham became a member of the Newlyn Society of Artists, in which she exhibited with every year, and the St Ives Society of Artists. Whilst establishing herself in St Ives, Barns-Graham also continued to send work back to Scotland for major exhibitions held there such as the Royal Scottish Academy's 117th Exhibition in 1943. The 1940s were an active time for the St Ives Society of Artists who received a number of invitations to send exhibitions and groups of works to galleries in the UK and abroad, Barns-Graham's work was always included in these as the Society's secretary, Borlase Smart, thought highly of her work. Barns-Graham's first opportunity to exhibit in London came when her work was included in a group exhibition of six at the Redfern Gallery. This was due to the introduction and support of Patrick Heron, who had visited Barns-Graham's studio in St Ives and was excited by her work. Barns-Graham would later have her first one-person exhibition in London at Redfern in 1952. After a few years of tension, Barns-Graham eventually left the St Ives Society of Artists in 1949, becoming one of the founding members of a new breakaway group named Penwith Society of Arts. The first Penwith Society exhibition opened in June 1949 to huge success - 2755 paying visitors came to see it. Provenance: Barns-Graham Charitable Trust, authentication no 1665. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Fredda Brilliant (1903-1999)
The Young Atlas
Patinated bronze 52.5 x 41.5 x 27.5 cm ; 16kg. On wooden base Fredda Brilliant was a Polish sculptor and actress, born in Łódź, Poland. She worked in a variety of media and is recognized as an accomplished sculptor, writer, actor, singer and script writer. Throughout her career she traveled extensively working in England, USA, Australia, India, Poland and Russia. Brilliant sculpted some of the greatest figures of her time including Jawaharlal Nehru, V.K. Krishna Menon, Indira Gandhi, U.S. President John F Kennedy, and Buckminster Fuller. She also sculpted her husband, the writer Herbert Marshall. Brilliant's most famous work is a bronze statue of Mahatma Gandhi which is the centerpiece of the park in Tavistock Square, London, UK. Condition: excellent. -
John Aldridge RA (1905 - 1983)
Still Life Painted at El Porche, Deja, Majorca 1932
Oil on Board 74 x 62 cm Signed ‘John Aldridge’ lower right and titled to reverse. Aldridge read Greats at Corpus Christi College, Oxford, and then moved to London in 1928 and taught himself to paint. From 1931 to 1933 he exhibited with the Seven and Five Society at the Leicester Galleries and in 1934 he exhibited at the Venice Biennale. At this time he began his life-long association with the poet Robert Graves and the poets and artists who centred themselves on him in the village of Deia in Majorca. In 1933 he moved to Place House in Great Bardfield with his cats. He became a friend of his neighbour Edward Bawden, and the two collaborated during the 1930s on Bardfield wallpapers, distributed by Cole & Sons. During the War, Aldridge served in the Intelligence Corps, interpreting aerial photographs. Following the war he returned to Great Bardfield and painted scenes of the Essex countryside, and also of Majorca. By this period, his early association with the avant garde of British art had been lost; today, his rural scenes are very popular but arguably lack the complexity of his earlier works, such as this contemplative still life. His art is in major public collections such as the Tate, the British Council, the National Portrait Gallery, the Royal Academy and the Victoria and Albert Museum. The Fry Art Gallery in Saffron Walden, which specialises in East Anglian pictures, has a significant holding of his work. Condition: generally very good. Distressed frame with occasional loss, and hardboard substrate bowed. -
John Piper (1903 - 1992)
Newchurch, Romney Marsh (1947)
Watercolour 40 x 57 cm Provenance: Marlborough Galleries. Signed lower right. A characterful Piper view of Newchurch Church, Kent, with its leaning tower. Piper was rather enamoured by Romney Marsh's churches; the architectural historian Nicholas Pevsner commissioned him in 1947 to produce a book on the area for King Penguin Books. Piper stayed for a time there and the published book included water-colours, drawings, and musings on the Marsh. John Piper CH was an English painter, printmaker, and designer of stained-glass windows. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by John Piper. -
Wilfred Gabriel de Glehn RA (1870-1951)
Clare College from the Backs
Watercolour Inscribed “To my friend H Thirkill Master of Clare” Signed “W de Glehn, 1940” 40x50cm De Glehn painted Henry Thirkill in a portrait that is in the collection of Clare College and may be viewed here. Thirkill was Master between 1939 and 1958 and the portrait was commissioned in 1947. A versatile painter, skilled at portraiture, landscapes and figures de Glehn is regarded as one of England’s premier Impressionist painters. His ability to portray lighting in a lively fashion and his vibrant use of colour combine to provide wonderfully rich paintings. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Michael Ayrton (1921-1975) Girl Wringing out her Hair Patinated bronze, 1962 26cm in height Michael Ayrton was a British artist and writer, renowned as a painter, printmaker, sculptor and designer, and also as a critic, broadcaster and novelist. This sculpture, rendered in patinated bronze, is a portrayal of an unposed nude, one of Ayrton's favourite subjects. In his book "Drawings and Sculpture", Ayrton muses on his studies of bathers: 'I like to study the nude when he or she is untroubled by my observation, and bathers in general are the only nudes, or semi-nudes, who are not particularly interested in the onlooker.' Provenance: Acquired directly from the Artist by Nigel Balchin, a close friend of Ayrton's, thence by descent to the previous owner. Sotheby's, Lot 128, 11 July 2013. Literature: Michael Ayrton, Drawings and Sculpture, with a Forward by C. P. Snow, Cory, Adams & Mackay, London, 1962, illustrated pl.73 (another cast). If you'd ike to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Piper (1903-1992)
Bullslaughter Bay
Watercolour, gouache and pastel on paper 27.5 x 35.5cm John Piper CH was an English painter, printmaker, and designer of stained-glass windows. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. Piper spent a considerable amount of time in Pembrokeshire, frequently returning to the landscape of Bullslaughter Bay; this painting was probably produced there in the mid-1950s. The artist captures an animated, capricious bay, characterised by a distinctive colour palette and stamped with irregular rock formations. Condition: generally excellent. 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. -
John Piper (1903-1992)
Reims Cathedral (c. 1960)
Ink, watercolour and gouache 21x35cm Inscribed 'Reims' lower left and signed 'John Piper' lower right. Piper loved all things France, and all things Cathedral; in this work, he brings the cathedral of Reims, where France's monarchs were crowned, to life. Piper also produced an aquatint of Reims which was published in 1972. 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. Condition: Generally excellent; framed. -
Ken Howard RA (1932 - 2022)
Hampstead Church (St Stephen's Church, Rosslyn Hill)
Oil on board 75 x 91 cm Ken Howard's magnificent view of St Stephen's Church, Hampstead. The artist's rich, deep colour palette and use of impasto underline the neo-gothic style of the church. Howard died in Hampstead and painted several views of the area and its architecture. St Stephen's was designed in the Neo Gothic style by Samuel Sanders Teulon and he considered it the best of the 114 churches he designed, calling it his "mighty church". The building is no longer a church, but wedding ceremonies still take place there; it was made a Grade I listed building in 1974. Kenneth Howard OBE RA was a British artist and painter. He was President of the New English Art Club from 1998 to 2003. He studied at the Hornsey College of Art and the Royal College of Art. In 1958 he won a British Council Scholarship to Florence, and in 1973 and 1978 he was the Official War Artist to Northern Ireland, and 1973 - 80 worked in various locations, including Hong Kong, Cyprus and Canada with the British Army. In 1983 he was elected an Associate of the Royal Academy (ARA). In 1998 he became President of the New English Art Club, a post he held until 2003. In 1991 he was elected a Royal Academician (RA). Howard was given his OBE in 2010. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Terry Frost (1915-2003)
'Untitled Landscape'
Oil on canvas, laid on board 22 x 81.5cm Exhibited London, Coram Gallery, Terry Frost: Works on Paper and Small Paintings, 23 September-29 October 1994 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. -
Craigie Aitchison (1926 - 2009)
Yellow Crucifixion
Screenprint 76 x 63 cm Published by Advanced Graphics Limited (2000). Craigie Aitchison’s iteration of the crucifixion sees Christ upon a Cross with no patibulum (horizontal beam). Jesus becomes part of the stipes (vertical beam), a willing participant in his own martyrdom. The star above his head is the Star of Bethlehem, and the sheep or goat at his feet the Lamb of God. These symbols of divinity, set against the backdrop an empty yellow-soaked landscape, transform this picture of the crucifixion into an image of resurrection. Condition: excellent. Magnificently framed. -
