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David Loggan (1634-1692)
Clare College, Cambridge
Engraving Originally published 1690, this is a slightly later edition, by Henry Overton, shortly after 1700. 35x51cm For biographical details and other works by the artist please click here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634-1692)
St Catharine's College, Cambridge
Engraving Published 1690 35x51cm For biographical details and other works by the artist please click here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634-1692)
Magdalene College, Cambridge
Engraving Published 1690 39x42cm For biographical details and other works by the artist please click here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634-1692)
Sidney Sussex College, Cambridge
Engraving Published 1690 34x45cm For biographical details and other works by the artist please click here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634-1692) Winchester College
Engraving 1675 40x46cm Baptised in Danzig in 1634 Loggan's parents were English and Scottish. Studying engraving in Danzig with Willem Hondius (1598-1652 or 1658) he moved to London in the late 1650s producing the engraved title-page for the folio 1662 Book of Common Prayer. Marrying in 1663 he moved to Nuffield, Oxfordshire in 1665 to avoid the Plague and was in 1668/9 appointed Public Sculptor to the nearby University of Oxford having been commissioned to produce bird’s-eye views of all the Oxford Colleges. He lived in Holywell Street as he did this. Oxonia illustrata was published in 1675, with the help of Robert White (1645-1704). Following its completion he commenced work on his equivalent work for Cambridge, Cantabrigia Illustrata which was finally published in 1690 when he was made engraver to Cambridge University. Oxonia illustrata also includes an engraving of Winchester College (sharing its founder – William of Wykeham – with New College) whilst Cantabrigia illustrata includes one of Eton College (which shares its founder – Henry VIII – with King’s College). Bird’s-eye views required a particular talent as an architectural perspectivist of that era as it was not until 1783 that the first living thing (a sheep, named Montauciel ‘climb to the sky’) was sent aloft by the Mongolfier brothers in a balloon. 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 (on thicker paper and with a plate number in the bottom right-hand corner), those of Cambridge were printed in smaller numbers and no second edition was produced. 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. Edmund Hort New (1871-1931) produced a series of pen-and-ink drawings of views of Oxford that paid homage to Loggan showing the development of the city in the following two hundred years. They were turned into photoengravings by Emery Walker who published the series. Probably no more than two hundred of each engraving were produced and the plates were destroyed in the blitz. The contemporary artist Andrew Ingamells (b.1956) has produced a highly-acclaimed series of etchings again bringing Loggan’s vision up to date. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Centre fold, as issued. Some age toning as visible in photograph; usual handling wear and marks to edges. Generally very good. -
David Loggan (1634-1692)
Pembroke College, Cambridge
Engraving, 1690 36x45cm 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’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Some staining to margins outside platemark. -
David Loggan (1634 - 1692)
Emmanuel College, Cambridge (1690)
Engraving 31 x 47 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; mostly even all-over toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
Christ's College, Cambridge (1690)
Engraving 39 x 48 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 even all-over toning; old repair to lower central fold with small loss. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
Magdalene College, Cambridge (1690)
Engraving 38 x 43 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: enerally even all-over toning; old repair to lower central fold with small loss. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
St Catharine's College, Cambridge (1690)
Engraving 35 x 46 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: has previously been washed, otherwise generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
'Zero' Hans Schleger (1898-1976) Grow Your Own Food
Lithographic poster c. 1940 Printed by Fosh & Kosh Limited for HMSO 76x51cm A copy of this poster is in the collection of the Imperial War Museum. Click here for biographical details and other posters by Hans 'Zero' Schleger. Provenance: the estate of the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Hubert Hennes (b.1907)
