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Edward Bawden (1903-1989)
House Proud Mum Cat
Pen and ink 38 x 27 cm Signed and inscribed lower right. Bawden developed a love of cats at a young age, copying Louis Wain's cat pictures. In his later years, his drawings of cats became yet more frequent; his cat Emma featured in much of his work. In an interview with House and Garden in 1987 he said: "No cat will suffer being lifted up and dropped into an empty space intended for her to occupy; that procedure led inevitably to Emma, tail up, walking away at once, so I had to wait patiently until Emma had enjoyed a good meal of Coley and was ready to choose her daily sleeping place, wherever it might be. I would then spring into action." Doubtless he found it easier to draw an imaginary cat, such as this one. For other cats - and other works - by Bawden, please click here. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Edward Bawden (1903-1989)
Mum Cat with Nine Lives
Pen and ink 38 x 27 cm Signed and inscribed lower right. Bawden developed a love of cats at a young age, copying Louis Wain's cat pictures. In his later years, his drawings of cats became yet more frequent; his cat Emma featured in much of his work. In an interview with House and Garden in 1987 he said: "No cat will suffer being lifted up and dropped into an empty space intended for her to occupy; that procedure led inevitably to Emma, tail up, walking away at once, so I had to wait patiently until Emma had enjoyed a good meal of Coley and was ready to choose her daily sleeping place, wherever it might be. I would then spring into action." Doubtless he found it easier to draw an imaginary cat, such as this one. For other cats - and other works - by Bawden, please click here. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Edward Bawden (1903-1989)
Nurse Cat with Nine Lives
Pen and ink 38 x 27 cm Signed and inscribed lower right. Bawden developed a love of cats at a young age, copying Louis Wain's cat pictures. In his later years, his drawings of cats became yet more frequent; his cat Emma featured in much of his work. In an interview with House and Garden in 1987 he said: "No cat will suffer being lifted up and dropped into an empty space intended for her to occupy; that procedure led inevitably to Emma, tail up, walking away at once, so I had to wait patiently until Emma had enjoyed a good meal of Coley and was ready to choose her daily sleeping place, wherever it might be. I would then spring into action." Doubtless he found it easier to draw an imaginary cat, such as this one. For other cats - and other works - by Bawden, please click here. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Edward Bawden (1903-1989)
Secretary Cat
Pen and ink 38 x 27 cm Signed and inscribed lower right. Bawden developed a love of cats at a young age, copying Louis Wain's cat pictures. In his later years, his drawings of cats became yet more frequent; his cat Emma featured in much of his work. In an interview with House and Garden in 1987 he said: "No cat will suffer being lifted up and dropped into an empty space intended for her to occupy; that procedure led inevitably to Emma, tail up, walking away at once, so I had to wait patiently until Emma had enjoyed a good meal of Coley and was ready to choose her daily sleeping place, wherever it might be. I would then spring into action." Doubtless he found it easier to draw an imaginary cat, such as this one. For other cats - and other works - by Bawden, please click here. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Edward Bawden (1903-1989)
White Collar Worker Cat
Pen and ink 27 x 23 cm Signed and inscribed lower right. Bawden developed a love of cats at a young age, copying Louis Wain's cat pictures. In his later years, his drawings of cats became yet more frequent; his cat Emma featured in much of his work. In an interview with House and Garden in 1987 he said: "No cat will suffer being lifted up and dropped into an empty space intended for her to occupy; that procedure led inevitably to Emma, tail up, walking away at once, so I had to wait patiently until Emma had enjoyed a good meal of Coley and was ready to choose her daily sleeping place, wherever it might be. I would then spring into action." Doubtless he found it easier to draw an imaginary cat, such as this one. For other cats - and other works - by Bawden, please click here. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Edward Bawden (1903 - 1989)
Aesop's Fables: Peacock and Magpie (1970)
Linocut print 63 x 75 cm Signed, numbered 11/50, and titled in pencil. A delightful print illustrating Aesop's fable of the Peacock and Magpie. In the fable, the birds are searching for a king, and the Peacock puts himself forward. The birds are about to make him king because of his charming plumage, but a Magpie asks the Peacock how he might defend the birds from predators. The Peacock has no answer. Aesop's moral is that those in power must be suited to the task, and not just vain pretenders. The artist's use of vibrant colour brings the tale to life. Edward Bawden was an English painter, illustrator and graphic artist, known for his prints, book covers, posters, and garden metalwork furniture. Bawden taught at the Royal College of Art, where he had been a student, worked as a commercial artist, and served as a war artist in World War II. He illustrated several books and painted various public murals, and his work and career are often associated with that of his contemporary, Eric Ravilious. Condition: generally very good; small stain to extremity that will be hidden under mount. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Edward McKnight Kauffer (1890-1954)