Wilhelmina Barns-Graham (1912 - 2004)
Card for Sandra Blow's 75th birthday (1995)
Gouache and collage 34 x 21 cm Inscribed to reverse "For Sandra, Happy Birthday, with love Willie, 13/9/95". Barns-Graham's modern design features 70 vividly coloured circles; each one is different from the last, but all are geometrically aligned in neat rows and columns. Sandra Blow's initials appear separately as "S" and "B" in the design. Blow and Barns-Graham became friends in the 1950s; both spent lengthy periods of time in St Ives, and made major contributions to Britain's catalogue of post-war art. Wilhelmina Barns-Graham, known as Willie, was born in St Andrews, Fife, on 8 June 1912. Her parents were second cousins, and their respective families were well established representatives of minor Scottish gentry from both the east and west of the country. As a child, Barns-Graham showed very early signs of creative ability. It was at school that Wilhelmina decided that she wanted to be an artist, stating later in life that "painting chose me, not I it". After school she set her sights on Edinburgh College of Art where, after some dispute with her father (who was an emotional man prone to uncontrolled anger), she enrolled in 1931. During her time at Edinburgh College, Barns-Graham was taught by tutors including portrait painter David Alison and painter William MacTaggart. Her friends there included the influential Scottish painters Robert MacBryde, Robert Colquhoun, and William Gear. After her education, Barns-Graham made study trips to Paris, London, and St Tropez before moving to St Ives, Cornwall, in 1940 (at the suggestion of the Edinburgh College of Art's Principal Hubert Wellington). Barns-Graham moved near to where a group of modernist artists had settled, at Carbis Bay - this was a pivotal moment in her life. On one of her first evenings there she met the sculptor Barbara Hepworth, who made an immediate and lasting impression on her. She then went on to meet Borlase Smart, Alfred Wallis, and Bernard Leach, as well as the painter Ben Nicholson and the sculptors Naum Gabo and Margaret Mellis. After two weeks in St Ives, Barns-Graham acquired her first studio, directly below the Porthmeor Gallery which was the administrative headquarters of the St Ives Society of Artists. Her paintings at the time were heavily influenced by the Cornish landscapes and the St Ives harbour. During 1940 and 1941, Barns-Graham contributed to the war effort by volunteering in a factory making camouflage nets. In 1942 Barns-Graham became a member of the Newlyn Society of Artists, in which she exhibited with every year, and the St Ives Society of Artists. Whilst establishing herself in St Ives, Barns-Graham also continued to send work back to Scotland for major exhibitions held there such as the Royal Scottish Academy's 117th Exhibition in 1943. The 1940s were an active time for the St Ives Society of Artists who received a number of invitations to send exhibitions and groups of works to galleries in the UK and abroad, Barns-Graham's work was always included in these as the Society's secretary, Borlase Smart, thought highly of her work. Barns-Graham's first opportunity to exhibit in London came when her work was included in a group exhibition of six at the Redfern Gallery. This was due to the introduction and support of Patrick Heron, who had visited Barns-Graham's studio in St Ives and was excited by her work. Barns-Graham would later have her first one-person exhibition in London at Redfern in 1952. After a few years of tension, Barns-Graham eventually left the St Ives Society of Artists in 1949, becoming one of the founding members of a new breakaway group named Penwith Society of Arts. The first Penwith Society exhibition opened in June 1949 to huge success - 2755 paying visitors came to see it. Provenance: the Jonathan Grimble Estate; the Sandra Blow Estate. Condition: very good; in original frame. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Sir Terry Frost (1915-2003) Bottle and Statue Oil on board c. 1947 38 x 46cm A distinctive still life featuring bottle, statue, and drapery. Terry Frost was a prominent British abstract artist. Frost is most noted for his simplistic abstract forms and unusual colour; he worked alongside the St Ives group and as Barbara Hepworth's assistant for several years, his artistic style being heavily influenced by them. In 1992 he became a Royal Academician, and he was made Sir Terry Frost in 1998. Bottle and Statue highlights Frost's unique compositional skill. His brushwork makes the statue seem like a real nude, who, framed by turquoise and ochre draperies, examines the still life in the foreground. An early work, painted shortly after the War and prior to his adoption of abstraction. For other works by Frost and biographical details please click here. Condition: A little craquelure in the oil above the statue's head. -
John Piper (1903 - 1992)
Radcliffe Camera
Lithograph 53 x 35.5 cm Numbered 110/1150 lower left and signed lower right in pencil. John Piper's view of the Radcliffe Camera in Radcliffe Square. John Piper CH was an English painter, printmaker, and designer of stained-glass windows. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. Condition: very good. Attractively framed; frame included for mainland UK shipping only. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Oxford. -
Eva Lucy Harwood (1893 - 1972)
Still Life with Flowers and Glass
Oil on canvas 49 x 40 cm ( 67 x 57 cm framed) A mid-century still life typical of Harwood's impasto style. Lucy Harwood was a British artist who studied art at the Slade just before the outbreak of the First World War. She had initially intended to be a professional pianist, but turned her attentions to visual art after becoming partially paralysed. She was one of the first students to enrol at Cedric Morris' East Anglian School of Drawing and Painting, where she focused on painting Post-Impressionist landscapes, painting just with her left hand. She moved to Upper Layham in Suffolk and is known for her landscapes of the area. Condition: generally very good. Handsome hand-finished frame. Provenance: Louise Kosman, Edinburgh. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here to view our other still life pictures. -
Brendan Neiland (b.1941)
Original Designs for Intercity Posters - Edinburgh and York
Collage, spraypaint and cut out 91x58cm (36×23 inches) each 1991 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. -
Mary Fedden (1915-2012) Moonlight at Cappadocia (1970)
Watercolour 18 x 13 cm Signed and dated lower left Lonely Planet says of Cappadocia, "As if plucked from a whimsical fairytale and set down upon the stark Anatolian plains, Cappadocia is a geological oddity of honeycombed hills and towering boulders of otherworldly beauty." Here Fedden presents an almost surreal landscape, where the forms of rocks, sky, and moonlight swim out of a subtle palette. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent. In original frame with replacement mount in the style of the original. -
John Piper C.H. (British 1903-1992) Nursery Frieze II
500 x 1250 mm Lithograph 1936 One of Piper's many seascapes, Frieze II is an exercise in abstract capriccio. Piper draws together the muted grey, pink, and blue of the lithograph's fragmented background with foreground details in black, white, and bright red, picking out particular moments of the frieze for the viewer. The lighthouse has no keeper; the beach and the pier are empty; the train has neither passengers nor driver. The church at the top of the rocky hill is a brilliant cubist borrowing, showing both the West end and the North side simultaneously - and it has no congregation. The only human figures present in the frieze are those collected around the bonfire, watching the flames and the show of fireworks. The scene is at once devoid of people and intensely human. Piper was just 24 when he made Frieze II. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good, backed to linen with small - and largely not visible - areas of restoration. -
Paul Ayshford Methuen (1886 - 1974)
Barrage Balloons, Regents Park, 9 March 1940
Oil on board 36 x 52 cm Signed lower left and titled and dated lower centre. Lord Methuen's oil painting of Regent's Park on a winter's day, with barrage balloons above. Barrage balloons were set up - stationed at an altitude of around 4,000 ft - as a barrier to enemy aircraft. The steel cables used to tether the balloons would take an enemy aeroplane out of the sky if it were to hit the cable. The UK had thousands of them, filled partly with hydrogen and operated largely by women, to protect significant towns, cities, and military installations. These strange blobs floated over the country, just asking to be captured by artists. Methuen had rejoined his regiment (serving as a Captain) in 1939 but was likely stationed in London for a while, when he might have had the opportunity to capture this scene. When Methuen painted the scene in 1940, Britain was still in the stage of the phoney war. The Battle of Britain did not commence until 10 July, and the Blitz not until 7 September - but Britain's defences were ready. Barrage balloons were important all the way through the War: they defended London against the V2 missiles; they defended the D-Day invasion fleet; and they protected the invasion army for months. Indeed, it was said that the vast amount of material brought into the UK from the States prior to D-Day would have caused Britain to sink under the sea, were it not for the huge number of barrage balloons holding the country up... Condition: excellent. Recently revarnished. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Gwyneth Johnstone (1915 - 2010)