New College, Oxford
Watercolour 30x42cm If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Alfred Daniels RBA RWS (1924-2015) All Souls, Oxford Signed and dated 1998. Watercolour 18 x 24 cm (7 x 9.5 in.) 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. -
William Matthison (1853-1926)
The Sheldonian Theatre, Oxford
Watercolour 18 x 28 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 email info@manningfineart.co.uk or call us on 07929 749056. -
William Matthison (1853-1926)
Oriel Street, Oxford and St. Mary's Church
Watercolour 26 x 17 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. -
William Matthison (1853-1926)
Exeter and Balliol from the Sheldonian Theatre, Oxford
Watercolour 26 x 17 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. -
Robert Tavener (1920-2004)
Eton College from the Lock
Watercolour 36x48cm Signed and inscribed Please 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. -
Piero Sansalvadore (1892-1955)
Queens’ College Cambridge
Signed Sansalvadore. Titled to verso. Oil on wood panel 21.5 x 28cm (8.5 x 11 in) £1850 Provenance: Stacy-Marks Gallery, Eastbourne, c. late 1940s An Italian who arrived in London around 1930, the Museum of London and City of London have a series of pictures Sansalvadore painted of war-damaged London. Click here for other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Edward McKnight Kauffer (1890-1954)
Original artwork ‘BP Ethyl for Snappy Engines' (1934)
Signed Pen, ink and collage 27x17cm (16.6×6.6 inches) Framed in a hand-finished black frame. Provenance: Sotheby's, sale of the Shell Archive 10 September 2003 lot 49. If you are interested email info@manningfineart.co.ukor call us on 07929 749056. -
John Dean Monroe Harvey (1895 – 1978) Architectural Drawing: Design for a factory for VC Bond
for Barnes Challen & Cross, Architects and Engineers Mixed Media 38x68cm Even the factory commissioned by the manufacturers of a furniture company deserved the attention of a drawing by the famous JDM Harvey in the Board Room. Unusually, perhaps, for Harvey, here he is drawing fields, carefully catching the texture of a ploughed field with the confident diagonal strokes of his hand. The factory is busily occupied, men are unstacking great piles of timber at the back of the building. A further lorry-load of raw materials enters through the gate and the Directors' fine saloon cars are parked towards the front. Even in this obviously rural environment Harvey draws his usual pedestrians. All these aspects give life to what in the hands of a lesser man would probably be a rather clinical drawing - instead of a picture of which to be proud. Probably unrivalled as an architectural perspectivist working after the second World War, Harvey trained as an architect but after 1944 worked almost solely on drawing architectural perspectives for other architects. “The architectural draughtsman who is equally competent at drawing such incidentals [as landscape and figures] is as rare as the landscape or figure painter who is equally competent at architecture. Harvey was one of those rare men. He would draw a building with a slightly freer hand than an architect would, and his landscape in a slightly more architectural manner than that of a painter.” Perspective in Perspective, Lawrence Wright (Routledge 1983) p234. Harvey was born in Newfoundland, where his father was a railway engineer, and came to England aged 17, studying at St Paul’s School, London and at the School of Architecture, University College London 1914-1918, being awarded the Donaldson medal. In 1920 he went into practice on his own, designing several interiors with J A Bowden. Amongst his works were the reconstruction and interior decoration of 4 Cleveland Place, London (1936-37), and a house – including all furnishings – in Herne Hill for Dr M I Elliot (1938). After 1944 he primarily worked as a perspective artist and illustrator, a role to which he was particularly well suited. During the war he was a member of St Paul’s Watch, a group of over one hundred architects and surveyors and artists who kept watch over St Paul’s Cathedral during the blitz, extinguishing fires and helping St Paul’s to survive the war virtually unscathed. The Watch was described as the ‘Best dining club in London’ on account of its influential members. He retired to Italy, living on the shore of Lake Como, and enjoying the local red wine. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent. In original frame (which has been repolished and with new mount). Glass will be removed for overseas shipping, or subject to a significant shipping surcharge. -
Roy Carnon (1911-2002)
All Hallows Church, Tillington, near Petworth