Original artwork ‘BP Ethyl for Snappy Engines' (1934)
Signed Pen, ink and collage 27x17cm (16.6×6.6 inches) Framed in a hand-finished black frame. Provenance: Sotheby's, sale of the Shell Archive 10 September 2003 lot 49. If you are interested email info@manningfineart.co.ukor call us on 07929 749056. -
Edwin La Dell (1914-1970) King's College from the Copper Kettle, Cambridge
Signed in pencil and titled 32x48cm A copy of this print is in the Government Art Collection. Lithograph Born in Coventry, La Dell's father was a Sheffield-born bookbinder. After study at Sheffield School of Art, he was the winner of a scholarship to the Royal College of Art where the head of print making was John Nash (from 1934 to 1940). La Dell became head of lithography there from 1948 until his death. During the war he was an official war artist and a camofleur, but he is probably best known for his lithographs of Oxford and Cambridge that he published himself, together with those he published for the School Prints scheme and Lyons Tea Rooms. His works are widely held in the public collections, including the Royal Academy and the Government Art Collection, the latter having a copy of this print. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: In conservation mount, some age toning to print as visible in photograph. -
Edwin La Dell (1914-1970) King's Parade, Cambridge
Signed in pencil and titled 35x47cm A copy of this print is in the Government Art Collection. Lithograph Born in Coventry, La Dell's father was a Sheffield-born bookbinder. After study at Sheffield School of Art, he was the winner of a scholarship to the Royal College of Art where the head of print making was John Nash (from 1934 to 1940). La Dell became head of lithography there from 1948 until his death. During the war he was an official war artist and a camofleur, but he is probably best known for his lithographs of Oxford and Cambridge that he published himself, together with those he published for the School Prints scheme and Lyons Tea Rooms. His works are widely held in the public collections, including the Royal Academy and the Government Art Collection, the latter having a copy of this print. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: In conservation mount, some age toning to print as visible in photograph. -
Edwin La Dell
Queens' College, Cambridge
Lithograph Signed in pencil and numbered 33/50 21x46.5cm A copy of this print is in the Government Art Collection. Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Walter Hoyle (1922 - 2000)
Emmanuel College, Cambridge (Cambridge Series 1956 - 66)
Linocut 55 x 43 cm Signed and inscribed A/P in pencil. Hoyle's view of Emmanuel's Front Court bleaches the gold of the chapel's Ketton Stone into an icy blue, and situates it beneath a tempestuous yellow sky. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Provenance: family of the artist. Condition: generally very good; a few handling marks and areas of discolouration to extreme margins, extraneous ink to right hand side, and a very small brown spot to very top right beyond the blue sky. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Emmanuel College, Cambridge. -
Eric Gill
From the Books of Philip Hofer Woodblock Print
Published Hague & Gill 1934 in an unnumbered edition of 300 23x21cm Following Chichester Technical and Art School, Gill moved to London in 1900 to train with the ecclesiastical architects W D Caroe. Finding architecture somewhat pedestrian he took stonemasonry lessons at Westminster Technical Institute and calligraphy lessons at the Central School of Arts and Crafts, coming under the influence of Edward Johnson, the designer of the London Underground's own typeface. In 1903 he ceased his attempts to become an architect, instead becoming a monumental mason, letter-cutter and calligrapher. Based in Ditchling, he began direct carving of stone figures, the semi-abstract figures taking their influence from mediaeval statuary, mixed with influences from Classical statuary from the Greeks and Romans, with a little post-Impressionism added in. With major commissions from Westminster Cathedral for its Stations of the Cross (1914), a series of War Memorials including the Grade II* memorial in Trumpington, and three of the sculptures for Charles Holden's 1928 headquarters of London Underground at 55 Broadway, St James's, and a series of sculptures for the new 1932 Broadcasting House. The list continues. Never one to rest on his laurels, he was at the same time engaged in typographical adventures. He had collaborated with Edward Johnson on the latter's initial thoughts on his London Transport typeface, but in 1925 designed Perpetua on his own, and Gill Sans between 1927-30. For the Golden Cockerel Press he created, in 1929, a bolder typeface to complement wood engravings. And of course Gill was publishing decorated books. His 1929 Canterbury Tales was an epic work, with a whole series of beautiful wood engravings such as this one. The present print is from the 1934 edition for Faber & Faber ('Engravings 1928-1933 by Eric Gill') he printed with his son-in-law, Rene Hague, produced with the original engraved wood blocks. Philip Hofer was a curator and collector, and commissioned this fine Ex Libris plate from Gill. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good condition. -
Eric Gill (1882-1940) The Deposition from the Cross
Woodblock Print Published Hague & Gill 1934 23x21cm Christ's body is taken down from the Cross, Mary assists by holding the ropes, and two men - Joseph of Arimathea and Nicodemus climb the ladder - one of the instruments of the passion. Click here for biographical details and other prints by Gill. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Eric Gill (1882-1940) Canterbury Tales Border - Two nudes i
Woodblock Print Published Hague & Gill 1934 23x21cm Condition: very good Click here for biographical details and other prints by Gill. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Eric Gill
Border for The Canterbury Tales (1929) - Three Men with Spears
Woodblock Print Published Hague & Gill 1934 in an unnumbered edition of 300 23x21cm Following Chichester Technical and Art School, Gill moved to London in 1900 to train with the ecclesiastical architects W D Caroe. Finding architecture somewhat pedestrian he took stonemasonry lessons at Westminster Technical Institute and calligraphy lessons at the Central School of Arts and Crafts, coming under the influence of Edward Johnson, the designer of the London Underground's own typeface. In 1903 he ceased his attempts to become an architect, instead becoming a monumental mason, letter-cutter and calligrapher. Based in Ditchling, he began direct carving of stone figures, the semi-abstract figures taking their influence from mediaeval statuary, mixed with influences from Classical statuary from the Greeks and Romans, with a little post-Impressionism added in. With major commissions from Westminster Cathedral for its Stations of the Cross (1914), a series of War Memorials including the Grade II* memorial in Trumpington, and three of the sculptures for Charles Holden's 1928 headquarters of London Underground at 55 Broadway, St James's, and a series of sculptures for the new 1932 Broadcasting House. The list continues. Never one to rest on his laurels, he was at the same time engaged in typographical adventures. He had collaborated with Edward Johnson on the latter's initial thoughts on his London Transport typeface, but in 1925 designed Perpetua on his own, and Gill Sans between 1927-30. For the Golden Cockerel Press he created, in 1929, a bolder typeface to complement wood engravings. And of course Gill was publishing decorated books. His 1929 Canterbury Tales was an epic work, with a whole series of beautiful wood engravings such as this one. The present print is from the 1934 edition for Faber & Faber ('Engravings 1928-1933 by Eric Gill') he printed with his son-in-law, Rene Hague, produced with the original engraved wood blocks. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good condition. -
Eric Gill
Initial Letter 'H' for The Canterbury Tales (1929) - The Doctor's Tale
Woodblock Print Published Hague & Gill 1934 in an unnumbered edition of 300 23x21cm Following Chichester Technical and Art School, Gill moved to London in 1900 to train with the ecclesiastical architects W D Caroe. Finding architecture somewhat pedestrian he took stonemasonry lessons at Westminster Technical Institute and calligraphy lessons at the Central School of Arts and Crafts, coming under the influence of Edward Johnson, the designer of the London Underground's own typeface. In 1903 he ceased his attempts to become an architect, instead becoming a monumental mason, letter-cutter and calligrapher. Based in Ditchling, he began direct carving of stone figures, the semi-abstract figures taking their influence from mediaeval statuary, mixed with influences from Classical statuary from the Greeks and Romans, with a little post-Impressionism added in. With major commissions from Westminster Cathedral for its Stations of the Cross (1914), a series of War Memorials including the Grade II* memorial in Trumpington, and three of the sculptures for Charles Holden's 1928 headquarters of London Underground at 55 Broadway, St James's, and a series of sculptures for the new 1932 Broadcasting House. The list continues. Never one to rest on his laurels, he was at the same time engaged in typographical adventures. He had collaborated with Edward Johnson on the latter's initial thoughts on his London Transport typeface, but in 1925 designed Perpetua on his own, and Gill Sans between 1927-30. For the Golden Cockerel Press he created, in 1929, a bolder typeface to complement wood engravings. And of course Gill was publishing decorated books. His 1929 Canterbury Tales was an epic work, with a whole series of beautiful wood engravings such as this one. The present print is from the 1934 edition for Faber & Faber ('Engravings 1928-1933 by Eric Gill') he printed with his son-in-law, Rene Hague, produced with the original engraved wood blocks. In Chaucer's Tales, the Summoner's Tale tells the story of the man who summonsed people to the ecclesiastical courts. It satirises the friar, considering him to be corrupt. Philip Hofer was a curator and collector, and commissioned this fine Ex Libris plate from Gill. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good condition. -
Eric Gill
Canterbury Tales The Summoner's Tale
Woodblock Print Published Hague & Gill 1934 in an unnumbered edition of 300 23x21cm Following Chichester Technical and Art School, Gill moved to London in 1900 to train with the ecclesiastical architects W D Caroe. Finding architecture somewhat pedestrian he took stonemasonry lessons at Westminster Technical Institute and calligraphy lessons at the Central School of Arts and Crafts, coming under the influence of Edward Johnson, the designer of the London Underground's own typeface. In 1903 he ceased his attempts to become an architect, instead becoming a monumental mason, letter-cutter and calligrapher. Based in Ditchling, he began direct carving of stone figures, the semi-abstract figures taking their influence from mediaeval statuary, mixed with influences from Classical statuary from the Greeks and Romans, with a little post-Impressionism added in. With major commissions from Westminster Cathedral for its Stations of the Cross (1914), a series of War Memorials including the Grade II* memorial in Trumpington, and three of the sculptures for Charles Holden's 1928 headquarters of London Underground at 55 Broadway, St James's, and a series of sculptures for the new 1932 Broadcasting House. The list continues. Never one to rest on his laurels, he was at the same time engaged in typographical adventures. He had collaborated with Edward Johnson on the latter's initial thoughts on his London Transport typeface, but in 1925 designed Perpetua on his own, and Gill Sans between 1927-30. For the Golden Cockerel Press he created, in 1929, a bolder typeface to complement wood engravings. And of course Gill was publishing decorated books. His 1929 Canterbury Tales was an epic work, with a whole series of beautiful wood engravings such as this one. The present print is from the 1934 edition for Faber & Faber ('Engravings 1928-1933 by Eric Gill') he printed with his son-in-law, Rene Hague, produced with the original engraved wood blocks. In Chaucer's Tales, the Summoner's Tale tells the story of the man who summonsed people to the ecclesiastical courts. It satirises the friar, considering him to be corrupt. Philip Hofer was a curator and collector, and commissioned this fine Ex Libris plate from Gill. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good condition. -
Ethel Louise Rawlins (1880 – 1940)
A Garden Below the South Downs
Oil on canvas51 x 61 cmSigned lower right.Rawlins was a painter who studied at the Slade School of Fine Art and in Newlyn, Cornwall. She settled in Sussex in the early 1920s, and often painted the rolling hills of the Sussex landscape. Here, blue hills and a grey sky serve as the background for an extensive garden complete with stone urns, flowers, and slanting shadows created by the late afternoon sun. -
John Piper (1903 - 1992)
Façade (1987)
Lithograph 45 x 60 cm Numbered 96/108 lower left and signed lower right, both in pencil. Printed by Piper and the screenprinter Chris Prater in 1987 after the original designs from 1942. 'Façade' was a sequence of poems written by the English poet Edith Sitwell. They were set to music by William Walton in 1922, four years after they were first written. 'Façade' premiered in 1923 in London, and was praised for its experimental modernist style. The choreographer Frederick Ashton made Façade into a ballet in 1931; Sitwell did not wish her poems to be included, but Walton's orchestral arrangements were used. John Piper was commissioned as set designer for a 1942 performance of Facade in 1942. This lithograph is the design for the performance's curtain; the poetry and music of the performance were played behind the curtain, unseen by the audience. The Gothic house to the right was inspired by Eaton Hall in Cheshire, and we also see a folly, lake, and wood typical of an English country house. The moon, butterfly, and dragonfly lend themselves to the scene's dreamlike aspects, and the mask in the centre of the design highlights the collaborative nature of Façade - a salute to poetry, music, art, and even architecture. John Piper CH was an English painter, printmaker, and designer of stained-glass windows. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by John Piper. -
Falmouth, 1944 (unknown Modern British Artist)
