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Peter Collins ARCA (1923-200 Exotic Dancer
Pencil 25x17cm Provenance: The Artist's Studio If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally good, a little gentle spotting. Click here for other items by the artist and for biographical details. -
Peter Collins ARCA (1923-2001)
Still Life of a Fruit Bowl (c. 1960s)
Oil on canvas 40 x 51 cm Signed lower right. A stylish mid-century still life with fruit. Collins's first job was at an advertising agency, in the commercial studio. World War II interrupted his career and he joined the Royal Artillery (of the British Army), teaching painting and drawing in the Education Corps - whilst simultaneously teaching at St Martin's School of Art, part time. Following the war, Collins studied at the Royal College of Art, winning a scholarship. He then worked as a commercial artist, producing some well-known posters for clients including British Railways and British European Airways. He was the Art Director at Odhams Press and spent time designing for both ICI and Shell. With his wife Georgette, he created the 'Bacombe Galleries' in Sussex, converting a group of buildings into a gallery space. In 1975 they developed the Stanley Studios in Chelsea, which were scheduled for redevelopment, into a combined artists' studio and residence. Moving into the Stanley Studios allowed the Collinses to immerse themselves in Chelsea's art scene, and they proceeded to fill the studios with art, antiques, scupture, and other curios. Provenance: the artist's studio sale 2017, lot 2050. Condition: very good. -
Peter Collins ARCA (1923-2001) The Schoolroom
Pen, ink and whitening 19x27cm Provenance: The Artist's Studio A stongly-painted image, with a wonderful sense of the light available in a new, post-war classroom. The schoolboys wear short trousers and - together with schoolgirls - are engrossed in a task. Click here for other items by the artist and for biographical details. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Peter Collins ARCA (1923-2001) St Mary le Strand Church
Watercolour 17 x 21 cm Signed lower right. Provenance: The artist's studio. Typical Collins, with his bright colours and captivating scene, reminiscent of his travel posters, here a passerby in red walks purposely towards the foreground. Click here for other items by the artist and for biographical details. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Peter Collins ARCA (1923-2001) School Children in a Cloakroom
Pen, ink and whitening 15x24cm Provenance: The Artist's Studio A stongly-painted image, ensuite with Collins' schoolroom scene that we have listed with a wonderful sense of the light available in a new, post-war school. The schoolboy wears short trousers and - together with schoolgirls - is engaged in the task of time immemorial of waiting in the cloakroom. Shoes are stacked under the benches and coats hang from the hooks. Click here for other items by the artist and for biographical details. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Peter Collins ARCA (1923-2001) Still Life with Green Apples and Bottle
Oil on Board 49x59cm Provenance: The Artist's Studio A stongly-painted image, with a generous use of skilfully executed impasto and bright tones. A bowl of green fruit, probably apples, and with perhaps some lemons sits besides a slender and partly-drunk bottle, with an abstract tablecloth in red, white and blue behind. Click here for other items by the artist and for biographical details. -
Peter Collins ARCA (1923-2001) Mid Century Modern Lounge Interior
Pen, ink and watercolour 10.5x20.5cm Signed Peter Collins lower right Provenance: The Artist's Studio A stongly-painted image, with a wonderful sense of the light and brightness of a modernist interior. Whether the scene on the back wall is intended to be an extraordinary wallpaper, or whether the view to the garden, we do not know. But the viewer is encouraged to take a seat in an interior that at the time will have felt modern yet comfortable. Click here for other items by the artist and for biographical details. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Peter Collins ARCA (1923-2001) Lloret, Spain 2 - Design for Holiday Brochure (for BEA Panorama Holidays)
Mixed media 30x45cm Provenance: The Artist's Studio As a graphic designer, Collins produced many brochures such as these. With his fondness for life drawing, he was perhaps a natural choice for the bikini-clad inhabitants of the pages of a holiday brochure. Collins's first job was at an advertising agency, in the commercial studio, whilst he attended evening art classes. World War II interrupted his career and he joined the Royal Artillery (of the British Army), teaching painting and drawing in the Education Corps - whilst simultaneously teaching at St Martin's School of Art, part time. Following the war Collins studied at the Royal College of Art, winning a scholarship. Leaving in 1950 he then worked as a commercial artist producing some well-known posters for clients including British Railways and British European Airways. He was the Art Director at Odhams Press and spent time designing for both ICI and Shell. With his wife Georgette he created the 'Bacombe Galleries' in Sussex, converting a group of buildings. In 1975 they again converted buildings, this time Stanley Studios in Chelsea which were scheduled for redevelopment; many artists had worked there, probably the most famous being Elizabeth Frink. Combining an artist's studio and a single residence at Stanley Studios the Collinses were immersed in Chelsea's art scene and proceeded to fill the place with art, antiques, scupture and curios. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. -
Peter Collins ARCA (1923-2001) Lloret, Spain - Design for Holiday Brochure (for BEA Panorama Holidays)
