• Wilfred Pettitt (1904 - 1978)

    Great Court, Trinity College, Cambridge

      Watercolour 17 x 27 cm A smartly-dressed couple and their two children enjoy the sunny and immaculately-lawned Great Court of Trinity College, Cambridge. The man and woman admire the ornate fountain which stands sentinel in the middle of the court (it, along with the rest of Great Court, was erected by by Thomas Nevile, master of the college in the early 17th century). Their children, perhaps oblivious to the architectural majesty around them, amuse themselves by playing with the pigeons. Wilfred Stanley Pettitt was born in Great Yarmouth, and studied at the Great Yarmouth School of Art and the Norwich School of Art. In 1928 he showed at the Royal Academy Royal Academy for the first time, and his work was also exhibited by the Royal Society of British Artists and the Royal Cambrian Academy. In 1944 Pettitt became one of the founding members of the Norwich Twenty Group (a group of Norfolk artists who intended to raise the standards of local professional art). He died in Eastbourne in 1978. Condition: mounted to board; otherwise very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity College, Cambridge.
  • David Loggan (1634 - 1692)

    Trinity College, Cambridge (1690)

    Engraving 80 x 50 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally very good; printed on two sheets, folds as issued. A few creases to top area. As a multi-folded plate in the published book, Trinity has normally suffered and is normally trimmed closely and has damage; this particular example has instead good margins outside the platemark and without damage to the folds. A very good copy of Trinity. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857)

    Pensioner of Trinity College, Masters of Arts, and Sizer (1815)

    Hand-coloured aquatint 25 x 30 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of a pensioner of Trinity College, Masters of Arts, and a sizer (that is, an undergraduate who receives some form of assistance such as meals, lower fees or lodging during his or her period of study, in some cases in return for doing a defined job) from Ackermann's ''A History of the University of Cambridge, Its Colleges, Halls and Public Buildings''. The four figures walk forward with ceremonial accoutrements, likely to a graduation ceremony. At Cambridge, a sizar was originally an undergraduate student who financed his studies by undertaking more or less menial tasks within his college but, as time went on, was increasingly likely to receive small grants from the college. Certain colleges, including St John's and Trinity, distinguished between two categories of sizar: there were specific endowments for specific numbers of sizars who were called "proper sizars"; those who were not so endowed, but who were maintained by fellow-commoners and fellows were called subsizars. Isaac Newton matriculated as subsizar at Trinity College. Richard S. Westfall noted that sizars were considerably more successful in gaining degrees than the gentlemen who entered Cambridge in the seventeenth century. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann''s collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857)

    Fellow Commoner of Emanuel College; a Nobleman; Fellow Commoner of Trinity College (1815)

      Hand-coloured aquatint 25 x 29.5 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of two students and a nobleman from Ackermann's ''A History of the University of Cambridge, Its Colleges, Halls and Public Buildings''. The three figures dwell over a pile of books and papers, clad in the appropriate academic dress. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann''s collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Mabel Oliver Rae

    Great Court, Trinity College, Cambridge

    Etching, circa 1920 20 x 27cm Signed lower left.   Mabel Oliver Rae was born in Cambridge, Cambridgeshire, and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works with the pseudonym 'M.Oliver Rae', a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents.   Condition: Generally very good, slight discolouration to margins - which will not be visible under mount.
  • Trinity Bridge, Cambridge

    Albumen print of a photograph, circa 1850 Mounted to board and inscribed 'Trinity Bridge Cambridge'. Trinity Bridge is a stone built tripled-arched road bridge across the River Cam. It was built from Portland stone in 1765 to the designs of James Essex to replace an earlier bridge built in 1651, and is a Grade I listed building. Trinity College is a constituent college of the University of Cambridge, and was founded in 1546 by King Henry VIII. Trinity is one of the oldest and largest colleges in Cambridge, with the largest financial endowment of any college at either Cambridge or Oxford. Trinity has some of the most distinctive architecture within Cambridge, with its Great Court reputed to be the largest enclosed courtyard in Europe. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Mabel Oliver Rae ((1868-1956) Trinity College Cambridge Great Court

