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Hilary Hennes (née Hilary Miller) (1919 - 1993)
Seated Nude
Chalks 56 x 38 cm A chalk drawing of a seated female nude, with contemplative pose and expression. Hilary Miller was born in London, where her father was a curator at the South London Art Gallery. She attended Blackheath High School and, from 1936 to 1940, studied at the Blackheath School of Art, and then for a further three years at the Royal College of Art. After graduating, she taught at the South East Sussex Technical College and in 1946 married the artist Hubert Hennes. The couple lived in Oxford, where they both held teaching posts at the Oxford School of Art. Between 1948 and 1967 Miller frequently exhibited paintings at the Royal Academy in London, and also illustrated a number of books on gardening and natural history, such as 'The Living World' and 'Boff's Book of Gardening'. Provenance: the artist's studio sale. 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 the artist. -
Hilary Hennes (née Hilary Miller) (1919 - 1993)
Standing Nude
Chalks 56 x 38 cm A chalk drawing of a standing female nude. The reverse of Hennes' drawing Flowers on a Table. Hilary Miller was born in London, where her father was a curator at the South London Art Gallery. She attended Blackheath High School and, from 1936 to 1940, studied at the Blackheath School of Art, and then for a further three years at the Royal College of Art. After graduating, she taught at the South East Sussex Technical College and in 1946 married the artist Hubert Hennes. The couple lived in Oxford, where they both held teaching posts at the Oxford School of Art. Between 1948 and 1967 Miller frequently exhibited paintings at the Royal Academy in London, and also illustrated a number of books on gardening and natural history, such as 'The Living World' and 'Boff's Book of Gardening'. Provenance: the artist's studio sale. Condition: generally very good. The reverse of Hennes' drawing Flowers on a Table (see photograph above). If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
Hilary Hennes (née Hilary Miller) (1919 - 1993)
Flowers on a Table
Chalks 56 x 38 cm A chalk drawing depicting a vase of bright flowers on a table in a high-ceilinged room with elegant architectural features. Hilary Miller was born in London, where her father was a curator at the South London Art Gallery. She attended Blackheath High School and, from 1936 to 1940, studied at the Blackheath School of Art, and then for a further three years at the Royal College of Art. After graduating, she taught at the South East Sussex Technical College and in 1946 married the artist Hubert Hennes. The couple lived in Oxford, where they both held teaching posts at the Oxford School of Art. Between 1948 and 1967 Miller frequently exhibited paintings at the Royal Academy in London, and also illustrated a number of books on gardening and natural history, such as 'The Living World' and 'Boff's Book of Gardening'. Provenance: the artist's studio sale. Condition: generally very good. Drawing of a standing nude to the reverse (see photographs). If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
Lady Margaret Myddleton (1910 - 2003)
Harbour at Menton
Oil on canvas 32 x 45 cm Signed lower left, and titled on label to reverse. Myddleton's sunny view of this fashionable Cote d'Azur port sees two sailing boats make their way into the harbour, as three onlookers watch from the pier. Behind them rise the town's sun-drenched buildings, including the basilica of Saint-Michel-Archange, and the purple of the French Alps. Lady Margaret Myddleton was an accomplished painter, painting interiors, country houses, and landscapes (both home and abroad). This was likely painted while Lady Myddleton was holidaying on the French Riviera. Most of her watercolours are on display in Chirk Castle, Wrexham, the family seat of the Myddleton family since 1593 (although the castle's ownership was transferred to the National Trust in 1981). Lady Myddelton was the chatelaine of the castle for thirty years, and died there in 2003. She had married Lt-Col Ririd Myddelton (Deputy Master of the Household to King George VI) in 1931, and the couple struggled to maintain the castle and estate. In 1978, Chirk and its 468 acres of parkland were bought for the nation through the National Land Fund and for the next three years were administered by the Welsh Office. In 1981 they passed to the National Trust, which now manages them. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more Modern British original painting. -
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. -
Out of stock
Mary Fedden (1915 - 2012)
The Tabac Jar
Lithograph 26 x 31 cm Signed lower right and numbered 156/550 lower left, both in pencil; signed and dated 1996 in the plate. A typically Fedden still life: a fruit bowl, jug of utensils, and vine of tomatoes on a gingham tablecloth. Beyond the table, a harbour scene including whitewashed buildings, sailing boat, and lighthouse. The form of the objects in her still life composition, and her lilting use of perspective, are immediately recognisable as Fedden's style. Mary Fedden was a Bristol-born artist who studied at the Slade School of Art in London in the 1930s. She painted sets for ballets at Sadlers Wells, then went on to teach art and paint portraits in Bristol. During the war she served in the Land Army and the Woman's Voluntary Service, and then worked in London as a stage painter for the Arts Theatre. In 1944 she went overseas as a driver for the Navy, Army and Air Force Institutes. In 1946 she resumed easel painting and held her first exhibition at the Mansard Gallery in Heal's Department Store in 1947. In 1951 she married the artist Julian Trevelyan, and the couple travelled the world together. She began to teach painting at the Royal Academy in the late 1950s and was elected RA in 1992. She lived and worked in her Durham Wharf studio from 1949 until her death. Condition: generally very good; framed. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other pictures by Mary Fedden. -