Mixed media 30x45cm Provenance: The Artist's Studio As a graphic designer, Collins produced many brochures such as these. With his fondness for life drawing, he was perhaps a natural choice for the bikini-clad inhabitants of the pages of a holiday brochure. Collins's first job was at an advertising agency, in the commercial studio, whilst he attended evening art classes. World War II interrupted his career and he joined the Royal Artillery (of the British Army), teaching painting and drawing in the Education Corps - whilst simultaneously teaching at St Martin's School of Art, part time. Following the war Collins studied at the Royal College of Art, winning a scholarship. Leaving in 1950 he then worked as a commercial artist producing some well-known posters for clients including British Railways and British European Airways. He was the Art Director at Odhams Press and spent time designing for both ICI and Shell. With his wife Georgette he created the 'Bacombe Galleries' in Sussex, converting a group of buildings. In 1975 they again converted buildings, this time Stanley Studios in Chelsea which were scheduled for redevelopment; many artists had worked there, probably the most famous being Elizabeth Frink. Combining an artist's studio and a single residence at Stanley Studios the Collinses were immersed in Chelsea's art scene and proceeded to fill the place with art, antiques, scupture and curios. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. -
Peter Collins ARCA (1923-2001) Design for Holiday Brochure for Laigueglia Italy (for BEA Panorama Holidays) 4
Mixed media 30x45cm Provenance: The Artist's Studio As a graphic designer, Collins produced many brochures such as these. With his fondness for life drawing, he was perhaps a natural choice for the bikini-clad inhabitants of the pages of a holiday brochure. Collins's first job was at an advertising agency, in the commercial studio, whilst he attended evening art classes. World War II interrupted his career and he joined the Royal Artillery (of the British Army), teaching painting and drawing in the Education Corps - whilst simultaneously teaching at St Martin's School of Art, part time. Following the war Collins studied at the Royal College of Art, winning a scholarship. Leaving in 1950 he then worked as a commercial artist producing some well-known posters for clients including British Railways and British European Airways. He was the Art Director at Odhams Press and spent time designing for both ICI and Shell. With his wife Georgette he created the 'Bacombe Galleries' in Sussex, converting a group of buildings. In 1975 they again converted buildings, this time Stanley Studios in Chelsea which were scheduled for redevelopment; many artists had worked there, probably the most famous being Elizabeth Frink. Combining an artist's studio and a single residence at Stanley Studios the Collinses were immersed in Chelsea's art scene and proceeded to fill the place with art, antiques, scupture and curios. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. -
Peter Collins ARCA (1923-2001) Design for Holiday Brochure for Laigueglia Italy (for BEA Panorama Holidays) 3
Mixed media 30x45cm Provenance: The Artist's Studio As a graphic designer, Collins produced many brochures such as these. With his fondness for life drawing, he was perhaps a natural choice for the bikini-clad inhabitants of the pages of a holiday brochure. Collins's first job was at an advertising agency, in the commercial studio, whilst he attended evening art classes. World War II interrupted his career and he joined the Royal Artillery (of the British Army), teaching painting and drawing in the Education Corps - whilst simultaneously teaching at St Martin's School of Art, part time. Following the war Collins studied at the Royal College of Art, winning a scholarship. Leaving in 1950 he then worked as a commercial artist producing some well-known posters for clients including British Railways and British European Airways. He was the Art Director at Odhams Press and spent time designing for both ICI and Shell. With his wife Georgette he created the 'Bacombe Galleries' in Sussex, converting a group of buildings. In 1975 they again converted buildings, this time Stanley Studios in Chelsea which were scheduled for redevelopment; many artists had worked there, probably the most famous being Elizabeth Frink. Combining an artist's studio and a single residence at Stanley Studios the Collinses were immersed in Chelsea's art scene and proceeded to fill the place with art, antiques, scupture and curios. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. -
Peter Collins ARCA (1923-2001) Design for Holiday Brochure for Laigueglia Italy (for BEA Panorama Holidays) 2
Mixed media 30x45cm Provenance: The Artist's Studio As a graphic designer, Collins produced many brochures such as these. With his fondness for life drawing, he was perhaps a natural choice for the bikini-clad inhabitants of the pages of a holiday brochure. Collins's first job was at an advertising agency, in the commercial studio, whilst he attended evening art classes. World War II interrupted his career and he joined the Royal Artillery (of the British Army), teaching painting and drawing in the Education Corps - whilst simultaneously teaching at St Martin's School of Art, part time. Following the war Collins studied at the Royal College of Art, winning a scholarship. Leaving in 1950 he then worked as a commercial artist producing some well-known posters for clients including British Railways and British European Airways. He was the Art Director at Odhams Press and spent time designing for both ICI and Shell. With his wife Georgette he created the 'Bacombe Galleries' in Sussex, converting a group of buildings. In 1975 they again converted buildings, this time Stanley Studios in Chelsea which were scheduled for redevelopment; many artists had worked there, probably the most famous being Elizabeth Frink. Combining an artist's studio and a single residence at Stanley Studios the Collinses were immersed in Chelsea's art scene and proceeded to fill the place with art, antiques, scupture and curios. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. -