Watercolour 46 x 30cm An evocative painting of Falmouth, the Cornish town shaped by its relationship to the sea. The artist leads us from the warm tones of the stone flags and empty buildings down towards a grey sea and a gently smouldering sky. Ships move in to the port, and a unit of pylons, starkly silhouetted, looks out over the bay. Condition: excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Peter J Wright after Abram Games (1914 - 1996)
Festival of Britain Logo (1951)
Gouache 21 x 13 cm A gouache painting of Abram Games' fantastic Art Deco Modern design for the logo advertising the Festival of Britain. Games' design, called the Festival Star, includes a modernist Britannia in profile with bunting below, all set on the four points of the compass and in the Union Jack colours of red, white, and blue. Games was one of twelve artists invited to submit designs to the Arts Council and the Council of Industrial Design in 1948. The Festival of Britain was a national exhibition and fair that reached millions of visitors throughout the United Kingdom in the summer of 1951. It was devised as a celebration of a hundred years since the Great Exhibition of 1851, but focused entirely on Britain and its achievements rather than adopting the international outlook of the Great Exhibition. The Festival's purpose was to highlight and celebrate how far Britain had come in the wake of the Second World War's devastation. Abram Games OBE RDI was a celebrated British graphic artist. His parents were Eastern European Jews and changed their family name from Gamse to Games after moving to Britain. Games studied at Saint Martin's School of Art in London but left after two terms; aged 21, he won a poster competition for the London County Council and then began to work as a freelance poster designer. In 1937 the journal Art and Industry featured him in an article and this resulted inseveral high-profile graphic design commissions from the General Post Office, London Transport, Royal Dutch Shell, and more. He also designed stamps for the Israeli Post Office, covers for The Jewish Chronicle and synagogue prayer book prints, and designed several posters promoting Jewish organisations and initiatives. 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 design. -
Peter Collins ARCA (1923 - 2001)
Figure Studies
Ink and wash 44 x 28 cm Provenance: the artist's studio sale. Four characterful and intimate clothed studies of a model with voluminous 1960s hair. Collins' first job was in the commercial studio of an advertising agency. World War II interrupted his career and he joined the Royal Artillery, 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, sculpture, and other curios. 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 Peter Collins. -
Valerie Thornton (1931 - 1991)
Ponte Vecchio, Florence (1972)
Etching and aquatint 33 x 20 cm Numbered 1/60 lower left, titled below, and signed and dated lower right, all in pencil. Here, Thornton muses on the dramatic differences in tone and texture between the water of the River Arno, the smooth paleness of the Ponte Vecchio, and the dark terracotta of the city's roofs. Her work is deeply concerned with material, and many of her etchings focus on eroded stone, emotive landscapes, and weathered architecture. Valerie Thornton was a British etcher and printmaker. She was born in London, but was evacuated to Canada with her two brothers during World War II. She returned to London in 1944 and studied at the Byam Shaw School of Art in 1949. From 1950 to 1953 Thornton studied under P.F. Millard at the Regent Street Polytechnic, then spent eight months at Atelier 17 in Paris. In the early 1960s, she moved to New York and worked at Pratt Graphic Art Center. In 1955, she succeeded Howard Hodgkin as assistant art teacher at Charterhouse School and in 1965 she became a founding member of the Print Makers Council. In 1970 she became a Fellow of the Royal Society of Painters-Etchers and Engravers. Thornton was a member of The Regent Street Group (a group of nine artists who studied together at the Regent Street Polytechnic in the early 1950s). The group also included Susan Horsfield, Renate Meyer, Michael Lewis, Ken Symonds, Philip Le Bas, and Peter Riches. Thornton's work is included in a number of major public collections including the Victoria and Albert Museum, the British Museum, and the Tate. Thornton died in 1991 in Chelsworth, Suffolk. Condition: good; slight but even age toning. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other pictures of Italy. -
Hilary Hennes (née Hilary Miller) (1919 - 1993)
Flowers on a Table
Chalks 56 x 38 cm A chalk drawing depicting a vase of bright flowers on a table in a high-ceilinged room with elegant architectural features. Hilary Miller was born in London, where her father was a curator at the South London Art Gallery. She attended Blackheath High School and, from 1936 to 1940, studied at the Blackheath School of Art, and then for a further three years at the Royal College of Art. After graduating, she taught at the South East Sussex Technical College and in 1946 married the artist Hubert Hennes. The couple lived in Oxford, where they both held teaching posts at the Oxford School of Art. Between 1948 and 1967 Miller frequently exhibited paintings at the Royal Academy in London, and also illustrated a number of books on gardening and natural history, such as 'The Living World' and 'Boff's Book of Gardening'. Provenance: the artist's studio sale. Condition: generally very good. Drawing of a standing nude to the reverse (see photographs). If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