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. -
Angela Stones (1914 - 1995)
Still Life with Pink Roses
Oil on board 47 x 37 cm A beautiful still life which moves between pink and green: pink roses and bowl, and green leaves, apples, and plate. Stones' impasto technique brings texture to the fruit and petals, and the blues and browns of the background highlight the brilliance of the roses. Stones was educated at the Chelsea School of Art, and was a member of an artistic dynasty. Her mother Dorothy Bradshaw (1893 - 1983) studied under Jack Merriott – the artist famous for his British Rail posters, and her son, Christopher Assheton-Stones (1947 - 1999), was arguably the foremost pastel artist of his time. Provenance: the family of the artist. Condition: very good; gilt frame has a few repaired small losses. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other pictures by the artist. -
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. -
Walter Hoyle (1922 - 2000)
King's College, Cambridge (Cambridge Series 1956 - 66)
Linocut 46 x 56 cm Signed, titled, and numbered 5/5 in pencil. Hoyle's view of King's College, Cambridge, against a shadowy yellow 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: the artist's wife. Condition: very good; few handling marks to margin, a horizontal crease about half way down that was likely in the paper prior to printing. 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)
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)
Emmanuel College, Cambridge (Cambridge Series 1956 - 66)
Linocut 55 x 43 cm Signed and inscribed A/P in pencil. Hoyle's view of Emmanuel's Front Court bleaches the gold of the chapel's Ketton Stone into an icy blue, and situates it beneath a tempestuous yellow 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 views of Emmanuel 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. -
Brendan Neiland (b. 1941) R.A. (Expelled)
Lady Margaret Hall
Screenprint 46 x 27 cm Signed, titled, and numbered 42/175 in pencil. A screenprint of the cupola atop Lady Margaret Hall's Talbot Building. Reflected architecture is one of Neiland’s most recurring themes. Neiland's work is widely exhibited in major museums and galleries worldwide including, in Britain, the Victoria and Albert Museum, The Tate Gallery London, The Collections of the British Council, and the Arts Council of Great Britain. He is represented by the Redfern Gallery and has had numerous shows internationally, including at the Galerie Belvedere in Singapore, who represent him in Singapore and the Far East. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Lady Margaret Hall. -
K Edmonds
Countryside Scene
Watercolour 24 x 35 cm Signed lower right. A blue- and green-hued landscape, where earth blends into sky. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
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. -
Valerie Thornton (1931-1991)
Bodleian Quadrangle, Oxford (1983)
Etching 24 x 35 cm Numbered 13/75 lower left, titled below, and signed and dated lower right, all in pencil. A very good example of Thornton's recognisable and unusual etching style. Her work is deeply concerned with material, and many of her etchings focus on eroded stone, emotive landscapes, and weathered architecture. Here, Thornton draws out the exceptional texture of the Bodleian Library's local stone. Valerie Thornton was a British etcher and printmaker. She was born in London, but was evacuated to Canada with her two brothers during World War II. She returned to London in 1944 and studied at the Byam Shaw School of Art in 1949. From 1950 to 1953 Thornton studied under P.F. Millard at the Regent Street Polytechnic, then spent eight months at Atelier 17 in Paris. In the early 1960s, she moved to New York and worked at Pratt Graphic Art Centre. In 1955, she succeeded Howard Hodgkin as assistant art teacher at Charterhouse School and in 1965 she became a founding member of the Print Makers Council. In 1970 she became a Fellow of the Royal Society of Painters-Etchers and Engravers. Thornton was a member of The Regent Street Group (a group of nine artists who studied together at the Regent Street Polytechnic in the early 1950s). The group also included Susan Horsfield, Renate Meyer, Michael Lewis, Ken Symonds, Philip Le Bas, and Peter Riches. Thornton's work is included in a number of major public collections including the Victoria and Albert Museum, the British Museum, and the Tate. Thornton died in 1991 in Chelsworth, Suffolk. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more works by Valerie Thornton. -
John Barnicoat MA ARCA (1924 - 2013) Harbour (1975)