Peter Collins ARCA (1923-2001) Design for Holiday Brochure for Laigueglia Italy (for BEA Panorama Holidays)
Mixed media 30x45cm Provenance: The Artist's Studio As a graphic designer, Collins produced many brochures such as these. With his fondness for life drawing, he was perhaps a natural choice for the bikini-clad inhabitants of the pages of a holiday brochure. Collins's first job was at an advertising agency, in the commercial studio, whilst he attended evening art classes. World War II interrupted his career and he joined the Royal Artillery (of the British Army), teaching painting and drawing in the Education Corps - whilst simultaneously teaching at St Martin's School of Art, part time. Following the war Collins studied at the Royal College of Art, winning a scholarship. Leaving in 1950 he then worked as a commercial artist producing some well-known posters for clients including British Railways and British European Airways. He was the Art Director at Odhams Press and spent time designing for both ICI and Shell. With his wife Georgette he created the 'Bacombe Galleries' in Sussex, converting a group of buildings. In 1975 they again converted buildings, this time Stanley Studios in Chelsea which were scheduled for redevelopment; many artists had worked there, probably the most famous being Elizabeth Frink. Combining an artist's studio and a single residence at Stanley Studios the Collinses were immersed in Chelsea's art scene and proceeded to fill the place with art, antiques, scupture and curios. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. -
Peter Collins ARCA (1923-200 Elegant Figures in Deckchairs with Boaters and Hats
Mixed Media, Collage, Watercolour, Pencil etc. 29x18cm Provenance: The Artist's Studio As a graphic designer, Collins produced many drawings such as these and we invite you to look at our other drawings and sketches by him. Click here for other items by the artist and for biographical details. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Peter Collins ARCA (1923-2001) Design for Holiday Brochure for Majorca 3 (for BEA Panorama Holidays)
Mixed media 30x45cm Provenance: The Artist's Studio As a graphic designer, Collins produced many brochures such as these. With his fondness for life drawing, he was perhaps a natural choice for the bikini-clad inhabitants of the pages of a holiday brochure. Collins's first job was at an advertising agency, in the commercial studio, whilst he attended evening art classes. World War II interrupted his career and he joined the Royal Artillery (of the British Army), teaching painting and drawing in the Education Corps - whilst simultaneously teaching at St Martin's School of Art, part time. Following the war Collins studied at the Royal College of Art, winning a scholarship. Leaving in 1950 he then worked as a commercial artist producing some well-known posters for clients including British Railways and British European Airways. He was the Art Director at Odhams Press and spent time designing for both ICI and Shell. With his wife Georgette he created the 'Bacombe Galleries' in Sussex, converting a group of buildings. In 1975 they again converted buildings, this time Stanley Studios in Chelsea which were scheduled for redevelopment; many artists had worked there, probably the most famous being Elizabeth Frink. Combining an artist's studio and a single residence at Stanley Studios the Collinses were immersed in Chelsea's art scene and proceeded to fill the place with art, antiques, sculpture and curios. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. -
Peter Collins ARCA (1923-2001) Design for BEA Holiday Brochure 1966 BEA Panorama Holidays
Mixed media on paper 30x21cm Provenance: The Artist's Studio As a graphic designer, Collins produced many brochures such as these. With his fondness for life drawing, he was perhaps a natural choice for the bikini-clad inhabitants of the pages of a holiday brochure. Click here for other items by the artist and for biographical details. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Peter Collins ARCA (1923-2001) Colliery Mining Scene
Pen, ink 20x35cm Provenance: The Artist's Studio The use of pen ank ink creates a powerful image, emphasising the stark nature of the colliery. Yet the scene is softened by the presence of figures, dwarfed against the mighty machinery. The strong vertical lines on the timber-clad buildings emphasise the vertical lines of the pit machinery, and suggest the depths of the earth to which the mine reaches; yet at the same time the horizontal nature of the drawing provides a contrast. Click here for other items by the artist and for biographical details. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Peter Collins ARCA (1923-2001) Adam Brunskill Book Jacket Design
for Collins publishers (no relation) Watercolour and collage 22x17cm Provenance: The Artist's Studio Signed lower right Peter Collins Typical Collins, with his bright colours and captivating scene, very reminiscent of his travel posters. Click here for other items by the artist and for biographical details. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Percy Drake Brookshaw (1907-1993) Marching Band