The Railway Bridge
Mixed media 64 x 83 cm Signed lower left in paint, and monogrammed lower left in pencil. Provenance: the estate of the artist. Johnstone explores the possibilities of abstraction in this semi-delirious depiction of a railway bridge. Painted in tones of burnt umber, orange, grey, and black, the picture is populated by warped railings, bending trees, and staring onlookers, all of which centre around a railway line and bridge. Tanya Harrod described Johnstone's painting style a 'a hallucinogenic, haunting pastoral', and that is immensely evident in this picture. Johnstone was an English painter who worked mostly in oils and often depicted poignant modern landscapes. Her parents were the musician Nora Brownsford and the artist Augustus John. She studied at the Slade School of Fine Art, where she established lifelong friendships with fellow artists Mary Fedden and Virginia Parsons. After the Slade, Johnstone was taught academicised cubism by the painter André Lhote at the Académie de la Grande Chaumière in Paris. For a brief period in the early 1950s she took life classes with the surrealist artist Cecil Collins at the Central School of Arts and Crafts. -
Kenneth Rowntree
Abstract Australian Landscape
Watercolour 27.5 x 33cm Signed (top left) and dated 'Kenneth Rowntree '85' Provenance: Anderson & Garland Studio sale of Kenneth Rowntree lot 263 Tuesday 8 September 2009 For biographical details and other works by Rowntree click here. Rowntree visited Australia in 1984/85. In this painting he picks up various vignettes from the Australian landscape in six separate blocks. Two relate to the sky, with almost-unbroken blue skies stretching from horizon to horizon, three relate to desert areas, with a whole array of different textures, and one is a luscious green. In one of the desert scenes he has picked out two road signs, in typical Rowntree fashion, reducing them to their simplest form. In her essay Kenneth Rowntree: A Strange Simplicity (published in Kenneth Rowntree A Centenary Exhibition Published by Moore-Gwyn Fine Art and Liss Llewellyn Fine Art, on behalf of the artist’s estate, on the occasion of the centenary of Kenneth Rowntree’s birth) Alexandra Harris makes reference to this painting noting:Later, in 1986, just when the young David Hockney was collaging the signs and road-markings of Route 138 in Pearblossom Highway, Rowntree was in Australia painting yellow diamond-shaped road-signs as bright icons in open country. Wherever he went, Rowntree captured both the unfamiliarity of places and their relationship to things he knew. Heading into the Australian outback, he painted a road-sign as he would paint a rail signal at Clare in Suffolk or nautical markers at Swansea.
Hockney's 1986 Pearblossom Highway may be seen here in the Getty and it is worth noting that Rowntree was in fact painting the yellow sign in 1985, so a year before Hockney. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
James Gowan (1923, Glasgow - 2015, London) The Blue Mill at Backbarrow
62x52cm Oil on Canvas For biographical details and other paintings by Gowan click here. The present work exhibits many of the characteristics obvious in his architectural works. There is a very strong architectural composition. The landscape and sky are approached in almost cubist fashion, reminiscent of the Toblerone-shaped roof of the Leicester Building, whilst the figures have a carefree feel to them. Backbarrow was the place where the blue pigment ultramarine (or dolly blue - used to return brilliant whiteness to yellowed fabrics) was produced in an old mill building by the Lancashire Ultramarine Company. Dust from the production gave the entire village a blue tint until production ceased in 1981. The factory is now a hotel and it maintains a display of machinery used in the factory. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
James Gowan (1923, Glasgow - 2015, London) Fountains Abbey (1973)
52x62cm Oil on Canvas Signed 'James Gowan' lower left Inscribed to reverse 'Fountains Abbey 1973 James Gowan No 199' For biographical details and other paintings by Gowan click here. The present work exhibits many of the characteristics obvious in his architectural works. There is a very strong architectural composition. The landscape and sky are approached in almost cubist fashion, reminiscent of the Toblerone-shaped roof of the Leicester Building, whilst the figures have a carefree feel to them. And here indeed are the gothic towers and flying butresses that we know inspired Gowan when designing the Leicester Engineering Building, being captured by the brightly-dressed members of an art class, splashes of primary colour in an already colourful landscape. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
John Piper (1903–1992)
Exeter College, Oxford (1977)
Screenprint Signed in pencil 81.9x61cm (32.2x24 inches) One of Piper's largest and most impressive prints, here featuring Gilbert Scott's chapel at Exeter. It is often claimed that Gilbert Scott based it on Paris's Sainte Chapelle. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: slight even age toning to paper, small area of repair to print. -
Trevor Bell (1930 - 2017)
Way Out Blue (1961)
Acrylic on paper 35 x 43 cm Signed and dated lower right. Bell's rosy-hued abstract composition is perhaps evoking an interior with window and curtains. The deep azure blue of the picture's title appears at the top right of the composition, curving away from the rest of the image. A sunny golden yellow drips in through the window panes, imbuing the scene with a hot, heady romanticism. Bell's idiosyncratic pictorial language allows us to experience the scene's hazy summer heat via the forms of sun, window, and wall. Bell was born in Leeds in 1930 and attended Leeds College of Art from 1947 to 1952 in a scholarship. The artist Terry Frost encouraged him to move to Cornwall, where he soon became a leading figure in the younger generation of the St Ives school. His first solo exhibition came in 1958, and the year after he was awarded the Paris Biennale International Painting Prize. The Tate began collecting his work in the 1960s, and Bell spent more time working and teaching in America. The Tate's 1985 St Ives exhibition featured Bell's work, and he was also included in the Tate St Ives' inaugural show. He returned from America in 1996 and settled down in isolated barn- and farmhouse-conversion studios near Penzance in Cornwall. He exhibited across England and America for the rest of his life, notably with his major solo exhibition at the Tate St Ives in 2004. Much of his work considers form and landscape via a dramatic use of colour and often on unusually-shaped (and sometimes multi-part) canvases. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Lionel Bulmer (1919-1992) 'The Edge of the Field' (c. 1950s)
Oil on board 43 x 51 cm Signed lower right. Lionel Bulmer (1919-1992) attended Clapham art school before war intervened; after the war he started again at the Royal College of Art which had been relocated during the conflict to Ambleside in the Lake District. Here he met his lifelong partner Margaret Green who provided the model for many of his works. They returned to London where they studied under painters such as Ruskin Spear and Carel Weight, successors to the Camden Town and Euston Road schools. In the 1950s they moved to West Suffolk and much of Bulmer's work from this point on documents the Suffolk landscape and the coast at Aldeburgh and Walberswick. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent. -
Robert MacDonald Fraser (1870-1947) 'Landscape with Footbridge'
Oil on canvas Signed 20" x 24" (50.5 x 61cm) Though of Scottish descent, an Englishman who was born, lived and died in and around Liverpool. He is believed to have become interested in painting during his secondary school years at the Liverpool Institute and Art School (where the principal was the distinguished landscape artist John Finnie), however his early career was in commerce. By the age of thirty he was well established in Liverpool's art circles but it was to be another decade before he took to painting full time. Between 1910 and 1938 he showed approximately fifty paintings at the Walker Art Gallery in Liverpool, also having seven paintings accepted for the Royal Academy's summer exhibitions. He additionally exhibited at the Manchester Art Gallery, Liverpool Bluecoat and Royal Cambrian Academy, becoming - in 1929 - Vice President of the Liverpool 'Artists' Club.' He mostly painted the landscapes of North Wales and the North West of England. His family owned holiday cottages in North Wales, and Snowdonia provided him with much inspiration, it is believed that this painting is of a Snowdonia scene. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent. -
Alfred Daniels RBA RWS (1924-2015)
Christ’s College, Cambridge
Gouache, watercolour and ink on board 40x56cm (15.7×22 inches). In a hand-finished cream frame. 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. -
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. -
Duncan Grant (1885 - 1978)
Interior (1973)
