• 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 (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.
  • Angela Stones (1914-1995) Chelsea Old Church

    Watercolour 31x41 cm Stones 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 probably the foremost pastel artist of his time. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Angela Stones (1914-1995) Holy Trinity Brompton Church

    Watercolour 31x41 cm Signed 'Angela Stones' Stones 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 probably the foremost pastel artist of his time. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • 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) 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.
  • 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) 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) 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) 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) 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.
  • 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.
  • 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.
  • Edward Bawden (1903-1989)

    White Collar Worker Cat

      Pen and ink 27 x 23 cm Signed and inscribed lower right. Bawden developed a love of cats at a young age, copying Louis Wain's cat pictures. In his later years, his drawings of cats became yet more frequent; his cat Emma featured in much of his work. In an interview with House and Garden in 1987 he said: "No cat will suffer being lifted up and dropped into an empty space intended for her to occupy; that procedure led inevitably to Emma, tail up, walking away at once, so I had to wait patiently until Emma had enjoyed a good meal of Coley and was ready to choose her daily sleeping place, wherever it might be. I would then spring into action." Doubtless he found it easier to draw an imaginary cat, such as this one. For other cats - and other works - by Bawden, please click here. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Edward Bawden (1903-1989)

    House Proud Mum Cat

      Pen and ink 38 x 27 cm Signed and inscribed lower right. Bawden developed a love of cats at a young age, copying Louis Wain's cat pictures. In his later years, his drawings of cats became yet more frequent; his cat Emma featured in much of his work. In an interview with House and Garden in 1987 he said: "No cat will suffer being lifted up and dropped into an empty space intended for her to occupy; that procedure led inevitably to Emma, tail up, walking away at once, so I had to wait patiently until Emma had enjoyed a good meal of Coley and was ready to choose her daily sleeping place, wherever it might be. I would then spring into action." Doubtless he found it easier to draw an imaginary cat, such as this one. For other cats - and other works - by Bawden, please click here. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Edward Bawden (1903-1989)

    Hot Cat

      Pen and ink 38 x 27 cm Signed and inscribed lower right. Bawden developed a love of cats at a young age, copying Louis Wain's cat pictures. In his later years, his drawings of cats became yet more frequent; his cat Emma featured in much of his work. In an interview with House and Garden in 1987 he said: "No cat will suffer being lifted up and dropped into an empty space intended for her to occupy; that procedure led inevitably to Emma, tail up, walking away at once, so I had to wait patiently until Emma had enjoyed a good meal of Coley and was ready to choose her daily sleeping place, wherever it might be. I would then spring into action." Doubtless he found it easier to draw an imaginary cat, such as this one. For other cats - and other works - by Bawden, please click here. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Edward Bawden (1903-1989)

    Dandy Boy Cat

      Pen and ink 38 x 27 cm Signed and inscribed lower right. Bawden developed a love of cats at a young age, copying Louis Wain's cat pictures. In his later years, his drawings of cats became yet more frequent; his cat Emma featured in much of his work. In an interview with House and Garden in 1987 he said: "No cat will suffer being lifted up and dropped into an empty space intended for her to occupy; that procedure led inevitably to Emma, tail up, walking away at once, so I had to wait patiently until Emma had enjoyed a good meal of Coley and was ready to choose her daily sleeping place, wherever it might be. I would then spring into action." Doubtless he found it easier to draw an imaginary cat, such as this one. For other cats - and other works - by Bawden, please click here. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Edward Bawden (1903-1989)

    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)

    Captain of the Team Cat

      Pen and ink 38 x 27 cm Signed and inscribed lower right. Bawden developed a love of cats at a young age, copying Louis Wain's cat pictures. In his later years, his drawings of cats became yet more frequent; his cat Emma featured in much of his work. In an interview with House and Garden in 1987 he said: "No cat will suffer being lifted up and dropped into an empty space intended for her to occupy; that procedure led inevitably to Emma, tail up, walking away at once, so I had to wait patiently until Emma had enjoyed a good meal of Coley and was ready to choose her daily sleeping place, wherever it might be. I would then spring into action." Doubtless he found it easier to draw an imaginary cat, such as this one. For other cats - and other works - by Bawden, please click here. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Edward Bawden (1903-1989)