Linocut c. 1930s 30x30 cm Inscribed 'Artist's trial proof 1A' Provenance: the family of the artist, by descent. Brookshaw was born in Southwark, in London, and educated at the Central School of Arts and Crafts. He was a particularly accomplished lithographer, skilled also as a painter in both oil and watercolour. Identifying the former talent, F Gregory Brown - the poster and textile designer - encouraged him to become an illustrator and poster designer. Producing posters for London Transport and Shell, inter alia, between 1928 and 1958, many of his posters depict sporting events. His two posters for the annual University Boat Race are well known and highly sought after, and his wonderful posters often evoke a feeling of movement, whether rowers straining on their oars, or horses or greyhounds racing. In this carefully executed linocut, Brookshaw brings the band members to life with the same skill and enthusiasm he brings to his posters. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good, some spotting to external margins outside image area. -
Percy Drake Brookshaw (1907-1993) Marching Band
Linocut c. 1930s 30x30 cm Inscribed 'Artist's trial proof 1A' Provenance: the family of the artist, by descent. Brookshaw was born in Southwark, in London, and educated at the Central School of Arts and Crafts. He was a particularly accomplished lithographer, skilled also as a painter in both oil and watercolour. Identifying the former talent, F Gregory Brown - the poster and textile designer - encouraged him to become an illustrator and poster designer. Producing posters for London Transport and Shell, inter alia, between 1928 and 1958, many of his posters depict sporting events. His two posters for the annual University Boat Race are well known and highly sought after, and his wonderful posters often evoke a feeling of movement, whether rowers straining on their oars, or horses or greyhounds racing. In this carefully executed linocut, Brookshaw brings the band members to life with the same skill and enthusiasm he brings to his posters. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good, some spotting to external margins outside image area. -
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. -
Angela Stones (1914 - 1995)
Old London Bridge Fantasia (1968)
Oil on board 56 x 43 cm Signed lower left. A fantasia inspired by Old London Bridge on the Thames. The grey dome of St Paul's peeps over the bridge; bright lights burn in the background, throwing yellows and red reflections onto the water. Moored boats bob gently in the foreground. 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. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Norman Adams RA (1927-2005)
The Sound of Scarp and Vision of Bernadette (c.1980) (Double sided)
24 x 26 cm Watercolour Norman Adams RA, former professor of painting at the Royal Academy, felt strongly that, "art [without religion] would be a pretty empty vocation." Despite not going to church, nor identifying with any specific belief system, the artist's paintings of the natural world, often dramatic in nature, betray a strong spiritual intensity. On one side of this watercolour Adams has painted a monumental wave crash, captioned 'Southwest Wind - Very Rough Sea The Sea of Scarp.' On the other, is a softer, lilac abstraction entitled 'Vision of Bernadette', a reference to Saint Bernadette's famous visions of Mary at the Lourdes grotto. He studied at Harrow School of Art (1940-46) and then the Royal College of Art (1948-51). His first solo show was at Gimpel Fils in 1952, and his last at the Fine Art Society in 2004. His works included many murals and stage designs. There are many of his major works in the national collection, including the Tate, Leeds Museums, The Whitworth, the Royal College of Art, Bristol Museums, Leicester Museums, The Royal Academy and the Hepworth, Wakefield. -
Nora Davison (1881-1930)
Eton College (c.1920)
31 x 26 cm Watercolour Signed, lower left Nora Davison was a well-known figure around Eton, being responsible for many watercolours. An acclaimed painter of coastal scenes and landscapes she exhibited at inter alia, the Fine Art Society, Walker Art Gallery Liverpool, the New Gallery, Royal Academy, Royal Society of British Artists and Society of Woman Artists. Condition: Generally good - slight loss of colour, mounted to board. -
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. -
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. -
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. -
William Black Design for Sculpture (1966)
Watercolour 18 x 16 cm Signed and dated lower right. A design for a metal sculpture, on a blue- and grey-toned background. William Black was a St Ives artist who began his career as an architect. In the 1950s he came into money and ran away to St Ives to become a professional artist, studying under John Tunnard and associating with other artists like Ben Nicholson and Barbara Hepworth. Black rarely put up work for sale during his lifetime and is known for his architectural and deconstructivist sculptures which espoused the modernist spirit of the St Ives group in the 1960s. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other Modern British Art. -
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 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. -
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. -
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. -
Margaret Macadam (1902-1991)
Juggler
Watercolour drawing, signed lower right 26cm x 18cm In The Barbarians (1935), set in Paris and on the Riviera in 1922, Virginia Faulkner sets out her account of the Bohemian life of expats and war veterans. The Barbarians, a loose cluster of creative types, comprised painters, a sculptor, a writer, a pianist, and a gigolo. Faulker was only 22 when she wrote the book. Margaret Macadam was a British illustrator active in the 1920s and 1930s. She won a scholarship to the Royal Academy schoos in 1925. Amongst her commercial works are several dust wrapper designs for London-based publishers, including the dust-jacket design for the first edition of Agatha Christie’s first straight novel ‘Giant’s Bread’. Following the discovery of an archive of Macadam’s work in 2016, it was possible to connect her work on Giant’s Bread to other known designs. Condition: Excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Derrick Latimer Sayer (1917 - 1992)