Lithograph 36 x 30 cm (paper size 77 x 57 cm) Signed 'Grant' and numbered 9/90 in pencil; part of the Penwith Portfolio. Published by Penwith Galleries, St Ives in 1973 with works by Barbara Hepworth, Henry Moore, Peter Lanyon, Alan Davie, Merlyn Evans, John Piper, Ben Nicholson, Robert Adams, Bernard Leach, Michael Rothenstein, and F E McWilliam. An excellent example of Duncan Grant's late work. Duncan Grant was a member of the Bloomsbury Group. He was a painter and also designed textiles, pottery, theatre sets, and costumes. He was a member of the Bloomsbury Group. Condition: generally very good; a few light handling creases in margins. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more Modern British Art. -
Anonymous King's College Cambridge with the River Cam and Bridge to foreground
51x63.5cm Watercolour Probably 1920s A fine, and large, view of King's College. The artist paints in an art deco style, picking out the stones of the bridge in different colours, the colours all having a heightened sense of reality. Born from cubism, the art deco era is characterised by a fragmented, geometric character particularly evident here. It gives the impression of a shimmering dream. The twenties was an incredible period of change, moving from heavy elaborate styles to a pared back and sleek style expressing more dynamism, an interest in dimension and abstraction. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Edward Bawden (1903 - 1989)
Aesop's Fables: Peacock and Magpie (1970)
Linocut print 63 x 75 cm Signed, numbered 11/50, and titled in pencil. A delightful print illustrating Aesop's fable of the Peacock and Magpie. In the fable, the birds are searching for a king, and the Peacock puts himself forward. The birds are about to make him king because of his charming plumage, but a Magpie asks the Peacock how he might defend the birds from predators. The Peacock has no answer. Aesop's moral is that those in power must be suited to the task, and not just vain pretenders. The artist's use of vibrant colour brings the tale to life. Edward Bawden was an English painter, illustrator and graphic artist, known for his prints, book covers, posters, and garden metalwork furniture. Bawden taught at the Royal College of Art, where he had been a student, worked as a commercial artist, and served as a war artist in World War II. He illustrated several books and painted various public murals, and his work and career are often associated with that of his contemporary, Eric Ravilious. Condition: generally very good; small stain to extremity that will be hidden under mount. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Richard Beer (1928 - 2017)
Lecce Cathedral, Puglia
Oil on canvas 122 x 85 cm Provenance: the artist's studio. A momentous depiction of Lecce Cathedral in all its glory. This oil painting is a fantastic example of Beer's focus on architecture, the central and recurring theme of his pictorial idiom. Born in London in 1928, just too late to serve in the Second World War, Richard Beer studied between 1945 - 1950 at the Slade School. Subsequently, a French Government scholarship allowed him to spend time in Paris at Atelier 17, working under Stanley William Hayter (1901 - 1988), one of the most significant print makers of the 20th Century – having spent the War in New York, advising as a camofleur, Hayter only returned to Paris in 1950. Subsequently Beer studied at the École des Beaux Arts, Paris. Working for John Cranko, choreographer for the Royal Ballet, Beer designed the sets and costumes for his The Lady and the Fool at Covent Garden, subsequently working for him following his move in 1961 to Stuttgart Ballet. Additionally he produced book illustrations and designed book jackets. Beer later taught print-making at the Chelsea School of Art, where he was a popular teacher. Probably his greatest work was a collaboration with John Betjeman to produce a portfolio of prints of ten Wren Churches in the City for Editions Alecto, copies of which are in The Government Art Collection. That collection contains a total of 54 prints by Beer, and the Tate Gallery’s collection holds seven. His Oxford series was also produced for Editions Alecto as was a series of predominantly architectural views in Southern Europe. Most of his prints are of architectural subjects. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by Richard Beer. -
Ronald T Horley (active 1930s - 1940s)
The Gateway to Cornwall
Charcoal heightened with white 76 x 53 cm Signed and inscribed lower right 'Architect's Office, 83 Marlborough Place NW8 Marylebone'. The Great Western Railway commissioned a series of posters promoting train travel around the UK. This charcoal drawing of the Royal Albert Bridge at Saltash is the artist's original design for a poster encouraging rail travel to Devon and Cornwall. The bridge is known fondly as the 'Gateway to Cornwall'. The Royal Albert Bridge was designed by Isambard Kingdom Brunel. Surveying started in 1848 and construction commenced in 1854. The first main span was positioned in 1857 and the completed bridge was opened by Prince Albert on 2 May 1859. Condition: generally very good; a few isolated spots to bottom left corner. Click here for other original vintage travel posters and designs. -
Paul Ayshford Methuen, 4th Baron Methuen of Corsham (1886 -1974)
Jesus College, Cambridge
Ink and pastel Signed and dated 30 May 1949; in artist’s original oak frame. 41x26cm (16.1×10.2 inches) For biographical details and other works by the artist click here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
John Piper (1903-1992)
Westminster School II (1961)
42 x 59 cm Signed lower right and numbered 86/100 lower left in pencil. Piper’s second view of Westminster School; both views were commissioned by the school in 1981. Here he depicts Grant's House, with College on the far left and Rigaud’s House on the right. The view is serene and silent, set against a night sky the colour of stone, mimicking the buildings below. John Piper CH was an English painter, printmaker, and designer of stained-glass windows. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. Condition: generally very good; a little age toning. A few spots to margins. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by John Piper CH. -
John Piper (1903-1992)
Westminster School I (1961)
49 x 63 cm Signed lower right and numbered 66/100 lower left in pencil. Piper's skilled and characterful rendering of Westminster School's gateway, sometimes known as Burlington's Arch. The historic entrance to the school dates from 1734 and is carved with the names of former pupils. John Piper CH was an English painter, printmaker, and designer of stained-glass windows. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. Condition: Generally very good, gentle even toning to the paper. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Edward Bawden (1903 - 1989)
Westminster Abbey (1966)
Linocut print 52 x 68 cm (92 x 107 framed) Signed, titled, inscribed 'Artist's Proof' and numbered 42/75 (Bawden inscribed 'Artist's Proof on all of his prints). Bawden's view of Westminster Abbey, cast in shades of blue, grey, and black.Edward Bawden was an English painter, illustrator and graphic artist, known for his prints, book covers, posters, and garden metalwork furniture. Bawden taught at the Royal College of Art, where he had been a student, worked as a commercial artist, and served as a war artist in World War II. He illustrated several books and painted various public murals, and his work and career are often associated with that of his contemporary, Eric Ravilious.Condition: generally very good. Inscription slightly faded. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other work by the artist. -
John Piper (1903-1992)
Capesthorne Hall (1977)
Screenprint 64 x 102 cm Piper captures here, in his usual fanciful colours, the Cheshire stately home of Capesthorne Hall. Built in neoclassical style by William Smith and his son Francis, the hall today is used for weddings and other civil occasions. John Piper CH was an English painter, printmaker, and designer of stained-glass windows. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. Condition: very good; a little old discolouration to edges under mount. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by John Piper. -
Adrian Heath Abstract Study I (1970)
Gouache & ink 35x33cm Heath was born in Burma in 1920 and arrived in England aged five. In 1938 he studied art under Stanhope Forbes at Newlyn and later at the Slade School of Art. While serving in WWII, he was captured and placed in a prisoner-of-war camp in Bavaria. Heath attempted to escape from the camp but was recaptured and placed in solitary confinement; this isolation proved crucial to the development of his artistic style, as he spent much of his time there experimenting with abstract forms. When released from confinement, Heath befriended a fellow prisoner of war: Terry Frost. Together they explored the methods of painting which they had developed during their time in the camps, and following the war both became celebrated artists. We have several Terry Frost pieces available too. In 1949 and 1951, Heath returned to Cornwall. He spent time with artists like Ben Nicholson, Victor Pasmore, and Anthony Hill, and became the main link between the emerging St Ives School of artists and the British Constructivist movement back in London. He is further credited with promoting British abstract art through informal exhibitions in his studio on Fitzroy Street, as well as his manifesto-like text entitled 'Abstract Art: Its Origins and Meaning', which was published in 1953. Over time, Heath's paintings of abstract geometry and symmetry became increasingly dynamic and heavily textured, the result of layering paint on paint over the course of several days. Here, his colour palette surrenders to the compelling geometry of the painting's abstract forms. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Edward Bawden (1903-1989)