Oil on board 31 x 42cm Signed; in the artist's original frame Condition: excellent. Click to view biographical details and other works by the artist. Carnon attended Chiswick Art School becoming an illustrator. In 1965 he was responsible for visualising spacecraft for "2001: A Space Odyssey", being designer of the iconic 'wheel' spacestation. These drawings are now in the Kubrick archives at UAL. -
Clifford Charman (1910-1993)
Temple Church, London, after Bombing
Oil on canvas 39 x 49 cm Provenance: The Artist's Studio Sale, Bonhams, London (18 March 1993); Peter Constant Fine Art. Born in Bexleyheath in Kent, Charman studied at Regent Street Polytechnic just before, and just after, the Second World War. He exhibited widely, including at the Royal Academy, the RBA, Chelsea Arts Society, and abroad. Elected in 1954 to the ROI, he also won the James Bourlet Prize in 1982. His work is in collections including that of the Guildhall. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. -
Clifford Charman (1910-1993)
Landscape with Farmhouses
Oil on canvas 38 x 55 cm Provenance: the artist's studio sale, Bonhams, London 1993. Born in Bexleyheath in Kent, Charman studied at Regent Street Polytechnic just before, and just after, the Second World War. He exhibited widely, including at the Royal Academy, the RBA, Chelsea Arts Society, and abroad. Elected in 1954 to the ROI, he also won the James Bourlet Prize in 1982. His work is in collections including that of the Guildhall. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. -
Clifford Charman (1910-1993)
Brewery and Ruined Castle, Cockermouth
Oil on canvas 38 x 55 cm Signed and dated lower left. Provenance: The Artist's Studio Sale, Bonhams, London (18 March 1993); Peter Constant Fine Art. Born in Bexleyheath in Kent, Charman studied at Regent Street Polytechnic just before, and just after, the Second World War. He exhibited widely, including at the Royal Academy, the RBA, Chelsea Arts Society, and abroad. Elected in 1954 to the ROI, he also won the James Bourlet Prize in 1982. His work is in collections including that of the Guildhall. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. Signed lower left. -
Robert Tavener (1920 - 2004)
Cheltenham College
Watercolour and pen 28 x 35 cm Signed lower right. What is particularly interesting about this picture is the contrast between the rugged watercolour wash of the lawn and the fine pen expression of the college's architecture. Tavener painted several views of the city of Cheltenham and its architectural landmarks; Cheltenham College is a public school just outside the city, and Tavener expertly elicits its mid-nineteenth century architectural style here. -
Gerald Mac Spink (flourished 1920 - 1940)
For Theatres, Kinemas, Cabarets, Dances, Concerts, Travel by Underground (c. 1930)
Gouache 30 x 19 cm Original design for a London Transport poster. Framed. A fantastic gouache design by Spink for a London Underground poster. The artist's striking Art Deco design and heady use of colour advertises the glamour of travelling by Tube to various evening entertainments around London. Spink was a skilled artist and designer who produced a series of posters in the inter-war period for companies including the London Underground, Southern Railways, LNER, Hawker Engineering, and British Steel. He won a prize in 1933 from the Imperial Institute for his poster artwork. He also worked as an aeronautical engineer in Kingston-on-Thames for Hawker Engineering; his greatest achievement was the creation of the 'Squanderbug', a 500cc racing car which he built in 1947, and which races even to this day. Provenance: the artist's estate. Condition: good; a few small scuffs to gouache, as visible in photographs. Handsomely framed. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
FP Barraud (1856 - 1924)
Eton College
Watercolour 12 x 18 cm Inscribed faintly lower left 'Eton Coll.' and signed lower right. Condition: generally very good; mounted to board. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Eton College. -
SEM (Georges Goursat) (1863-1934)
Cannes
Lithographic poster in colours, printed by Draeger, Paris c. 1930. 121x81cm (48×32 inches); backed on linen (condition A-) If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634-1692)
Peterhouse, Cambridge
Engraving, 1690 30x40cm, framed 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’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally excellent. -
Walter Hoyle (1922-2000)
Senate House, Cambridge (Cambridge Series 1956-6)
Block print 72/75 Artist’s proof, published by Editions Alecto, London, 1966 46x89cm Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
John Piper
Skeabost, Skye 1975