Madonna and Child (Christmas Card)
Linocut 21 x 13.5 cm Mounted to card, signed 'Derrick Sayer' and dated Christmas 1968. Sayer's linocut of the Virgin Mary and baby Jesus is hauntingly emotive; his spare use of line shows Mary, eyes closed, cradling her newborn son. Two animals from the stable in Bethlehem look on. Sayer studied at the Chelsea School of Art under Graham Sutherland and Henry Moore, and then in Paris in Ben Nicholson's studio. In the late 1930s he was in Cornwall, founding the Mousehole Group Art School. He was well known for his work as a poster artist and book illustrator. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Mabel A. Royds (1874-1941) The Shepherds
Colour woodblock print Signed in pencil Exhibited 1942 29 x 33cm (approx.) Born in Bedfordshire, Mabel Royds was a painter, printmaker and illustrator. She studied under Henry Tonks at the Slade, after which she travelled to Paris - where she worked in the studio of Walter Sickert - and to Canada, before starting to teach at the Edinburgh College of Art in 1911. In 1914 she married the printmaker Ernest Lumsden, and over the next few years the pair travelled extensively in India and Tibet, which provided a wealth of inspiration for woodcuts such as this one. Royds' technique was unusual in that she painted the colour onto the woodblock with a brush, giving each print a unique character. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Mabel A. Royds (1874-1941) The Lamas Harvest
Colour woodblock print Signed in pencil Exhibited 1923 14 x 21cm (approx.) Born in Bedfordshire, Mabel Royds was a painter, printmaker and illustrator. She studied under Henry Tonks at the Slade, after which she travelled to Paris - where she worked in the studio of Walter Sickert - and to Canada, before starting to teach at the Edinburgh College of Art in 1911. In 1914 she married the printmaker Ernest Lumsden, and over the next few years the pair travelled extensively in India and Tibet, which provided a wealth of inspiration for woodcuts such as this one. Royds' technique was unusual in that she painted the colour onto the woodblock with a brush, giving each print a unique character. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Mabel A. Royds (1874-1941)
Chortens Ladakh
Colour woodblock print Signed in pencil Exhibited 1919 27.5 x 20cm (approx.) In Ladakh, in northern India, a view of Chortens - monuments to famous Buddhists Born in Bedfordshire, Mabel Royds was a painter, printmaker and illustrator. She studied under Henry Tonks at the Slade, after which she travelled to Paris - where she worked in the studio of Walter Sickert - and to Canada, before starting to teach at the Edinburgh College of Art in 1911. In 1914 she married the printmaker Ernest Lumsden, and over the next few years the pair travelled extensively in India and Tibet, which provided a wealth of inspiration for woodcuts such as this one. Royds' technique was unusual in that she painted the colour onto the woodblock with a brush, giving each print a unique character. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Mabel Alington Royds (1874-1941) Boat Builders
Signed in pencil c.1915-1920 Woodblock Print 23 x 30cm Born in Bedfordshire, Mabel Royds was a painter, printmaker and illustrator. She studied under Henry Tonks at the Slade, after which she travelled to Paris - where she worked in the studio of Walter Sickert - and to Canada, before starting to teach at the Edinburgh College of Art in 1911. In 1914 she married the printmaker Ernest Lumsden, and over the next few years the pair travelled extensively in India and Tibet, which provided a wealth of inspiration for woodcuts such as this one. Royds' technique was unusual in that she painted the colour onto the woodblock with a brush, giving each print a unique character. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Louis Osman (1914-1996) Christmas Card, Byford Court, 1985 22 x 31cm Gouache and ink on paper This characterful card was sent by Louis Osman and his wife Dilys, whom he had married in 1940. Written and painted in 1985, it features an ink sketch and gouache painting of the porch entrance to Byford Court, with handwritten notes about the house's significance. Osman moved to Byford Court in 1976, following a brief brush with bankruptcy. Osman attended the Bartlett School of Architecture and the Slade School of Art, and became a Donaldson Medallist of RIBA in 1935. In the late 1930s he took part in the British Museum and British School of Archaeology expeditions to Syria. After war service he worked in London designing buildings, furniture, tapestries, and glass including work in Westminster Abbey, Lincoln, Ely, Exeter and Lichfield Cathedrals. He also did work for the National Trust at Staunton Harold Church in Ashby de la Zouch. Before moving to Byford Court, Osman and his wife lived at Canons Ashby House in Northamptonshire. Whilst there, they made the crown used at the investiture of Charles, Prince of Wales. In 1976, they also made the gold enamelled casket holding the Magna Carta on view in the United States Capitol, Washington, DC for the United States Bicentennial. Some discolouration to paper. -
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. -
Paul Ayshford Methuen, 4th Baron Methuen of Corsham (1886 -1974)
Corsham Court
Oil on Board Signed and dated 1957 9x11 inches Corsham Court is home to the Barons Methuen. 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. -
Paul Ashford, Lord Methuen (1886-1974) The Baptistry, Pisa,
1956 Signed bottom right Pastel 18 x 26cm -
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. -