Fredda Brilliant (1903-1999)
The Young Atlas
Patinated bronze 52.5 x 41.5 x 27.5 cm ; 16kg. On wooden base Fredda Brilliant was a Polish sculptor and actress, born in Łódź, Poland. She worked in a variety of media and is recognized as an accomplished sculptor, writer, actor, singer and script writer. Throughout her career she traveled extensively working in England, USA, Australia, India, Poland and Russia. Brilliant sculpted some of the greatest figures of her time including Jawaharlal Nehru, V.K. Krishna Menon, Indira Gandhi, U.S. President John F Kennedy, and Buckminster Fuller. She also sculpted her husband, the writer Herbert Marshall. Brilliant's most famous work is a bronze statue of Mahatma Gandhi which is the centerpiece of the park in Tavistock Square, London, UK. Condition: excellent. -
Angela Stones (1914 - 1995)
French Street Scene
Oil on board 56 x 41 cm A delightful mid-century oil painting. A couple and their dog meander down a cobbled French lane under a bright blue sky. 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. -
George Horace Davis (1888-1963) Design for publication probably in The Illustrated London News
Tractors and mechanisation Signed and dated 1947 Gouache, monochrome 17.25x29.75" Here the reduction in manpower as a result of the mechanisation of agriculture is celebrated in a typical work by Davis. A "special artist" for 'The Illustrated London News', he worked for it for forty years, the scope and detail of his work being without peer in the rest of the staff. Tractors are pictured in every possible role in agriculture; however the great advances made in the sixty years since then could not have been forseen. Born in Kensington, London, Davis was educated at Kensington Park College and then at Ealing School of Art, working subsequently as a freelance artist until the First World War intervened. He served with the Royal Flying Corps (subsequently the Royal Air Force) with distinction, and had a number of his paintings of aerial combat published in 'The Sphere.' In 1923 he commenced work with The Illustrated London News, for which he worked for the next forty years. His first drawing related to the use, in small boats, of wireless and was the first of many similar diagrammatic drawings designed to educate and inform readers of advances in science, warfare, technology or transport. Needless to say his attention to detail meant architectural drawings were another strength of his, drawings of 10 Downing Street and Westminster Abbey, for instance - and also architectural phantasies such as a proposed heliport at Charing Cross Station. During his career at The Illustrated London News he is estimated to have produced illustrations covering some 2,500 pages of the publication; each one requiring an informed understanding arising from careful research. He continued to work for it until his eighties and at the time of his death there was a supply of finished but as-yet-unpublished works. The sale at Christies in London of the archive of The Illustrated London News on 7 October 2014 included many works by Davis - a price of £16,875 being obtained for a series of seven drawings by him. -
Gladys Williamson
Hairdressing Exhibition
Original Painted Design for Poster55x38cm
Gladys Williamson, a student at St Edmunds College, Liverpool was awarded a silver star for this decorative composition. The award is still attached in the bottom right corner of the design. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally good, some light spotting. Mounted to board by artist, with label to bottom right. -
Gladys Williamson
Lady and Parrot
Original Painted Design for Poster Collage and Gouache43x38.5cm
If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good, slight wear to blue background some spotting to rim of dress. -
Gwyneth Johnstone (1915 - 2010)
The Railway Bridge
Mixed media 64 x 83 cm Signed lower left in paint, and monogrammed lower left in pencil. Provenance: the estate of the artist. Johnstone explores the possibilities of abstraction in this semi-delirious depiction of a railway bridge. Painted in tones of burnt umber, orange, grey, and black, the picture is populated by warped railings, bending trees, and staring onlookers, all of which centre around a railway line and bridge. Tanya Harrod described Johnstone's painting style a 'a hallucinogenic, haunting pastoral', and that is immensely evident in this picture. Johnstone was an English painter who worked mostly in oils and often depicted poignant modern landscapes. Her parents were the musician Nora Brownsford and the artist Augustus John. She studied at the Slade School of Fine Art, where she established lifelong friendships with fellow artists Mary Fedden and Virginia Parsons. After the Slade, Johnstone was taught academicised cubism by the painter André Lhote at the Académie de la Grande Chaumière in Paris. For a brief period in the early 1950s she took life classes with the surrealist artist Cecil Collins at the Central School of Arts and Crafts. -