Tempera on card 26 x 26 cm Initialled B and dated '75. John Barnicoat was a painter of oils and works on paper using tempera, conté, acrylic, pen, and ink. He was brought up in Cornwall and educated at King’s College, Taunton. He joined the Royal Naval Volunteer Reserves and took part in D-Day, aged 29. He went on to read history at Lincoln College, Oxford, and also studied at the Ruskin School of Drawing. He attended the Royal College of Art in the early 1950s, eventually becoming the Senior Tutor at the RCA Painting School between 1976 and 1980. He was the head of Falmouth School of Art 1972 - 1976 and Head of the Chelsea School of Art 1980 - 1989. He wrote 'Posters: a Concise History' in 1972, and organised and curated exhibitions in the UK and Russia on the art of poster design. From 1989 onwards he produced numerous drawings and oils of the bridges of London, women’s heads, acrylic and conté works on paper, and pen and wash drawings of women dressing. His work is represented in both government and private collections, and was recently shown at The Belgrave Gallery, St Ives (2017 - 2022). Provenance: the artist's estate. Condition: generally very good; in hand-finished frame. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other Modern British original paintings. -
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. -
Gordon House (1932 - 2004)
Circle E
Lithograph 86 x 45 cm Signed, numbered 48/75, and titled in pencil below the plate. An excellent example of Gordon House's work: a modern design, influenced by art deco, in blue and yellow. Gordon House was born in Pontardawe, South Wales in 1932 and studied at Luton and St. Albans Schools of Art. He began working for advertising agencies in the 1950s and became a full-time artist in 1961, exhibiting several solo shoes. He designed for several leading London galleries, the Ashmolean Museum in Oxford, and popular bands such as the Beatles and the Rolling Stones. Several dozen Gordon House prints are held by the Tate. Condition: very good; backed to board. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other abstract lithographs by Gordon House. -
Gordon House (1932 - 2004)
Triangle D
Lithograph 86 x 45 cm Signed and titled in pencil below the plate. An excellent example of Gordon House's work: a modern design in tones of green, pink, and blue. Gordon House was born in Pontardawe, South Wales in 1932 and studied at Luton and St. Albans Schools of Art. He began working for advertising agencies in the 1950s and became a full-time artist in 1961, exhibiting several solo shoes. He designed for several leading London galleries, the Ashmolean Museum in Oxford, and popular bands such as the Beatles and the Rolling Stones. Several dozen Gordon House prints are held by the Tate. Condition: very good; backed to board. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other abstract lithographs by Gordon House. -
Walter Hoyle (1922 - 2000)
King's College, Cambridge (Cambridge Series 1956 - 66)
Linocut 61 x 80 cm Numbered 37/75 lower left, titled below, marked as artist's proof, and signed lower right, all in pencil. A blue- and grey-hued linocut of King's. A version of this print, owned by the Government Art Collection, hangs in the British Embassy in Tunis. 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: ex the Arthur Andersen collection. Condition: generally very good; some gentle and even age toning to paper. 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. -
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. -
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. -
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. -
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. -
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. -
Walter Ernest Spradbery (1889 - 1969)
Temple Church and Library after Bombardment (1944)
Lithograph 66 x 57 cm Walter Spradbery's poster for the London Underground depicting a bombed Temple Church; a rainbow strikes hopefully out of the church's remains, and the sun shines on the golden stone of the building. The full poster bears the legend 'The Proud City' above Spradbery's design, and, beneath it, a quote from Charles Lamb: 'So may the winged horse, your ancient badge and cognisance, still flourish!'. This is a fantastic piece of British and London history, as well as a fantastically designed poster by a notable 20th century artist. The London Transport Museum has a copy of the poster, reference 1983/4/5751. 'The Proud City' was a series of six posters, all designed by Spradbery. They were commissioned by London Transport in 1944 as a defiant celebration of London's surviving the Blitz, and each poster also included a literary quotation. Walter Ernest Spradbery was a designer, painter, and poet who lived through the First and Second World Wars. He produced posters for LNER, Southern Railways, and London Transport, and was noted for his fascination with architecture and landscape. He studied, and later taught, at the Walthamstow School of Art. He was a pacifist and campaigned for nuclear disarmament, serving in the Medical Corps during the First World War and painting scenes of warfare for its duration, as well as during the Second World War. His anti-war stance and the horrors he had witnessed as a medic fed into his post-war poster design, especially 'The Proud City' poster series. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
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. -
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.