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. -
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. -
Leslie Porter (British, 1903-1977) 'Still Life with Pears'
Oil on board Signed and dated 1950 16 x 21cm Leslie was born in 1903. He trained at art school (Camberwell I recall) and had an interesting and varied career in marketing and advertising, culminating at one of the UK's largest advertising Agencies, LPE, (later Leo Burnett) where he was a board director and creative director until his retirement in the late '60s. During that time and after his retirement he was a frequent traveller to France where he produced a raft of oil paintings, sketches and pastels observing local people and the lives they led. Also many paintings of buildings and the mostly urban environment both abroad and in this country. One of his early jobs was with London Transport where he produced posters and other publicity material, some of which is in the V&A - you can see a couple online with a bit of an online search. His work was displayed at several exhibitions in London and he was awarded prizes for his oil paintings in France. After his retirement he moved to the coast at Folkestone where he continued to paint - subjects and buildings around the town, festivals, people and occasional visits across the Channel to France. He was married but later divorced and lived with his partner Dorothy until his death in Folkestone in 1977. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent. In a hand-finished oak frame. -
Brendan Neiland (b. 1941) RA (Expelled)
Leeds (1991)
Lithographic poster 101 x 71 cm Signed 'Brendan Neiland 1991' and inscribed 'to Alan best wishes', both in pencil. Proof copy poster complete with large margins and printer's colour bars etc, which can be hidden under mount when framed. Neiland is known for his interpretations of city life. His 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. Reflected architecture is one of Neiland’s most recurring themes. 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 Brendan Neiland. -
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. -
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. -
Laurence Dunn (1910-2006)
Coal Barge (c.1950)
12.5 x 25 cm Watercolour and ink Signed 'L Dunn' lower left Extensively inscribed to bottom corners, including comments 'coal should be lighter' indicating this is a preliminary watercolour for a future painting. He also makes reference to the continued existence of a 'wartime wooden bulkhead' - added to make the ship more resilient in the event of enemy action. Laurence Dunn (1910-2006) was a well-known British marine artist and writer. The World Ship Society published the following obituary for Dunn: DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home. -
Laurence Dunn (1910-2006) Otra
Gouache 11.5x18cm Inscribed to reverse 'Rough sketch for painting of "Otra" commissioned for Capt. F.E. Eagle, whose favourite command she was' and signed 'Laurence Dunn' The World Ship Society published the following obituary for Dunn: DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent. -
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. -
Brendan Neiland (b.1941) R.A. (Expelled)
Hyde Park Barracks, Knightsbridge (1979)
Screenprint 35 x 51 cm Signed, titled, dated and numbered 153/300 in pencil. A print of the facade of Hyde Park Barracks, reflected in still water and backed by a bright blue sky. Reflected architecture is one of Neiland's most recurring themes. The Hyde Park Barracks (often known as Knightsbridge Barracks) on the southern edge of Hyde Park. The barracks are 3⁄4 mile from Buckingham Palace, enabling the officers and soldiers of the Household Cavalry to be available to respond speedily to any emergency at the Palace, practice drills on the Horse Guards Parade, and conduct their ceremonial duties. Neiland is known for his interpretations of city life. His 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: slight browning to sheet; small stain to top right corner. When mounted this will not be perceptible. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
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. -
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. -
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)
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. -
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. -
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. -
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. -
Out of stock
Gerald Mac Spink (flourished 1920 - 1940)
Kelham Hall Chapel II
Watercolour 29 x 24 cm Signed 'G Spink' lower left. A depiction of the magnificent chapel at Kelham Hall, a sumptuous Gothic Revival Victorian country house designed by George Gilbert Scott. The artist highlights the soaring, cavernous proportions of the chapel and the delicate beauty of its focal point: a raised crucifix which also acts as an altar screen. There have been three halls at Kelham over the centuries, all built by the Manners Sutton family, whose links with Nottinghamshire go back to the 12th century. The first Kelham Hall was built shortly after the end of the Civil War for Robert Sutton, 1st Lord Lexington. It was destroyed by fire in 1728 and rebuilt for Bridget, the Duchess of Rutland, the daughter of the 2nd Lord Lexington. Bridget Sutton had married John Manners, the 3rd Duke of Rutland. Today's Kelham Hall was built by the revered Victorian architect Sir George Gilbert Scott after the second Hall was destroyed by fire in 1857. Between 1903 and 1973 the hall was used an Anglican theological college for the Society of the Sacred Mission, which built the domed chapel in 1928. The Hall is now a sought-after wedding venue. Spink was a skilled artist, illustrator, 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: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other architectural views. -