Hammond (British, fl. 1930s) Design for Municipal Art School Brochure
21.5x18 cm Lithograph drawn directly to stone, 1937 Sadly nothing is known of the life of the artist of this series of rather fine Art Deco designs we have listed. This is drawn directly onto the stone, a considerable skill in itself, and in just two colours in order to limit the cost of the lithography. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. -
Hammond (British, fl. 1920s) Original artwork for brochure for Municipal Art School, Ford St, Coventry, England UK
21.5x14 cm Gouache, c. 1937 Sadly nothing is known of the life of the artist of thes series of rather fine Art Deco designs we have listed. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. -
Hammond (British, fl. 1920s) Original artwork for Design for Shakespeare Twelfth Night programme to be held in Bath
26x21 cm Gouache, 1937 Sadly nothing is known of the life of the artist of thes series of rather fine Art Deco designs we have listed. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally good; small stain to reverse as illustrated in photograph; fold to centre as intended by artist. -
Brendan Neiland (b.1941) R.A. (Expelled)
Hampton Court (1984)
Screenprint 74 x 51 cm Signed, dated, titled, and numbered 152/250 in pencil. A print of one of Hampton Court's magnificent facades, reflected in its fountain. Reflected architecture is one of Neiland's most recurring themes. The Fountain Court was designed by Sir Christopher Wren; he began remodelled the palace in the baroque style for William III and Mary II in 1689. It held private and state apartments for both the King and Queen. Wren’s other works at Hampton Court Palace include the Lower Orangery and the grand colonnade in Clock Court, providing a grand entrance to the King's Apartments. The architectural historian Sir John Summerson described Fountain Court as 'Startling, as of simultaneous exposure to a great many eyes with raised eyebrows'. Brendan Neiland (born 23 October 1941 in Lichfield, Staffordshire) is an English artist best known for his paintings of reflections in modern city buildings. In 1992 he was elected to the Royal Academy (RA). 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: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Henry Cliffe (1919-1983) Abstract Harbour
Etching Mid 20th Century 13x19cm Click here for biographical details and other pictures by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Henry Cliffe (1919-1983) Arnolfini Gallery Exhibition of Lithographs
Etching Mid 20th Century 76x50cm Click here for biographical details and other pictures by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good, some faint spots at top. -
Henry Cliffe (1919-1983) Arnolfini Gallery Poster
Etching Mid 20th Century 63.5x51cm Click here for biographical details and other pictures by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good, some faint spots at top. -
Henry Cliffe (1919-1983) Blue Figures
Etching Mid 20th Century 9.5x16.5cm Click here for biographical details and other pictures by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Henry Cliffe (1919-1983) Blue Standing Figure
Etching Mid 20th Century 46x30cm Click here for biographical details and other pictures by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Henry Cliffe (1919-1983) Blue Standing Figure II
Etching Mid 20th Century 45.5x30cm Click here for biographical details and other pictures by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Henry Cliffe (1919-1983) Constellations I
Etching Mid 20th Century 9x16.5cm Click here for biographical details and other pictures by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Henry Cliffe (1919-1983) Constellations II
Etching Mid 20th Century 16x24cm Click here for biographical details and other pictures by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Henry Cliffe (1919-1983) Festival Gallery Poster
Etching Mid 20th Century 51x38cm Click here for biographical details and other pictures by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good, some faint spotting round margins. -
Henry Cliffe (1919-1983) Monochrome Figures
Etching 9.5 x 16.5 cm Condition: Good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Henry Cliffe (1919-1983) Reclining Figure I
Etching Mid 20th Century 11x24cm Click here for biographical details and other pictures by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Henry Cliffe (1919-1983) Reclining Figure II
Etching Mid 20th Century 11x24cm Click here for biographical details and other pictures by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Henry Cliffe (1919-1983) Reclining Figure III
Etching Mid 20th Century 11x24cm Click here for biographical details and other pictures by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good.