    Secretary Cat

      Pen and ink 38 x 27 cm Signed and inscribed lower right. Bawden developed a love of cats at a young age, copying Louis Wain's cat pictures. In his later years, his drawings of cats became yet more frequent; his cat Emma featured in much of his work. In an interview with House and Garden in 1987 he said: "No cat will suffer being lifted up and dropped into an empty space intended for her to occupy; that procedure led inevitably to Emma, tail up, walking away at once, so I had to wait patiently until Emma had enjoyed a good meal of Coley and was ready to choose her daily sleeping place, wherever it might be. I would then spring into action." Doubtless he found it easier to draw an imaginary cat, such as this one. For other cats - and other works - by Bawden, please click here. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Claude Muncaster (1903-1974) Factory Scene

    Monochrome aquatint Signed in plate 22x28cm Provenance: the family of the artist, by descent. Click here for more from the same source. Aquatint is an unusual medium for Muncaster - the renowned watercolourist - and an unusual subject. Here he has handled the factory scene with perhaps more even than his usual skill. The smoke makes dramatic courses across the sky, and the wires, roofs and gantries all bring very strong triangular forms to a scene with powerful vertical lines. Claude Grahame Muncaster, RWS, ROI, RBA, SMA was the son of Oliver Hall RA. At the age of fifteen his career as a landscape painter began, and he soon took to the seas, spending the 1920s and 30s travelling the world with his sketchbook in a series of vessels. With the outbreak of war and he joined the RNVR training as a navigator. Having left school at fifteen his mathematics was very weak and it was a relief for all when his artistic talents meant he was recruited as a camofleur. A master of capturing seascapes he was therefore able to hide huge ships ‘in plain sight’ with clever disguises. After the war he painted for the Royal Family and was a frequent guest at Sandringham. Claude Muncaster was a watercolourist known for his landscapes and maritime scenes. He was born Grahame Hall, the son of the Royal Academician Oliver Hall who taught his son to paint from an early age; Grahame first exhibited his work aged 15 and a few years later was showing at the RA. However, he adopted the name Claude Muncaster in 1922 to dissociate his career from that of his father. Muncaster’s primary choice of subject matter came from a genuine love of the sea. He made several long-distance sea voyages, including one around the Horn as a deckhand in the windjammer Olivebank in 1931, which he described in ‘Rolling Round the Horn’, published in 1933. Armed with a sketchbook, his aim was to be able to ‘paint ships and the sea with greater authority’. This he certainly achieved, perfectly capturing the limpid first light of morning over the Port of Aden, the choppy rain-grey waters of the Bay of Biscay and a streak of sunlight through gathering storm clouds at dusk in Exeter. He became an Associate of the Royal Watercolour Society in 1931 and was a founder member, and later President, of the Royal Society of Marine Artists. During the Second World War, Muncaster served in the Royal Naval Volunteer Reserve (RNVR) from 1940-44, training as a navigator before going on to advise on the camouflage of ships, and also worked as an official war artist. In ‘Still Morning at Aden’ (1944) he depicts Allied warships in this safe anchorage in the Middle East; the back is stamped with Admiralty approval. In 1946-7 he was commissioned by the Queen to produce watercolours of the royal residences at Windsor, Sandringham and Balmoral; the Duke of Edinburgh, in a foreword to a biography of Muncaster, recalls looking at these and considering the artist’s ‘unerring instinct for a subject’, his sense of atmosphere. Other commissions included large panoramas of the Thames and of Bradford. His career also included work as an etcher, illustrator, writer, lecturer and broadcaster, and his paintings can be found in the Royal Academy, Tate, National Maritime Museum Cornwall, National Railway Museum and Royal Air Force Museum.
  • William Alison Martin (1878-1936) The Menai Straits

    Oil on board 44 x 59 cm Signed lower right. Framed. A beautifully handled scene, with spectacular skies and rich colours in the landscape, showing the soft rolling hills of Anglesea and North Wales (Martin's native part of the country).
  • Claude Muncaster (1903-1974) Near Mundesley, Norfolk