Mum Cat with Nine Lives
Pen and ink 38 x 27 cm Signed and inscribed lower right. Bawden developed a love of cats at a young age, copying Louis Wain's cat pictures. In his later years, his drawings of cats became yet more frequent; his cat Emma featured in much of his work. In an interview with House and Garden in 1987 he said: "No cat will suffer being lifted up and dropped into an empty space intended for her to occupy; that procedure led inevitably to Emma, tail up, walking away at once, so I had to wait patiently until Emma had enjoyed a good meal of Coley and was ready to choose her daily sleeping place, wherever it might be. I would then spring into action." Doubtless he found it easier to draw an imaginary cat, such as this one. For other cats - and other works - by Bawden, please click here. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Edward Bawden (1903-1989)
Nurse Cat with Nine Lives
Pen and ink 38 x 27 cm Signed and inscribed lower right. Bawden developed a love of cats at a young age, copying Louis Wain's cat pictures. In his later years, his drawings of cats became yet more frequent; his cat Emma featured in much of his work. In an interview with House and Garden in 1987 he said: "No cat will suffer being lifted up and dropped into an empty space intended for her to occupy; that procedure led inevitably to Emma, tail up, walking away at once, so I had to wait patiently until Emma had enjoyed a good meal of Coley and was ready to choose her daily sleeping place, wherever it might be. I would then spring into action." Doubtless he found it easier to draw an imaginary cat, such as this one. For other cats - and other works - by Bawden, please click here. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Piper C.H. (BRITISH, 1903-1992)
Shadwell Park
(Levinson 277) Screenprint in colours, on Arches, signed and numbered. Printed by Kelpra Studio and published by Marlborough Fine Art, London. 510 x 690mm From the 'Victorian Dream Palaces' series of prints by Piper. 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. Condition: generally very good. A little discolouration to extreme margins hidden under mount. In hand-finished black-painted frame. -
Roy Carnon (1911-2002) Derelict Catalina Redhills Lake near Madras
'Used in Stocks for Gunnery Practice' Oil on board, artist's painted frame Signed and dated 1946 and inscribed with title to reverse Click here for other works by Carnon. This 1946 painting of a derelict Second World War aircraft is a portrait of postwar disillusionment. The battered Catalinas which had survived the war became useful only as ground-based objects for target practice. Carnon's brooding colours and impasto application of paint illustrate how the technologies which helped the Allies to win the war became, overnight, unnecessary. The airmen based in India similarly became unnecessary, but unable to be demobilised they initiated the so-called RAF Mutiny in January 1946. Carnon attended Chiswick Art School becoming an illustrator. In 1965 he was responsible for visualising spacecraft for 2001: A Space Odyssey, being designer of the iconic 'wheel' spacestation. These drawings are now in the Kubrick archives at UAL. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent, recently cleaned and in artist's original frame. -
Out of stock
John Piper (1903 - 1992)
Oxburgh Hall (1977)
Lithograph 61 x 48 cm Provenance: Marlborough Galleries. Signed in pencil lower right. Piper's saturnine depiction of Oxburgh Hall, a moated country house in Norfolk now owned by the National Trust. John Piper CH was an English painter, printmaker, and designer of stained-glass windows. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. Condition: very good; the orange ink is often very faded in the Oxburgh print - this copy remains vibrant. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by John Piper. -
John Piper (1903 - 1992)
Façade (1987)
Lithograph 45 x 60 cm Numbered 96/108 lower left and signed lower right, both in pencil. Printed by Piper and the screenprinter Chris Prater in 1987 after the original designs from 1942. 'Façade' was a sequence of poems written by the English poet Edith Sitwell. They were set to music by William Walton in 1922, four years after they were first written. 'Façade' premiered in 1923 in London, and was praised for its experimental modernist style. The choreographer Frederick Ashton made Façade into a ballet in 1931; Sitwell did not wish her poems to be included, but Walton's orchestral arrangements were used. John Piper was commissioned as set designer for a 1942 performance of Facade in 1942. This lithograph is the design for the performance's curtain; the poetry and music of the performance were played behind the curtain, unseen by the audience. The Gothic house to the right was inspired by Eaton Hall in Cheshire, and we also see a folly, lake, and wood typical of an English country house. The moon, butterfly, and dragonfly lend themselves to the scene's dreamlike aspects, and the mask in the centre of the design highlights the collaborative nature of Façade - a salute to poetry, music, art, and even architecture. John Piper CH was an English painter, printmaker, and designer of stained-glass windows. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by John Piper. -
John Piper (1903-1992)
Le Petit Palais (1972)
Screenprint Signed and numbered 18/25 in pencil. Piper's print of the Petit Palais in shades of yellow. The Petit Palais is an art museum in Paris; it was built for the 1900 Exposition Universelle and is now home to the City of Paris Museum of Fine Arts. John Piper CH was an English painter, printmaker, and designer of stained-glass windows. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. Condition: generally very good; mounted to board. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by John Piper. -
Ethel Louise Rawlins (1880 – 1940)
A Garden Below the South Downs
Oil on canvas51 x 61 cmSigned lower right.Rawlins was a painter who studied at the Slade School of Fine Art and in Newlyn, Cornwall. She settled in Sussex in the early 1920s, and often painted the rolling hills of the Sussex landscape. Here, blue hills and a grey sky serve as the background for an extensive garden complete with stone urns, flowers, and slanting shadows created by the late afternoon sun. -
Walter Hoyle (1922 - 2000)
King's College Chapel, Cambridge in red (1965)
Linocut Cambridge Series State Proof, Signed and Titled in pencil. Printed by the artist at Editions Alecto51x69cm Condition: Excellent 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. -
Alfred Daniels RBA RWS (1924-2015) All Souls, Oxford Acrylic on paper In a hand-finished white frame. 22x29.5cm (8.6x11.6 inches) 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 Robert Murray McCheyne (1911 - 1982)
Metamorphosis (1969)
Polished redwood 96 cm high Provenance: the artist's estate. A significant work by the artist. This sensual mid-century modern nude conveys a sense of monumental abstraction through its sloping curvatures. It swells and recedes, demonstrating not only the sinuous possibilities of the human figure, but also those of the Hepworth- and Moore-influenced abstract form. John Murray McCheyne was a sculptor and teacher. He studied under the sculptor Alexander Carrick at the Edinburgh College of Art between 1930 and 1935. In the 1950s and 1960s he became Master of Sculpture at King’s College, University of Newcastle, and began to work on public sculpture commissions while there. He exhibited at the Palace of Arts' Empire Exhibition Scotland in 1938, and was a regular exhibitor at the Royal Scottish Academy, and the Royal Glasgow Institute. Condition: generally very good; one or two very small scratches. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other Modern British Sculpture. -
Out of stock
John Piper (1903-1992)
Three Somerset Towers (1973)
Screenprint 56 x 76 cm John Piper CH was an English painter, printmaker, and designer of stained-glass windows. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. Condition: generally very good; a little age toning. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by John Piper. -
Claude Muncaster Moor above Llangollen
Oil on canvas 36 x 51 cm Condition: Excellent, recently cleaned and revarnished. Signed lower right. 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 (1903-1992)
Study for the Piper Building mural
Gouache 14.5x11.5cm Provenance: P Manzareli (who built the fibreglass murals for Piper), gift from the artist; Milne & Moller Fine Art; Katharine House Gallery; private collection, Scotland. This study is a fascinating part of London's architectural history. The Piper Building is a mid-century architectural icon in Fulham. Built in the 1950s as 'Watson House', it was a laboratory complex for the North Thames Gas Board and has an innovative concrete structure. Piper was commissioned to produce the murals surrounding the building. The Gas Board moved out in the mid 1980s. Scheduled for demolition in the 1990s, the building was instead converted into seventy apartments and renamed the Piper Building. With double-height ceilings, the apartments were sold as shells, and purchasers were free to commission their own architects and builders. Condition: Generally excellent; framed. 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. -