Out of stock
Gerald Mac Spink (flourished 1920 - 1940)
Kelham Hall Chapel I
Watercolour 29 x 24 cm Signed 'G Spink' lower left. A depiction of the magnificent chapel at Kelham Hall, a sumptuous Gothic Revival Victorian country house designed by George Gilbert Scott. The artist highlights the soaring, cavernous proportions of the chapel and the delicate beauty of its focal point: a raised crucifix which also acts as an altar screen. There have been three halls at Kelham over the centuries, all built by the Manners Sutton family, whose links with Nottinghamshire go back to the 12th century. The first Kelham Hall was built shortly after the end of the Civil War for Robert Sutton, 1st Lord Lexington. It was destroyed by fire in 1728 and rebuilt for Bridget, the Duchess of Rutland, the daughter of the 2nd Lord Lexington. Bridget Sutton had married John Manners, the 3rd Duke of Rutland. Today's Kelham Hall was built by the revered Victorian architect Sir George Gilbert Scott after the second Hall was destroyed by fire in 1857. Between 1903 and 1973 the hall was used an Anglican theological college for the Society of the Sacred Mission, which built the domed chapel in 1928. The Hall is now a sought-after wedding venue. Spink was a skilled artist, illustrator, 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: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other architectural views. -
Julian Trevelyan (1910-1988)
Spinnakers (1972)
Etching 48 x 35 cm (sheet size 68 x 55 cm) Signed in pencil and numbered 1/65. The Tate holds number 24/56 - reference P01330. Small vessels weave around two great boats with striped masts, observed by a dark sky full of geometric clouds. A red buoy bobs in the foreground, and the heavily textured sea and sky blend into one. Nephew of the historian G M Trevelyan, Julian Trevelyan was educated at Bedales and then at Trinity College, Cambridge, where he read English. After moving to Paris, Trevelyan studied engraving at Stanley William Hayter’s school, working alongside artists such as Max Ernst, Joan Miro and Pablo Picasso. He married the potter Ursula Darwin in 1934, and in 1935 they moved to Hammersmith, buying Durham Wharf beside the River Thames which was Trevelyan’s studio – and home – for the rest of his life. His wartime service was – like so many artists – as a camoufleur. A Royal Engineer from 1940-43, he served in North Africa and Palestine, forcing the German Afrika Korps to use resources against a dummy army whilst real tanks were disguised as more harmless equipment. In the desert, nothing could be hidden - but it could be disguised. Following the dissolution of his marriage in 1950, he married the painter Mary Fedden. Teaching at Chelsea School of Art, Trevelyan eventually became head of the Etching Department and his pupils included David Hockney and Peter Ackroyd. Condition: generally very good. Mounted to board. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Out of stock
Julian Trevelyan (1910 - 1988)
Souk (1972)
Etching and aquatint 71 x 56 cm Signed, titled, and numbered 1/65 in pencil outside of the plate. The Tate Collection holds number 25/65. An Arab bazaar. Tall, nameless blue figures surround a veiled and staring woman. Nephew of the historian G M Trevelyan, Julian Trevelyan was educated at Bedales and then at Trinity College, Cambridge, where he read English. After moving to Paris, Trevelyan studied engraving at Stanley William Hayter’s school, working alongside artists such as Max Ernst, Joan Miro and Pablo Picasso. He married the potter Ursula Darwin in 1934, and in 1935 they moved to Hammersmith, buying Durham Wharf beside the River Thames which was Trevelyan’s studio – and home – for the rest of his life. His wartime service was – like so many artists – as a camoufleur. A Royal Engineer from 1940-43, he served in North Africa and Palestine, forcing the German Afrika Korps to use resources against a dummy army whilst real tanks were disguised as more harmless equipment. In the desert, nothing could be hidden - but it could be disguised. Following the dissolution of his marriage in 1950, he married the painter Mary Fedden. Teaching at Chelsea School of Art, Trevelyan eventually became head of the Etching Department and his pupils included David Hockney and Peter Ackroyd. Condition: mounted to board, small scuff to very bottom of margin, otherwise very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Julian Trevelyan (1910-1988) Islam Etching 35 x 48 cm (sheet size 55 x 68 cm) Nephew of the historian G M Trevelyan, Julian Trevelyan was educated at Bedales and then at Trinity College, Cambridge, where he read English. After moving to Paris, Trevelyan studied engraving at Stanley William Hayter’s school, working alongside artists such as Max Ernst, Joan Miro and Pablo Picasso. He married the potter Ursula Darwin in 1934, and in 1935 they moved to Hammersmith, buying Durham Wharf beside the River Thames which was Trevelyan’s studio – and home – for the rest of his life. His wartime service was – like so many artists – as a camoufleur. A Royal Engineer from 1940-43, he served in North Africa and Palestine, forcing the German Afrika Korps to use resources against a dummy army whilst real tanks were disguised as more harmless equipment. In the desert, nothing could be hidden - but it could be disguised. Following the dissolution of his marriage in 1950, he married the painter Mary Fedden. Teaching at Chelsea School of Art, Trevelyan eventually became head of the Etching Department and his pupils included David Hockney and Peter Ackroyd. Condition: mounted to board. -
Julian Trevelyan (1910-1988)
St James' Park (1969-70)
Etching and aquatint, signed, numbered 48/75 35x48cm 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)