Screenprint by Curwen Studio Printed on Arches by Kelpra Studio and published by Marlborough Fine Art 68x89cm Signed in crayon; an un-numbered proof print aside from the edition of 70. Levinson 250 From the Series 'Five Scottish Chapels (in ruins)' If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
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. -
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. -
Bernard Cecil Gotch (1876-1964)
Clarendon Building and Sheldonian Theatre, Oxford
Watercolour 27 x 39 cm Signed lower right. Gotch's wintry view of the Clarendon and the Sheldonian captures both the most illustrious architecture of the University of Oxford, and the building works taking place to build a new library. Gotch paints his scene from a viewpoint just in front of Wadham College; the Radcliffe Camera and the spire of the University Church of St Mary the Virgin are visible behind the Sheldonian's roof. The building site visible across from Wadham is the site where the New Bodleian now stands. Bernard Cecil Gotch was a Winchester born artist who is best known for his atmospheric watercolours of Britain's towns and cities (most notably Oxford). He moved to Oxford in 1927, painting many watercolours of the interiors and exteriors of Oxford’s many buildings. His works concentrate on the grand exteriors and interiors of the University's colleges, and he exhibited frequently - including an exhibition every term at Oriel College. His first notable commission was for the publisher Methuen, illustrating 'A Shepherd’s Life' by W H Hudson. Whilst in London he was invited to illustrate a book on the Public Schools of England (which was sadly never completed). He exhibited watercolours at the Fine Art Society and Lincolns Inn, and also exhibited at the Royal Academy. In 1952 Gotch was given an Honorary MA by the University of Oxford, and, after his death in 1963, a memorial was held for him at Oriel. Condition: very good; original oak frame. -
Gerald Mac Spink (flourished 1920 - 1940)
For Pleasure, Travel by Underground (c. 1930)
Gouache 26 x 18 cm Original design for a London Transport poster. Framed. A dynamic Art Deco poster design by Mac Spink. A boldly-coloured harlequin figure encourages travel via the London Underground. Spink was a skilled artist and designer who produced a series of posters in the inter-war period for companies including the London Underground, Southern Railways, LNER, Hawker Engineering, and British Steel. He won a prize in 1933 from the Imperial Institute for his poster artwork. He also worked as an aeronautical engineer in Kingston-on-Thames for Hawker Engineering; his greatest achievement was the creation of the 'Squanderbug', a 500cc racing car which he built in 1947, and which races even to this day. Provenance: the artist's estate. Condition: good; a few small scuffs to gouache, as visible in photographs. Handsomely framed. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Chessell Buckler (1793 - 1894)
Horham Hall, Essex (1830)
Watercolour 25 x 34 cm Signed and dated lower right; titled below. Horham Hall was built in Thaxted, Essex by Sir John Cutte in the early sixteenth century. The original hall was a timber-framed moated manor house built circa 1470, but it was largely demolished by Cutte, who built the present house between 1510 and 1515. Cutte was under-treasurer in the households of Henry VII and Henry VIII. The mansion was built in brick in two storeys in a quadrilateral layout with a gatehouse and incorporated some elements of the former building. The house was visited three times by Elizabeth I as the guest of Sir John Cutte. It is believed that the Tower was built for her to watch the local hunt. It was while staying at Horham in 1578 that the Queen received the envoy of the Duke of Alençon proposing marriage. John Chessell Buckler was a British architect, the eldest son of the architect John Buckler. His work included restorations of country houses and at the University of Oxford. Buckler received art lessons from the painter Francis Nicholson. He began working for his father's architectural practice in 1810, and ran it from 1830 onwards with his younger brother George. They worked in partnership until 1842. Buckler did a lot of work in Oxford, carrying out repairs and additions to St. Mary's Church, and Oriel, Brasenose, Magdalen, and Jesus Colleges. He also restored Oxburgh Hall, Norfolk, and Hengrave Hall, Suffolk, and designed Dunston Hall, Norfolk, and Butleigh Court in Somerset. In 1836 he came second, behind Charles Barry, in the competition to rebuild the Palace of Westminster following its destruction by fire. Buckler's writings included the text accompanying his father's engravings of Views of the Cathedral Churches of England and Wales (1822). In 1823 he published 'Observations on the Original Architecture of St. Mary Magdalen College, Oxford', in which he expressed his hostility towards changes in the quadrangle of Magdalen College. Some of his later writings, such as 'A History of the Architecture of the Abbey Church of St Alban' (1847), were written in collaboration with his own son, Charles Alban Buckler. He wrote a further polemical work, 'A Description And Defense Of The Restorations Of The Exterior Of Lincoln Cathedral' (1866), a scathing response to accusations that, in capacity as honorary architect to Lincoln Cathedral, he had overseen a damaging restoration involving the 'scraping' of the cathedral fabric. He died at the grand old age of 100 in 1894. Condition: good. Some spots to the sky, as visible in photograph. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Bernard Cecil Gotch (1876-1964)
Oriel Square, Oxford, at the entrance to Bear Lane
Watercolour 27 x 36.5 cm Signed in pencil lower left. Oriel Square in the afternoon. Two undergraduates lean against the walls of Oriel College, talking, and another group make their way inside. Vintage cars (dating the picture to the 1920s, or 1930s?) are parked outside its gates, and the Oriel flag flies high. Bernard Cecil Gotch was a Winchester-born artist who is best known for his atmospheric watercolours of Britain's towns and cities (most notably Oxford). He moved to Oxford in 1927, painting many watercolours of the interiors and exteriors of Oxford’s many buildings. His works concentrate on the grand exteriors and interiors of the University's colleges, and he exhibited frequently - including an exhibition every term at Oriel College. His first notable commission was for the publisher Methuen, illustrating 'A Shepherd’s Life' by W H Hudson. Whilst in London he was invited to illustrate a book on the Public Schools of England (which was sadly never completed). He exhibited watercolours at the Fine Art Society and Lincolns Inn, and also exhibited at the Royal Academy. In 1952 Gotch was given an Honorary MA by the University of Oxford, and, after his death in 1963, a memorial was held for him at Oriel. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Doyle (born 1928)
Trinity College, Oxford
Watercolour 24 x 46 cm Signed lower left. Doyle's striking portrayal of Trinity's architecture, complete with undergraduates variously strolling, sitting, and reading in the foreground. Afternoon sun slants over the immaculately mown lawns. John Doyle was born in London and works in watercolours, pastels, and oils. He studied at the Maidstone School of Art in his 30s, later showing at the Royal Academy Summer Exhibition. Much of his work focuses on landscape and architecture; he has produced a series of views of Oxford and its colleges. Condition: excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more views of Trinity College, Oxford. -
Walter Hoyle (1922 - 2000)
King's College Chapel, Cambridge (Cambridge Series 1956 - 66)
Linocut 72 x 41 cm Signed and inscribed A/P in pencil. Hoyle depicts King's College Chapel as both indomitable and delicate. The bold composition sees the chapel's spires surrounded by a fiery orange light against the black night of the background; at the same time, the western facade looks like it could have been cut from paper, or crafted from lace. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Provenance: family of the artist. Condition: generally very good; a few handling marks to margins. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of King's College, Cambridge. -
Walter Hoyle (1922 - 2000)
Senate House, Cambridge (Cambridge Series 1956 - 66)
Linocut 46 x 70 cm Trial print aside from the series, with different colourway. Senate House, under a lively blue sky. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Provenance: family of the artist. Condition: generally very good; a few handling marks and areas of discolouration to extreme margins, extraneous ink to right hand side, and a very small brown spot to very top right beyond the blue sky. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other general views of Cambridge. -
Walter Hoyle (1922 - 2000)
King's College, Cambridge (Cambridge Series 1956 - 66)
Linocut 56 x 43 cm Signed and inscribed A/P in pencil. Possibly unique. Hoyle's view of King's College, Cambridge, with a slice of blue sky behind. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Provenance: family of the artist. Condition: generally very good; a few handling marks and a little age toning to the margins. Vertical impressins within and below the blue vertical area which are probably part of the artist's working technique. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of King's College, Cambridge. -
John Hoyland (1934 - 2011)
Yellows (1969)
Screenprint 56 x 94 cmArtist’s proof. Signed and dated lower right.