Adrian Heath Abstract Study III (1975)
Acrylic and pencil on paper 22 x 22cm Heath was born in Burma in 1920 and arrived in England aged five. In 1938 he studied art under Stanhope Forbes at Newlyn and later at the Slade School of Art. While serving in WWII, he was captured and placed in a prisoner-of-war camp in Bavaria. Heath attempted to escape from the camp but was recaptured and placed in solitary confinement; this isolation proved crucial to the development of his artistic style, as he spent much of his time there experimenting with abstract forms. When released from confinement, Heath befriended a fellow prisoner of war: Terry Frost. Together they explored the methods of painting which they had developed during their time in the camps, and following the war both became celebrated artists. We have several Terry Frost pieces available too. In 1949 and 1951, Heath returned to Cornwall. He spent time with artists like Ben Nicholson, Victor Pasmore, and Anthony Hill, and became the main link between the emerging St Ives School of artists and the British Constructivist movement back in London. He is further credited with promoting British abstract art through informal exhibitions in his studio on Fitzroy Street, as well as his manifesto-like text entitled 'Abstract Art: Its Origins and Meaning', which was published in 1953. Over time, Heath's paintings of abstract geometry and symmetry became increasingly dynamic and heavily textured, the result of layering paint on paint over the course of several days. This study features a muted colour palette and abstract asymmetric form. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. Signed lower right. -
Ken Moroney (British, 1948-) The Fens, Norfolk (c. 1990)
Oil on canvas board 48 x 58 cm Provenance: Bonhams (2003) Of Anglo-Irish parentage, Moroney was born in South London, and showed early artistic talent. His Irish father, finding it unmanly, encouraged him to box, and whilst a teenager Moroney won a gold medal. However this did not distract him from art, and once his boxing hobby came to an end the paints continued to show his flair. Self-taught, his impressionistic style, with bold use of colour, has found widespread favour and his works now hang in many important collections. Here he captures the many colours often visible in a fenland sky, where the flat landscape makes for huge skies. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent. -
Rowland Suddaby (1912-1972) English Roses - Still Life
Oil on board 39x29cm (frame 58x46cm) c. 1950s Artist's label to reverse In a fine hand-finished frame Born in Kimberworth, Yorkshire, Suddaby commenced study in 1926 at the Sheffield College of Art on a scholarship, coming to London at nineteen in 1931. Following an early marriage and an initial struggle as an artist his first successful show was at the Wertheim Gallery in London in 1935, followed by a series of shows at the Redfern Gallery from 1936. For the latter he was their replacement for Christopher Wood (who had sadly killed himself in 1930 by jumping under a train) and he painted assured oils and watercolours - some showing Wood influences - in London and Cornwall. Popular with both art critics and the buying public he had great success. Early in World War Two, Suddaby moved - with his family - to the Suffolk countryside near Sudbury to become curator of the Gainsborough's House Museum, East Anglia providing him with the foundations for the pictures for which he is now well known. In 1940 he was chosen for the 'Recording Britain' project. Showing something of the influence of John Nash, his distinctive depiction of the East Anglian countryside, with its hedges and fences is instantly recognisable. His still life paintings which he also painted in the 1940s and 50s were exhibited at the Leger Galleries and at the Colchester Art Society of which he was a founder member. By the 1960s he had evolved his style towards abstraction. He was also a noted designer, producing textiles and furnishings and designing posters for Shell. His work is in many major collections such as the V&A Museum and the Government Art Collection If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Nancy Weir Huntly (1890-1963)
St John's College Bridge of Sighs Cambridge
Oil on canvas; framed. Signed 'Huntly' 50x61cm Born in India, in Nusserabad, she studied art at the Royal Academy Schools in Dusseldorf. She lived in Welwyn Garden City, in Hertfordshire, with her daughter, Faith Sheppard, also a painter. She also painted under the name Nancy Sheppard. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Nancy Weir Huntly (1890-1963)
Trinity College Bridge Cambridge
Oil on canvas; framed in an antique-white-finished frame with gilt slip. Signed 'Huntly' 50x61cm Born in India, in Nusserabad, she studied art at the Royal Academy Schools in Dusseldorf. She lived in Welwyn Garden City, in Hertfordshire, with her daughter, Faith Sheppard, also a painter. She also painted under the name Nancy Sheppard. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Sir Albert Edward Richardson K.C.V.O., F.R.I.B.A, F.S.A., P.R.A. (1880-1964)
Antwerp Cathedral
33x20cm Watercolour Sir Albert Edward Richardson K.C.V.O., F.R.I.B.A, F.S.A., P.R.A. (1880-1964) was a traditionalist, renowned for his distaste of modern architecture. Rooted firmly in the classical period, he lived a Georgian life, refusing to have electricity in his Georgian house – until his wife finally insisted. Professor of Architecture at UCL’s Bartlett School of Architecture from 1929-1955, this was evacuated to Cambridge during the war and he became a fellow of St Catharine’s College. Amongst his other achievements, Richardson was President of the RA, editor of Architect’s Journal and founder of the Georgian Group. For pleasure he painted architectural fantasies; capriccios of buildings he pictured in his mind. Richardson was recipient of the Architectural Association’s Professor Bannister Fletcher Medal in 1902 which was an award for the study of post-Fire London architecture. Amongst his achievements were Professor of Architecture at University College London, President of the RA, editor of Architect’s Journal and founder of the Georgian Group. Click here for other works by the artist and biographical details. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Sir Albert Edward Richardson K.C.V.O., F.R.I.B.A, F.S.A., P.R.A. (1880-1964)
The Dawn of the Renaissance in Central Europe, A Caprice
28x43cm watercolour Signed, with further detail to backboard (title, date etc.) Sir Albert Edward Richardson K.C.V.O., F.R.I.B.A, F.S.A., P.R.A. (1880-1964) was a traditionalist, renowned for his distaste of modern architecture. Rooted firmly in the classical period, he lived a Georgian life, refusing to have electricity in his Georgian house – until his wife finally insisted. Professor of Architecture at UCL’s Bartlett School of Architecture from 1929-1955, this was evacuated to Cambridge during the war and he became a fellow of St Catharine’s College. Amongst his other achievements, Richardson was President of the RA, editor of Architect’s Journal and founder of the Georgian Group. For pleasure he painted architectural fantasies; capriccios of buildings he pictured in his mind. Richardson was recipient of the Architectural Association’s Professor Bannister Fletcher Medal in 1902 which was an award for the study of post-Fire London architecture. Amongst his achievements were Professor of Architecture at University College London, President of the RA, editor of Architect’s Journal and founder of the Georgian Group. Click here for other works by the artist and biographical details. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Edward Bawden (1903-1989)
White Collar Worker Cat
Pen and ink 27 x 23 cm Signed and inscribed lower right. Bawden developed a love of cats at a young age, copying Louis Wain's cat pictures. In his later years, his drawings of cats became yet more frequent; his cat Emma featured in much of his work. In an interview with House and Garden in 1987 he said: "No cat will suffer being lifted up and dropped into an empty space intended for her to occupy; that procedure led inevitably to Emma, tail up, walking away at once, so I had to wait patiently until Emma had enjoyed a good meal of Coley and was ready to choose her daily sleeping place, wherever it might be. I would then spring into action." Doubtless he found it easier to draw an imaginary cat, such as this one. For other cats - and other works - by Bawden, please click here. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Edward Bawden (1903-1989)
House Proud Mum Cat
Pen and ink 38 x 27 cm Signed and inscribed lower right. Bawden developed a love of cats at a young age, copying Louis Wain's cat pictures. In his later years, his drawings of cats became yet more frequent; his cat Emma featured in much of his work. In an interview with House and Garden in 1987 he said: "No cat will suffer being lifted up and dropped into an empty space intended for her to occupy; that procedure led inevitably to Emma, tail up, walking away at once, so I had to wait patiently until Emma had enjoyed a good meal of Coley and was ready to choose her daily sleeping place, wherever it might be. I would then spring into action." Doubtless he found it easier to draw an imaginary cat, such as this one. For other cats - and other works - by Bawden, please click here. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Edward Bawden (1903-1989)