    Dated 1930 Signed Watercolour 22x28cm Muncaster's watercolours capture the English countryside feel with great competence Claude Grahame Muncaster, RWS, ROI, RBA, SMA was the son of Oliver Hall RA. At the age of fifteen his career as a landscape painter began, and he soon took to the seas, spending the 1920s and 30s travelling the world with his sketchbook in a series of vessels. With the outbreak of war and he joined the RNVR training as a navigator. Having left school at fifteen his mathematics was very weak and it was a relief for all when his artistic talents meant he was recruited as a camofleur. A master of capturing seascapes he was therefore able to hide huge ships ‘in plain sight’ with clever disguises. After the war he painted for the Royal Family and was a frequent guest at Sandringham. Claude Muncaster was a watercolourist known for his landscapes and maritime scenes. He was born Grahame Hall, the son of the Royal Academician Oliver Hall who taught his son to paint from an early age; Grahame first exhibited his work aged 15 and a few years later was showing at the RA. However, he adopted the name Claude Muncaster in 1922 to dissociate his career from that of his father. Muncaster’s primary choice of subject matter came from a genuine love of the sea. He made several long-distance sea voyages, including one around the Horn as a deckhand in the windjammer Olivebank in 1931, which he described in ‘Rolling Round the Horn’, published in 1933. Armed with a sketchbook, his aim was to be able to ‘paint ships and the sea with greater authority’. This he certainly achieved, perfectly capturing the limpid first light of morning over the Port of Aden, the choppy rain-grey waters of the Bay of Biscay and a streak of sunlight through gathering storm clouds at dusk in Exeter. He became an Associate of the Royal Watercolour Society in 1931 and was a founder member, and later President, of the Royal Society of Marine Artists. During the Second World War, Muncaster served in the Royal Naval Volunteer Reserve (RNVR) from 1940-44, training as a navigator before going on to advise on the camouflage of ships, and also worked as an official war artist. In ‘Still Morning at Aden’ (1944) he depicts Allied warships in this safe anchorage in the Middle East; the back is stamped with Admiralty approval. In 1946-7 he was commissioned by the Queen to produce watercolours of the royal residences at Windsor, Sandringham and Balmoral; the Duke of Edinburgh, in a foreword to a biography of Muncaster, recalls looking at these and considering the artist’s ‘unerring instinct for a subject’, his sense of atmosphere. Other commissions included large panoramas of the Thames and of Bradford. His career also included work as an etcher, illustrator, writer, lecturer and broadcaster, and his paintings can be found in the Royal Academy, Tate, National Maritime Museum Cornwall, National Railway Museum and Royal Air Force Museum. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Sale!

    Claude Muncaster (1903-1974) Farmstead and Trees

    Dated Sept 1921 Signed on reverse with additional sketches of figures Watercolour 22x28cm Claude Grahame Muncaster, RWS, ROI, RBA, SMA was the son of Oliver Hall RA. At the age of fifteen his career as a landscape painter began, and he soon took to the seas, spending the 1920s and 30s travelling the world with his sketchbook in a series of vessels. With the outbreak of war and he joined the RNVR training as a navigator. Having left school at fifteen his mathematics was very weak and it was a relief for all when his artistic talents meant he was recruited as a camofleur. A master of capturing seascapes he was therefore able to hide huge ships ‘in plain sight’ with clever disguises. After the war he painted for the Royal Family and was a frequent guest at Sandringham. Claude Muncaster was a watercolourist known for his landscapes and maritime scenes. He was born Grahame Hall, the son of the Royal Academician Oliver Hall who taught his son to paint from an early age; Grahame first exhibited his work aged 15 and a few years later was showing at the RA. However, he adopted the name Claude Muncaster in 1922 to dissociate his career from that of his father. Muncaster’s primary choice of subject matter came from a genuine love of the sea. He made several long-distance sea voyages, including one around the Horn as a deckhand in the windjammer Olivebank in 1931, which he described in ‘Rolling Round the Horn’, published in 1933. Armed with a sketchbook, his aim was to be able to ‘paint ships and the sea with greater authority’. This he certainly achieved, perfectly capturing the limpid first light of morning over the Port of Aden, the choppy rain-grey waters of the Bay of Biscay and a streak of sunlight through gathering storm clouds at dusk in Exeter. He became an Associate of the Royal Watercolour Society in 1931 and was a founder member, and later President, of the Royal Society of Marine Artists. During the Second World War, Muncaster served in the Royal Naval Volunteer Reserve (RNVR) from 1940-44, training as a navigator before going on to advise on the camouflage of ships, and also worked as an official war artist. In ‘Still Morning at Aden’ (1944) he depicts Allied warships in this safe anchorage in the Middle East; the back is stamped with Admiralty approval. In 1946-7 he was commissioned by the Queen to produce watercolours of the royal residences at Windsor, Sandringham and Balmoral; the Duke of Edinburgh, in a foreword to a biography of Muncaster, recalls looking at these and considering the artist’s ‘unerring instinct for a subject’, his sense of atmosphere. Other commissions included large panoramas of the Thames and of Bradford. His career also included work as an etcher, illustrator, writer, lecturer and broadcaster, and his paintings can be found in the Royal Academy, Tate, National Maritime Museum Cornwall, National Railway Museum and Royal Air Force Museum. Condition: generally good, few isolated spots to sky as can be seen in the magnified version of the picture. If you are interested 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.
  • 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.
  • 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)