Hoyland's abstract print is made up of wide fields of colour, formally arranged. Paul Moorhouse wrote of the artist's ‘insistence on eliminating figurative references’, and here we have an entirely abstract composition - one which has no desire to depict anything figurative, anything tangible. The colours are vivid, with the ‘restrictive palette in which red-green oppositions are dominant’ which marks Hoyland's early work is cautiously evident here. The abstraction is deliberately imperfect: small yellow splashes break into the expanse of green, and the texture of that green overtly demonstrates its texture and madeness. Hoyland's prints are keen to remind us of the physical process of their making, relying on the tension between the formal and the informal to do so. John Hoyland was one of Britain's most revered post-war abstract artists. He was born in Sheffield and studied at the Sheffield School of Art and Crafts, and then Sheffield College of Art and the Royal Academy Schools in London. His first solo exhibition was held at the Marlborough New London Gallery in 1964. Retrospectives of his paintings have been held at the Serpentine Gallery (1979), the Royal Academy (1999) and Tate St Ives (2006). Hoyland was elected to the Royal Academy in 1991 and was appointed Professor of Painting at the Royal Academy Schools in 1999. Condition: very good; recent heavy handsome frame. Glass will be removed for international shipping. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other Modern British Print. -
Clifford and Rosemary Ellis
London Underground Map (1935)
Original vintage poster 103 x 64 cm Signed in the plate 'Clifford & Rosemary Ellis '35". Printed by Waterlow & Sons Ltd for London Transport. Provenance: the artists' studio. This marvellous original vintage poster was designed for London Transport and encourages shoppers to use the Tube to do their Christmas shopping. The map of London's streets of shops, including Oxford Street, Regent Street, and Bond Street, are set on the background of a Christmas shopping list and various items to be purchased. The cross-section of a Christmas cracker at the top of the poster includes the joke: 'Why is a railway timetable like life?' - 'Because it is full of ups and downs. London Transport was the forerunner of London Underground. During the 1930s London Transport commissioned over forty posters a year from well-known artists such as Laura Knight, CRW Nevinson, Edward Wadsworth, Eric Ravilious, Paul Nash, Graham Sutherland, and Edward McKnight Kauffer – a bold policy that did much to popularise avant-garde artistic styles that stemmed from Cubism, Futurism and Abstraction. Condition: very good; backed to linen. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage London Transport posters. -
Clifford and Rosemary Ellis
London Underground Map (1935)
Original vintage poster 103 x 64 cm Signed in the plate 'Clifford & Rosemary Ellis '35". Printed by Waterlow & Sons Ltd for London Transport. Provenance: the artists' studio. This marvellous original vintage poster was designed for London Transport and encourages shoppers to use the Tube to do their Christmas shopping. The map of London's streets of shops, including High Street Kensington, Westbourne Grove, and the Brompton Road, are set on the background of Christmas wishlists and shopping lists. The cross-section of a Christmas stocking at the top of the poster includes a doll and a toy train amongst other stocking fillers. London Transport was the forerunner of London Underground. During the 1930s London Transport commissioned over forty posters a year from well-known artists such as Laura Knight, CRW Nevinson, Edward Wadsworth, Eric Ravilious, Paul Nash, Graham Sutherland, and Edward McKnight Kauffer – a bold policy that did much to popularise avant-garde artistic styles that stemmed from Cubism, Futurism and Abstraction. Condition: very good; backed to linen. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage London Transport posters. -
Fahye Design Consultants for Cunard
Queen Elizabeth 2 - Midships Lobby
Gouache and lettraset 59 x 83 cm A fabulously mid-century design for a lobby in the QE2, a luxury ocean liner operated by Cunard from 1969 to 2008. Glamorous passengers in black tie mingle in the lobby before dinner. A sunken conversation pit marks the mid-century interior style of the ship. The Queen Elizabeth 2 was designed in Cunard's offices in Liverpool and Southampton and built in Clydebank, Scotland. She was retired in 2018 and is now a floating hotel in Dubai. Condition: very good; mounted to foamboard. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Fahye Design Consultants for Cunard
Queen Elizabeth 2 - Staircase G
Gouache and lettraset 59 x 83 cm A fabulously mid-century design for a staircase in the QE2, a luxury ocean liner operated by Cunard from 1969 to 2008. Glamorous passengers in black tie mingle on the staircase landing before dinner. Fahye's gouache designs illustrate the mid-century modern aesthetic of the golden age of ocean travel. The Queen Elizabeth 2 was designed in Cunard's offices in Liverpool and Southampton and built in Clydebank, Scotland. She was retired in 2018 and is now a floating hotel in Dubai. Condition: very good; mounted to foamboard. 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.
