• Out of stock

    Shmuel Shapiro (1924 - 1983) Two Lovers (1966)

    Original lithograph on handmade Barcham Green paper 34 x 44 cm (sheet size 40 x 57 cm) Signed, dated, and numbered 75/100 in pencil. Published and printed at the Curwen Studio, London, in 1966. Shapiro was an American Jewish artist. This typically emotive but unusually colourful work conveys the passion that accompanies true love, with the green and orange forms pressing desperately against one another. An example of this lithograph is held in the Tate Gallery's permanent print collection. Provenance: acquired directly from the Curwen Archive. Condition: excellent. If you’d like to know more, 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.
  • Walter Hoyle (1922-2000)

    St Catharine's College, Cambridge (1973)

      Linocut 72 x 56 cm Signed and dated '73 lower right, numbered 85 / 200 lower left, and signed below. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the RA, 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, a promising student, as his assistant. Hoyle moved to Great Bardfield in Essex and became 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 other end of the country. Hoyle taught at St Martin’s School of Art from 1951 - 1960, the Central School of Arts and Crafts from 1960 - 1964, 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 Yard, and the Fry Art Gallery. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Walter Hoyle (1922-2000)

    St Catharine's College, Cambridge (1956-66)

      Linocut 59 x 39 cm Signed lower right; inscribed and numbered 35/75 in pencil. 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 Yard and the Fry Art Gallery. Condition: very good.
  • 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.
  • 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.
  • Tom Roche (b. 1940) Penal Cross

    Screenprint 24x19cm Signed in pencil and numbered 11/40 Roche trained at the Irish National College of Art and Design, then studying etching and lithography at Chelsea College of Art. After working as a graphic designer in advertising, he became a full-time painter in 1972 based in Dingle in Co. Kerry. After operating from a gallery in Dingle he returned in the 1980s to Dublin, working as part0time lecturer at the Dun Laoghaire School of Art and Design and as creative director for Emerald City Productions Ltd. He is renowned for his soft, atmospheric paintings of Irisih landscape and interiors as well as for his prints such as this. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Hilary Hennes (née Hilary Miller) (1919-1993)

    Christmas (c.1940)

    54 x 74 cm Watercolour over linocut 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, Miller taught at the South East Sussex Technical College and in 1946 married the artist Hubert Hennes. The couple set up home 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. If you are interested email info@manningfineart.co.uk or call us on 07929 749056 Condition: Good - some creases.
  • 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) 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) Vandyck Theatre Poster

    Etching Mid 20th Century 42x30cm 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) 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) 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) Standing Nude II

    Etching Mid 20th Century 23x15cm 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 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) Two Standing Nudes

    Etching Mid 20th Century 27x25cm 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) Standing Nude

    Etching Mid 20th Century 23x15cm 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) 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) Reclining Figure V

    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 VI

    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.
  • Henry Cliffe (1919-1983) Reclining Figure IV

    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.
  • Rosemary Ellis (1910-1988) Snail Sitting Up

    23.5x17cm Linocut Provenance: the family of the artist, by descent. Rosemary Ellis (1910-1988)
    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. Condition: Good, rough edges as done by artist.
  • Rosemary Ellis (1910-1988) Snail on Leaf

    15x24cm Linocut
    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. Condition: Good, rough edges as done by artist.
  • Richard Beer (1928-2017) Christ Church Newgate (1970)

    Colour etching and aquatint on Velin Arches, published by Editions Alecto 63x48cm Full sheet size 73 x 55cm Signed, titled and numbered 75/150 Click here for biography and other works by this artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Print in good condition, margins well outside platemark show some discolouration and handling marks which will be hidden behind mat/mount.
  • Richard Beer (1928-2017) St John's College, Oxford (1964-65)

    Colour etching and aquatint on Velin Arches, published by Editions Alecto 58 x 43 cm Full sheet size 73 x 55.5 cm Signed, titled and numbered 19/100 Click here for biography and other works by this artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Print in good condition, margins well outside platemark show some discolouration and handling marks which will be hidden behind mat/mount. Mounted to board.
  • Robert Tavener (1920-2004) Jesus College Gateway Cambridge

    Signed and numbered 10/50 Lithograph 54.5 x 39 cm c. 1970 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. Condition: Good.
  • Richard Beer (1928-2017) Merton, Oxford (1964-65)

    Colour etching and aquatint 45x60cm 68x85.5 including frame, UK shipping only Signed and numbered 44/100 Click here for biography and other works by this artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good.
  • Hugh Casson (1910 - 1999) Emmanuel College Cambridge, Front Court

    Signed in pencil, and numbered from the limited edition of 500. 24x27cm From Casson’s ever-popular Oxford and Cambridge series of prints. Sir Hugh Casson was educated at Eastbourne College, St John’s College Cambridge and the Bartlett School of Architecture. Trained in the 1930s in the early modernist style, he taught at the Cambridge School of Architecture. After employment as a camoufleur during World War 2 by the Air Ministry, in 1948 he was appointed as director of architecture for the Festival of Britain. A close friend of the Royal Family, he undertook designs for the 1953 coronation, designed the interior of the Royal Yacht Britannia (“The overall idea was to give the impression of a country house at sea”), and taught the Prince of Wales to paint in watercolours. Amongst his architectural achievements are the Elephant House at London Zoo, the 1978 redevelopment of Bristol Docks, the Raised Faculty Building for The University of Cambridge, and a building for the Royal College of Art. He published a number of illustrated books, of which Casson’s Oxford and Casson’s Cambridge are probably the best known. A limited edition series of prints was produced from the paintings. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good, very slight age toning to visible area.
  • 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.
  • Richard Beer (1928-2017) Oxford Spires - All Souls College and Radcliffe Camera

    Limited edition coloured etching signed in pencil and numbered 75/150. 62x44cm Born in London in 1928, just too late to serve in World War II, 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. Richard Beer 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, where he explores the use of colour in interesting fashion. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent.
  • Richard Beer (b.1928) 'Hôtel de la Gare'

    Colour etching and aquatint Signed and numbered 41/70 to lower margin Plate size 34.5 x 42.5cm; sheet size 57 x 75cm Richard Beer enrolled at the Slade in 1945, when Lucien Freud, Graham Sutherland and Keith Vaughan were teaching there, before moving to Paris in 1950 where he continued his studies under Stanley William Hayter at Atelier 17 and at the École des Beaux-Arts. In 1955 he began designing theatrical sets and costumes, notably for John Cranko's 'The Lady and the Fool' at Covent Garden, and for the Deutsches Oper in Berlin and the Staatsteater Stuttgart. This background in design may be behind the flattened planes, subtle atmospheric colours and striking architectural compositions of his prints. In 1970 Beer collaborated with John Betjeman to produce a folio of prints entitled 'Ten Wren Churches' published by Editions Alecto. Since 1973 his prints have been published by Christie's Contemporary Art and he also receiveded commissions from London Transport. He travelled frequently to Europe, particularly to Italy where this Venetian café scene was conceived. Beer taught printmaking at the Chelsea School of Art, the Slade and the British School at Rome and was a founding member of the Printmaker's Council. His works are included in the collection of the Tate and the Government Art Collection. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.

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