    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)

    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)

    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.
  • Clifford Ellis (1907-1985)

    Swallow

    Pencil, 1950s 17.5x21.5 cm In a Nicholson butt-jointed frame Provenance: the family of the artist, by descent. Click here for biographical details and other works by the artist. Clifford and Rosemary Ellis were famous as a husband and wife team for their fascination with nature and their vibrant and charming depictions of animals. They were the natural artists to be commissioned by Collins for their 'New Naturalists' series of books, which have become famous and highly collectable more for the dust jackets designed by the Ellises than for the - otherwise excellent - content. This painting is from a recently discovered series of paintings and drawings, never before seen by the general public, dating from the 1940s and 1950s. Clifford and Rosemary wrote a series of illustrated books for young children including this one featuring Chico. Although never published they are now held by the Victoria Art Gallery in Bath. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Clifford Ellis (1907-1985)

    Chico the Red Panda

    Pencil, 1950s 16x30cm In a Nicholson butt-jointed frame Provenance: the family of the artist, by descent. Click here for biographical details and other works by the artist. Clifford and Rosemary Ellis were famous as a husband and wife team for their fascination with nature and their vibrant and charming depictions of animals. They were the natural artists to be commissioned by Collins for their 'New Naturalists' series of books, which have become famous and highly collectable more for the dust jackets designed by the Ellises than for the - otherwise excellent - content. This painting is from a recently discovered series of paintings and drawings, never before seen by the general public, dating from the 1940s and 1950s. Clifford and Rosemary wrote a series of illustrated books for young children including this one featuring Chico. Although never published they are now held by the Victoria Art Gallery in Bath. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Clifford Ellis (1907-1985)

    Bufo the Toad

    Pencil, 1950s 11x14cm In a Nicholson butt-jointed frame Provenance: the family of the artist, by descent. Click here for biographical details and other works by the artist. Clifford and Rosemary Ellis were famous as a husband and wife team for their fascination with nature and their vibrant and charming depictions of animals. They were the natural artists to be commissioned by Collins for their 'New Naturalists' series of books, which have become famous and highly collectable more for the dust jackets designed by the Ellises than for the - otherwise excellent - content. This painting is from a recently discovered series of paintings and drawings, never before seen by the general public, dating from the 1940s and 1950s. "Old Bufo is the biggest Toad. He is very tame and always knows that when I make a special scratching noise he will get fed." Clifford and Rosemary wrote a series of illustrated books for young children including this one featuring Bufo. Although never published they are now held by the Victoria Art Gallery in Bath. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Rosemary Ellis (1910-1998)