    Etching 20x27 cm The rich tones of the etchings make them as popular today as when they were first made. 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: Generally very good.
  • Mabel Oliver Rae ((1868-1956) Trinity College Cambridge Great Gate

    Etching 28x18 cm The rich tones of the etchings make them as popular today as when they were first made. 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: Generally very good.
  • Bertie Studley Fiven (Australian, 1889-1958) Trinity College, Cambridge

    14.5 x 9.5 cm Watercolour c. 1917 Born in Carlton, Victoria, Australia, Fiven enlisted in 1915 in C Company of the 31st Australian Infantry Battalion in July 1915. In November 1915 he embarked on either HMAT Wandilla or HMAT Bakara from Melbourne. Whilst on board the '31st Recorder' newspaper was produced (it ran to only one issue, published in the middle of the Indian Ocean on 1st December 1915) and Fiven produced the illustration for the front cover. He then served in Egypt defending the Suez Canal from the Turks. The Battalion then served in France in the Battle of Fromelles in July 1916, suffering 500 casualties and serving no further part in the war until 1917, where it was on the edge of the Battle of Passchendale in September. The Battalion being disbanded in March 1919, Fiven returned to Australia, returning as a Lieutenant on 15 May 1919 to the relief of his mother Mary and his sweetheart May Moore - whom he married on 16 August 1919. There was a policy of rotating troops away from the front line, and Fiven will have spent some rest time in Cambridge when he painted this picture. He died in Heidelberg in Australia in 1958. If you are interested email info@manningfineart.co.ukor call us on 07929 749056. Condition: Good.
  • R.H.B Trinity College, Cambridge

    22.5x13cm 1915 If you are interested email info@manningfineart.co.ukor call us on 07929 749056. Condition: Good.
  • Robert Dighton A View from Trinity College, Cambridge

    27x20cm Etching A caricature portrait of William Lort Mansel (1753-1820), Master of Trinity College, Cambridge and later the Bishop of Bristol. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good.  
  • R Warwick (British, fl c. 1900-1930) Trinity College Cambridge, Great Gate

    Etching size: 9x6cm; sheet size 15x12cm On deckle-edged paper If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally good condition, some foxing to sheet, but scarcely within image area.
  • John Fulleylove (1845-1908) Trinity College, Cambridge - Great Court

    Watercolour 13x17cm Born in Leicester, John Fulleylove trained as an architect with a Leicester firm before becoming a full-time painter. He exhibited widely in the UK, at such venues as the Royal Academy, the Fine Art Society, and the Royal Society of British Artists. His paintings were the subject of illustrated topographical books, including one on ‘Oxford’ published by the Fine Art Society. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good.
  • David Loggan (1634-1692) The Bishop's Hostal, Trinity College Cambridge

    Engraving 1690 35x50cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (c. 1708). The contemporary artist Andrew Ingamells (b.1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Some age toning as visible in photograph; usual handling wear and marks to edges, generally very good.
  • Robert Thomson (British, 20th Century) Trinity College Cambridge - Trinity Bridge over the River Cam with Punts

    22 x 32 cm Watercolour Signed in pencil 'Thomson' to bottom right An old favourite view, painted in a bold and confident fashion by Robert Thomson, capturing the carefree spirit of an afternoon's punting, and the bold and clear architecture of Cambridge's biggest and wealthiest College. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent.  
  • George Lilly Anderson (British b. 1870)

    Trinity College Cambridge Bridge

    28x38cm Watercolour Intriguingly nothing is known of Anderson's life, apart from the carefully painted landscapes. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • J V C Anthony

    Great Court, Trinity College, Cambridge

    Pen, ink and watercolour 37x56cm Latter half of twentieth century If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Gwen White

    Great Court, Trinity College, Cambridge

    Gouache 24x32cm Gwen White is author of Perspective: A Guide for Artists, Architects and Designers and this view of Trinity is painted with an architect’s eye for detail. If you are interested email info@manningfineart.co.ukor call us on 07929 749056.
  • James Sargant Storer (1771–1853)