Richmond Park (1969)
Etching and aquatint, Signed, numbered 36/75 35x48cm (sheet size 59x77cm) On J Green paper from the Thames Suite Click here for biographical details and other works by the artist including several others from the Thames Suite. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Julian Trevelyan (1910-1988)
Richmond (1969)
Etching and aquatint, signed, numbered 47/75 48x35cm 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)
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)
Kensington Gardens (1969)
Etching and aquatint, signed, numbered 55/75 35x48cm 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)
Gravesend (1969)
Etching and aquatint, signed, titled, and inscribed 'Artist's Proof' in pencil 35x48cm (sheet size 59x77cm) On J Green paper Condition: generally excellent, never previously framed, see image. 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)
Father Thames (1969)
Etching and aquatint, signed, numbered 53/75 35x48cm 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. -
Julian Otto Trevelyan, RA (1910 -1988) Caius College II, Cambridge (1959/1962)
Signed by the artist and inscribed in pencil Artist's Proof, aside from the edition of 70. The edition consisted of 70 numbered proofs and 30 artist’s proofs. We also have listed one of the 70 numbered proof prints, which is in a purple colourway - rather than the blue here. 37x51cm (14.5×20 inches) This comes from Julian Trevelyan’s Cambridge Suite which consisted of 10 lithographs: Caius College, Caius College II, Christ’s College, Corpus Christi College, Downing College, Emmanuel College, Jesus College, Peterhouse, St Catharine’s College and Sidney Sussex College. The Government Art Collection has copies of several of the prints in this series. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. Old crease that runs from top to bottom has been restored and is barely perceptible - see photograph. -
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. -
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. -
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. -
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. -
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. -
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. -
John Piper (1903 - 1992)
Inglesham Church (1989)
Lithograph 38 x 56 cm Piper’s rendering of St John the Baptist Church, Inglesham. His characteristic markmaking, with hues of blue and green, makes up the architecture of the interior. 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 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. -
John Piper C.H. (British 1903-1992)
Eye and Camera: Red, Blue and Yellow
(Levinson 317) Screenprint in colours, 1980, on Arches signed John Piper, a proof print aside form the numbered edition of 150, published by Kelpra Editions and the Tate Gallery. Framed in plain black hand-finished frame 400 x 605 mm Condition: Excellent - never previously framed. 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)
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. -
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 (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. -
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 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. -
Julian Trevelyan (1910 - 1988)
Jesus College, Cambridge
Lithograph 38 x 53 cm Numbered 13/70 lower left and signed lower right, both in pencil. Nephew of the historian G M Trevelyan, Julian Trevelyan was educated at Bedales and then at Trinity College, Cambridge, where he read English. After moving to Paris, Trevelyan studied engraving at Stanley William Hayter’s school, working alongside artists such as Max Ernst, Joan Miro and Pablo Picasso. He married the potter Ursula Darwin in 1934, and in 1935 they moved to Hammersmith, buying Durham Wharf beside the River Thames which was Trevelyan’s studio – and home – for the rest of his life. His wartime service was – like so many artists – as a camoufleur. A Royal Engineer from 1940-43, he served in North Africa and Palestine, forcing the German Afrika Korps to use resources against a dummy army whilst real tanks were disguised as more harmless equipment. In the desert, nothing could be hidden - but it could be disguised. Following the dissolution of his marriage in 1950, he married the painter Mary Fedden. Teaching at Chelsea School of Art, Trevelyan eventually became head of the Etching Department and his pupils included David Hockney and Peter Ackroyd. Condition: generally very good; some 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 Jesus College, Cambridge. -
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. -
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. -
Angela Stones (1914 - 1995)
Irises
Oil on board 56 x 41 cm Signed lower right. A glass jar of irises, with two shells, on a pale pink and peach backdrop. Stones'' impasto technique brings texture to the shells and petals, and shades of purple offset the greens and pinks of the composition. 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. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
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. -
Gerald Mac Spink (flourished 1920 - 1940)
Industrial Scene with Steam Locomotive
Block print 50 x 34 cm Signed 'G Mac Spink' in plate (in reverse) upper left. A beautifully-rendered, almost futurist industrial scene depicting a steam-powered locomotive. The metals of industry dwarf the men working below them, white with heat in chiaroscuro contrast to the dark shadows in the fore- and background of the print. Spink was a skilled artist, illustrator, 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: generally very good; a few gentle handling creases; three little spots within image. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist.