Hot Cat
Pen and ink 38 x 27 cm Signed and inscribed lower right. Bawden developed a love of cats at a young age, copying Louis Wain's cat pictures. In his later years, his drawings of cats became yet more frequent; his cat Emma featured in much of his work. In an interview with House and Garden in 1987 he said: "No cat will suffer being lifted up and dropped into an empty space intended for her to occupy; that procedure led inevitably to Emma, tail up, walking away at once, so I had to wait patiently until Emma had enjoyed a good meal of Coley and was ready to choose her daily sleeping place, wherever it might be. I would then spring into action." Doubtless he found it easier to draw an imaginary cat, such as this one. For other cats - and other works - by Bawden, please click here. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Edward Bawden (1903-1989)
Dandy Boy Cat
Pen and ink 38 x 27 cm Signed and inscribed lower right. Bawden developed a love of cats at a young age, copying Louis Wain's cat pictures. In his later years, his drawings of cats became yet more frequent; his cat Emma featured in much of his work. In an interview with House and Garden in 1987 he said: "No cat will suffer being lifted up and dropped into an empty space intended for her to occupy; that procedure led inevitably to Emma, tail up, walking away at once, so I had to wait patiently until Emma had enjoyed a good meal of Coley and was ready to choose her daily sleeping place, wherever it might be. I would then spring into action." Doubtless he found it easier to draw an imaginary cat, such as this one. For other cats - and other works - by Bawden, please click here. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Edward Bawden (1903-1989)
Captain of the Team Cat
Pen and ink 38 x 27 cm Signed and inscribed lower right. Bawden developed a love of cats at a young age, copying Louis Wain's cat pictures. In his later years, his drawings of cats became yet more frequent; his cat Emma featured in much of his work. In an interview with House and Garden in 1987 he said: "No cat will suffer being lifted up and dropped into an empty space intended for her to occupy; that procedure led inevitably to Emma, tail up, walking away at once, so I had to wait patiently until Emma had enjoyed a good meal of Coley and was ready to choose her daily sleeping place, wherever it might be. I would then spring into action." Doubtless he found it easier to draw an imaginary cat, such as this one. For other cats - and other works - by Bawden, please click here. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Edward Bawden (1903-1989)
Secretary Cat
Pen and ink 38 x 27 cm Signed and inscribed lower right. Bawden developed a love of cats at a young age, copying Louis Wain's cat pictures. In his later years, his drawings of cats became yet more frequent; his cat Emma featured in much of his work. In an interview with House and Garden in 1987 he said: "No cat will suffer being lifted up and dropped into an empty space intended for her to occupy; that procedure led inevitably to Emma, tail up, walking away at once, so I had to wait patiently until Emma had enjoyed a good meal of Coley and was ready to choose her daily sleeping place, wherever it might be. I would then spring into action." Doubtless he found it easier to draw an imaginary cat, such as this one. For other cats - and other works - by Bawden, please click here. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Hoyland (1934 - 2011)
Yellows (1969)
Screenprint 56 x 94 cmArtist’s proof. Signed and dated lower right.
Hoyland's abstract print is made up of wide fields of colour, formally arranged. Paul Moorhouse wrote of the artist's ‘insistence on eliminating figurative references’, and here we have an entirely abstract composition - one which has no desire to depict anything figurative, anything tangible. The colours are vivid, with the ‘restrictive palette in which red-green oppositions are dominant’ which marks Hoyland's early work is cautiously evident here. The abstraction is deliberately imperfect: small yellow splashes break into the expanse of green, and the texture of that green overtly demonstrates its texture and madeness. Hoyland's prints are keen to remind us of the physical process of their making, relying on the tension between the formal and the informal to do so. John Hoyland was one of Britain's most revered post-war abstract artists. He was born in Sheffield and studied at the Sheffield School of Art and Crafts, and then Sheffield College of Art and the Royal Academy Schools in London. His first solo exhibition was held at the Marlborough New London Gallery in 1964. Retrospectives of his paintings have been held at the Serpentine Gallery (1979), the Royal Academy (1999) and Tate St Ives (2006). Hoyland was elected to the Royal Academy in 1991 and was appointed Professor of Painting at the Royal Academy Schools in 1999. Condition: very good; recent heavy handsome frame. Glass will be removed for international shipping. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other Modern British Print. -
Walter Hoyle (1922 - 2000)
King's College, Cambridge (Cambridge Series 1956 - 66)
Linocut 56 x 43 cm Signed and inscribed A/P in pencil. Possibly unique. Hoyle's view of King's College, Cambridge, with a slice of blue sky behind. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Provenance: family of the artist. Condition: generally very good; a few handling marks and a little age toning to the margins. Vertical impressins within and below the blue vertical area which are probably part of the artist's working technique. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of King's College, Cambridge. -
Walter Hoyle (1922 - 2000)
Senate House, Cambridge (Cambridge Series 1956 - 66)
Linocut 46 x 70 cm Trial print aside from the series, with different colourway. Senate House, under a lively blue sky. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Provenance: family of the artist. Condition: generally very good; a few handling marks and areas of discolouration to extreme margins, extraneous ink to right hand side, and a very small brown spot to very top right beyond the blue sky. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other general views of Cambridge. -
Walter Hoyle (1922 - 2000)
King's College Chapel, Cambridge (Cambridge Series 1956 - 66)
Linocut 72 x 41 cm Signed and inscribed A/P in pencil. Hoyle depicts King's College Chapel as both indomitable and delicate. The bold composition sees the chapel's spires surrounded by a fiery orange light against the black night of the background; at the same time, the western facade looks like it could have been cut from paper, or crafted from lace. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Provenance: family of the artist. Condition: generally very good; a few handling marks to margins. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of King's College, Cambridge. -
Gerald Mac Spink (flourished 1920 - 1940)
For Pleasure, Travel by Underground (c. 1930)
Gouache 26 x 18 cm Original design for a London Transport poster. Framed. A dynamic Art Deco poster design by Mac Spink. A boldly-coloured harlequin figure encourages travel via the London Underground. Spink was a skilled artist and designer who produced a series of posters in the inter-war period for companies including the London Underground, Southern Railways, LNER, Hawker Engineering, and British Steel. He won a prize in 1933 from the Imperial Institute for his poster artwork. He also worked as an aeronautical engineer in Kingston-on-Thames for Hawker Engineering; his greatest achievement was the creation of the 'Squanderbug', a 500cc racing car which he built in 1947, and which races even to this day. Provenance: the artist's estate. Condition: good; a few small scuffs to gouache, as visible in photographs. Handsomely framed. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Piper (1903-1992)
St James the Less, Westminster
Screenprint 65 x 49 cm From the 'Retrospect of Churches' series, numbered 24/70. Generally very good. Signed in pencil. John Piper CH was an English painter, printmaker, and designer of stained-glass windows. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. A Retrospect of Churches was issued as a suite of 24 original colour lithographs in colour, in an edition of 70 copies (70 numbered copies plus five artist's proofs). This poignant and dramatic representation of St James the Less is an evocative depiction of this part of London in the evening: wet pavements reflect the bright lights of the buildings, and the church is a warm, moody reddish-purple against the deep black of a dark night. Condition: Generally very good. -
Clifford Ellis (1907-1985)
Cadbury Castle, Wiltshire
Gouache, 1940s/1950s In a Nicholson butt-jointed frame Provenance: the family of the artist, by descent. Click here for biographical details and other works by the artist. Clifford and Rosemary Ellis were famous as a husband and wife team for their fascination with nature and their vibrant and charming depictions of animals. They were the natural artists to be commissioned by Collins for their 'New Naturalists' series of books, which have become famous and highly collectable more for the dust jackets designed by the Ellises than for the - otherwise excellent - content. This painting is from a recently discovered series of paintings and drawings, never before seen by the general public, dating from the 1940s and 1950s. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