    Trinity College Gateway from The Backs, Cambridge, c1820

    Watercolour 19×13.5cm (7.4×5.3 inches) unframed This is the original watercolour for an engraving published as The Avenue by James & Henry Storer c.1820 in Delineations of Trinity College. The exquisitely detailed watercolour showing academical figures standing on Trinity Bridge as viewed from the backs is framed in its original nineteenth century gilt slip behind nineteenth century glass. Provenance: by decent from the artist. Storer was a topographer with an interest in ancient architecture, making drawings and engraving the plates himself. From 1814 he worked in conjunction with his eldest son, Henry, who predeceased him in 1837. They were buried next to each other at St James’s Chapel in Pentonville, now Joseph Grimaldi Park (named after the clown, Grimaldi who was buried there in 1837 and whose railed grave remains to this day).   If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Richard Henry Wright (1857-1930)

    Trinity Great Gate, Cambridge

    Watercolour 47x39cm (frame) 25x18cm (9.8×7 inches) Originally from Hampshire, Wright was an artist who specialised in topographical views, mostly in Europe and Egypt. He exhibited at the RA from 1885 to 1913. In 1892 he married the artist Catherine Morris Wood, who also exhibited at the RA – but from 1880 until the 1920s. They lived at 2 Harcourt Buildings in the Inner Temple If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Nancy Weir Huntly  (1890-1963)

    Trinity College Bridge Cambridge

    Oil on canvas; framed in an antique-white-finished frame with gilt slip. Signed 'Huntly' 50x61cm Born in India, in Nusserabad, she studied art at the Royal Academy Schools in Dusseldorf. She lived in Welwyn Garden City, in Hertfordshire, with her daughter, Faith Sheppard, also a painter. She also painted under the name Nancy Sheppard. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • William Matthison (1853-1926)

    Trinity College Cambridge Great Gate

    Watercolour 36.5 x 26 cm Matthison was born near Birmingham and attended King Edward’s School in the city. He learned drawing at the Birmingham Central School of Art and then became a pupil of Birmingham artist Edward Watson. He became a professional artist in 1875 and moved to Oxfordshire a few years after; this was where he had the opportunity to produce many of the Oxford views for which he is known today. In 1902 he moved to Park Town in Oxford and was commissioned by Robert Peel to paint more than seventy views of the University of Oxford, which were subsequently made into postcards. Priced at seven for a shilling, they were only available from E Cross of Pembroke Street (a long-since closed business). Raphael Tuck & Sons also commissioned him to produce postcard scenes of Cambridge. Matthison’s views of Oxford were later printed in Fifty Watercolour Drawings of Oxford, published in 1912 by Alden & Co. Click here for other works by the artist. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Tony Broderick

    Trinity College, Cambridge, Hall from exterior

    Conte drawing 37x47cm If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Alfred Richard Blundell (1883 - 1968)

    The Wren Library, Trinity College, Cambridge

      Etching 15 x 25 cm Signed, titled and inscribed 'to C A Walsh 1952' in pencil. Trinity's magnificent Wren Library was designed by Christopher Wren in 1676 and completed in 1695. Here, the artist captures the library's imposing architectural symmetry. Alfred Blundell was a painter, printmaker and glass engraver who studied at the Slade School of Fine Art. He exhibited at the Royal Academy and the Fitzwilliam Museum, Cambridge holds several of his pictures. Condition: generally very good; old tape reside to very corners. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity College, Cambridge.
  • J V C Anthony

    Wren Library, Trinity College, Cambridge

    Watercolour and ink 39x49cm Anthony exhibited with the Society of Marine Artists and painted a number of views of Cambridge. Click here to see other works by him. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • J T Neville Trinity College Great Court Cambridge

    J T Neville Great Court, Trinity College, Cambridge Watercolour 24x32cm If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • George Pyne (1800-1884)

    Great Court, Trinity College, Cambridge

    Signed G Pyne 1850 Watercolour 20.5 x 29 cm (8 x 11.5 in.) It appears Pyne spent some time painting in Cambridge in 1849-50. This is - for Pyne -  an unusually large composition; a fine watercolour of Trinity Great Court, with King’s College chapel in the background and elegant figures in the court. It is a particularly pleasing composition. 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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