    Snail iv

    Gouache, 1940s/1950s 25x15cm On laid antique paper In a Nicholson butt-jointed frame Provenance: the family of the artist, by descent. Click here for biographical details and other works by the artist. Clifford and Rosemary Ellis were famous as a husband and wife team for their fascination with nature and their vibrant and charming depictions of animals. They were the natural artists to be commissioned by Collins for their 'New Naturalists' series of books, which have become famous and highly collectable more for the dust jackets designed by the Ellises than for the - otherwise excellent - content. This painting is from a recently discovered series of paintings and drawings, never before seen by the general public, dating from the 1940s and 1950s. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Clifford Ellis (1907-1985)

    Snakes

    Gouache, 1940s/1950s 21x35cm In a Nicholson butt-jointed frame Provenance: the family of the artist, by descent. Click here for biographical details and other works by the artist. Clifford and Rosemary Ellis were famous as a husband and wife team for their fascination with nature and their vibrant and charming depictions of animals. They were the natural artists to be commissioned by Collins for their 'New Naturalists' series of books, which have become famous and highly collectable more for the dust jackets designed by the Ellises than for the - otherwise excellent - content. This painting is from a recently discovered series of paintings and drawings, never before seen by the general public, dating from the 1940s and 1950s. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Clifford Ellis (1907-1985)

    Curlew II

    Pencil, 1940s/1950s In a Nicholson butt-jointed frame Provenance: the family of the artist, by descent. Click here for biographical details and other works by the artist. Clifford and Rosemary Ellis were famous as a husband and wife team for their fascination with nature and their vibrant and charming depictions of animals. They were the natural artists to be commissioned by Collins for their 'New Naturalists' series of books, which have become famous and highly collectable more for the dust jackets designed by the Ellises than for the - otherwise excellent - content. This painting is from a recently discovered series of paintings and drawings, never before seen by the general public, dating from the 1940s and 1950s. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Clifford Ellis (1907-1985)

    Curlew I

    Pencil, 1940s/1950s In a Nicholson butt-jointed frame Provenance: the family of the artist, by descent. Click here for biographical details and other works by the artist. Clifford and Rosemary Ellis were famous as a husband and wife team for their fascination with nature and their vibrant and charming depictions of animals. They were the natural artists to be commissioned by Collins for their 'New Naturalists' series of books, which have become famous and highly collectable more for the dust jackets designed by the Ellises than for the - otherwise excellent - content. This painting is from a recently discovered series of paintings and drawings, never before seen by the general public, dating from the 1940s and 1950s. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Clifford Ellis (1907-1985)

    Deer I

    Pencil, 1940s/1950s 12x20cm In a Nicholson butt-jointed frame Provenance: the family of the artist, by descent. Click here for biographical details and other works by the artist. Clifford and Rosemary Ellis were famous as a husband and wife team for their fascination with nature and their vibrant and charming depictions of animals. They were the natural artists to be commissioned by Collins for their 'New Naturalists' series of books, which have become famous and highly collectable more for the dust jackets designed by the Ellises than for the - otherwise excellent - content. This painting is from a recently discovered series of paintings and drawings, never before seen by the general public, dating from the 1940s and 1950s. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Clifford Ellis (1907-1985)

    Cadbury Castle, Wiltshire

    Gouache, 1940s/1950s In a Nicholson butt-jointed frame Provenance: the family of the artist, by descent. Click here for biographical details and other works by the artist. Clifford and Rosemary Ellis were famous as a husband and wife team for their fascination with nature and their vibrant and charming depictions of animals. They were the natural artists to be commissioned by Collins for their 'New Naturalists' series of books, which have become famous and highly collectable more for the dust jackets designed by the Ellises than for the - otherwise excellent - content. This painting is from a recently discovered series of paintings and drawings, never before seen by the general public, dating from the 1940s and 1950s. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • 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.
  • Robert Tavener (British) 1920 – 2004

    Westminster Abbey (West Front) c.1970 Lithograph Signed in pencil ‘Robert Tavener’ and inscribed ‘Westminster Abbey (West Front)’ and numbered 45/50. £475 For other works by Robert Tavener and biographical details click here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Alfred Daniels (1924-2015)

    Almshouses Canning Circus Nottingham

    Conte and wash, 1975 33x62cm Signed and dated 'Alfred Daniels 1975' 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.

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