John Piper
Skeabost, Skye 1975
Screenprint 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. -
Walter Hoyle (1922-2000)
Senate House, Cambridge (Cambridge Series 1956-6)
Block print 72/75 Artist’s proof, published by Editions Alecto, London, 1966 46x89cm 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. -
Gerald Mac Spink (flourished 1920 - 1940)
For Theatres, Kinemas, Cabarets, Dances, Concerts, Travel by Underground (c. 1930)
Gouache 30 x 19 cm Original design for a London Transport poster. Framed. A fantastic gouache design by Spink for a London Underground poster. The artist's striking Art Deco design and heady use of colour advertises the glamour of travelling by Tube to various evening entertainments around London. Spink was a skilled artist and designer who produced a series of posters in the inter-war period for companies including the London Underground, Southern Railways, LNER, Hawker Engineering, and British Steel. He won a prize in 1933 from the Imperial Institute for his poster artwork. He also worked as an aeronautical engineer in Kingston-on-Thames for Hawker Engineering; his greatest achievement was the creation of the 'Squanderbug', a 500cc racing car which he built in 1947, and which races even to this day. Provenance: the artist's estate. Condition: good; a few small scuffs to gouache, as visible in photographs. Handsomely framed. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Clifford Charman (1910-1993)
Brewery and Ruined Castle, Cockermouth
Oil on canvas 38 x 55 cm Signed and dated lower left. Provenance: The Artist's Studio Sale, Bonhams, London (18 March 1993); Peter Constant Fine Art. Born in Bexleyheath in Kent, Charman studied at Regent Street Polytechnic just before, and just after, the Second World War. He exhibited widely, including at the Royal Academy, the RBA, Chelsea Arts Society, and abroad. Elected in 1954 to the ROI, he also won the James Bourlet Prize in 1982. His work is in collections including that of the Guildhall. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. Signed lower left. -
Clifford Charman (1910-1993)
Landscape with Farmhouses
Oil on canvas 38 x 55 cm Provenance: the artist's studio sale, Bonhams, London 1993. Born in Bexleyheath in Kent, Charman studied at Regent Street Polytechnic just before, and just after, the Second World War. He exhibited widely, including at the Royal Academy, the RBA, Chelsea Arts Society, and abroad. Elected in 1954 to the ROI, he also won the James Bourlet Prize in 1982. His work is in collections including that of the Guildhall. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. -
Clifford Charman (1910-1993)
Temple Church, London, after Bombing
Oil on canvas 39 x 49 cm Provenance: The Artist's Studio Sale, Bonhams, London (18 March 1993); Peter Constant Fine Art. Born in Bexleyheath in Kent, Charman studied at Regent Street Polytechnic just before, and just after, the Second World War. He exhibited widely, including at the Royal Academy, the RBA, Chelsea Arts Society, and abroad. Elected in 1954 to the ROI, he also won the James Bourlet Prize in 1982. His work is in collections including that of the Guildhall. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. -
Roy Carnon (1911-2002)
All Hallows Church, Tillington, near Petworth
Oil on board 31 x 42cm Signed; in the artist's original frame Condition: excellent. Click to view biographical details and other works by the artist. Carnon attended Chiswick Art School becoming an illustrator. In 1965 he was responsible for visualising spacecraft for "2001: A Space Odyssey", being designer of the iconic 'wheel' spacestation. These drawings are now in the Kubrick archives at UAL. -
Edward McKnight Kauffer (1890-1954)
Original artwork ‘BP Ethyl for Snappy Engines' (1934)
Signed Pen, ink and collage 27x17cm (16.6×6.6 inches) Framed in a hand-finished black frame. Provenance: Sotheby's, sale of the Shell Archive 10 September 2003 lot 49. If you are interested email info@manningfineart.co.ukor call us on 07929 749056. -
Piero Sansalvadore (1892-1955)
Queens’ College Cambridge
Signed Sansalvadore. Titled to verso. Oil on wood panel 21.5 x 28cm (8.5 x 11 in) £1850 Provenance: Stacy-Marks Gallery, Eastbourne, c. late 1940s An Italian who arrived in London around 1930, the Museum of London and City of London have a series of pictures Sansalvadore painted of war-damaged London. Click here for other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Sir Albert Edward Richardson K.C.V.O., F.R.I.B.A, F.S.A., P.R.A. (1880-1964)
La Giralda Seville
38x28cm Watercolour Sir Albert Edward Richardson K.C.V.O., F.R.I.B.A, F.S.A., P.R.A. (1880-1964) was a traditionalist, renowned for his distaste of modern architecture. Rooted firmly in the classical period, he lived a Georgian life, refusing to have electricity in his Georgian house – until his wife finally insisted. Professor of Architecture at UCL’s Bartlett School of Architecture from 1929-1955, this was evacuated to Cambridge during the war and he became a fellow of St Catharine’s College. Amongst his other achievements, Richardson was President of the RA, editor of Architect’s Journal and founder of the Georgian Group. For pleasure he painted architectural fantasies; capriccios of buildings he pictured in his mind. Richardson was recipient of the Architectural Association’s Professor Bannister Fletcher Medal in 1902 which was an award for the study of post-Fire London architecture. Amongst his achievements were Professor of Architecture at University College London, President of the RA, editor of Architect’s Journal and founder of the Georgian Group. Click here for other works by the artist and biographical details. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Walter Hoyle (1922 - 2000)
Rugby School
Linocut 62 x 46 cm Signed, titled, and inscribed A/P in pencil. Possibly unique. Hoyle's view of Rugby School. The school's architecture is depicted in shades of blue and grey, with an orange patch of sun in the cloudy sky above. A green garden peeks out from between the buildings, which lean gently away from one another. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Condition: enerally very good; a few handling marks and a little spotting to the margins. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Richard Beer (1928 - 2017)
Dieppe Cathedral
Oil on canvas 66 x 76 cm A mountaintop cathedral and surrounding houses; broad blue sky fills the rest of the canvas. This oil painting is a fantastic example of Beer's focus on architecture, the central and recurring theme of his pictorial idiom. Born in London in 1928, just too late to serve in the Second World War, Richard Beer studied between 1945 - 1950 at the Slade School. Subsequently, a French Government scholarship allowed him to spend time in Paris at Atelier 17, working under Stanley William Hayter (1901 - 1988), one of the most significant print makers of the 20th Century – having spent the War in New York, advising as a camofleur, Hayter only returned to Paris in 1950. Subsequently Beer studied at the École des Beaux Arts, Paris. Working for John Cranko, choreographer for the Royal Ballet, Beer designed the sets and costumes for his The Lady and the Fool at Covent Garden, subsequently working for him following his move in 1961 to Stuttgart Ballet. Additionally he produced book illustrations and designed book jackets. Beer later taught print-making at the Chelsea School of Art, where he was a popular teacher. Probably his greatest work was a collaboration with John Betjeman to produce a portfolio of prints of ten Wren Churches in the City for Editions Alecto, copies of which are in The Government Art Collection. That collection contains a total of 54 prints by Beer, and the Tate Gallery’s collection holds seven. His Oxford series was also produced for Editions Alecto as was a series of predominantly architectural views in Southern Europe. Most of his prints are of architectural subjects. Condition: excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views by Richard Beer. -
Horace Mann Livens (1862-1936)
Hanover Square London (1920)
Gouache on paper 37x27 cm For biographical details and other works by Livens click here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Bernard Myers (1925 - 2007)
Chiswick Reach
Oil on paper 50 x 72 cm Myers' impressionist view of Chiswick Reach (likely painted from his studio, which overlooked the Thames) depicts a hazy morning mist making its way down the river. The artist's sparse and muted palette renders the sky barely discernible from the water; chevron brushstrokes make up trees which cast their shadows over the Thames. A flotilla of boats, ghost-like with their white sails, appear from the blue mist. Bernard Myers was a painter and printmaker who trained at St Martin’s School of Art, the Camberwell School of Arts and Crafts, and the Royal College of Art in the 1940s and 1950s. This painting won the David Murray Landscape Scholarship and was painted while Myers was a student at the RCA. He went on to teach there before moving into a studio in Hammersmith. He lived and painted at 5 Durham Wharf, just off Chiswick Mall and with a view of the Thames, from the 1980s until his death in 2007. Provenance: New Grafton Gallery. Condition: excellent. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of London.
