• Anonymous Original Art Deco Design for Poster: Norwegian Cruises by Blue Star Luxury Line

    Gouache on paper c. 1930s 35x25cm It has not yet been possible to identify a poster for which this was the design. A well-painted design for a poster for cruises to Norway. A funnel pours out a stylised stream of smoke. The distance in the fjord is cleverly demarkated by the use of horizontal white lines. The interlocking spurs of the fjord are clearly visible, and a spectacular use of colour helps the Art Deco design. Isolated spotting and loss of paint, as visible in photograph. In a fine hand-finished black box frame, with AR anti-reflective glass. A rare survivor which shows very handsomely.
  • Angela Stones (1914-1995) Chelsea Old Church

    Watercolour 31x41 cm Stones was a member of an artistic dynasty. Her mother Dorothy Bradshaw (1893-1983) studied under Jack Merriott - the artist famous for his British Rail posters, and her son, Christopher Assheton-Stones (1947-1999) was probably the foremost pastel artist of his time. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Angela Stones (1914-1995) Holy Trinity Brompton Church

    Watercolour 31x41 cm Signed 'Angela Stones' Stones was a member of an artistic dynasty. Her mother Dorothy Bradshaw (1893-1983) studied under Jack Merriott - the artist famous for his British Rail posters, and her son, Christopher Assheton-Stones (1947-1999) was probably the foremost pastel artist of his time. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Claude Muncaster (1903-1974) Farmstead and Trees

    Dated Sept 1921 Signed on reverse with additional sketches of figures Watercolour 22x28cm Claude Grahame Muncaster, RWS, ROI, RBA, SMA was the son of Oliver Hall RA. At the age of fifteen his career as a landscape painter began, and he soon took to the seas, spending the 1920s and 30s travelling the world with his sketchbook in a series of vessels. With the outbreak of war and he joined the RNVR training as a navigator. Having left school at fifteen his mathematics was very weak and it was a relief for all when his artistic talents meant he was recruited as a camofleur. A master of capturing seascapes he was therefore able to hide huge ships ‘in plain sight’ with clever disguises. After the war he painted for the Royal Family and was a frequent guest at Sandringham. Claude Muncaster was a watercolourist known for his landscapes and maritime scenes. He was born Grahame Hall, the son of the Royal Academician Oliver Hall who taught his son to paint from an early age; Grahame first exhibited his work aged 15 and a few years later was showing at the RA. However, he adopted the name Claude Muncaster in 1922 to dissociate his career from that of his father. Muncaster’s primary choice of subject matter came from a genuine love of the sea. He made several long-distance sea voyages, including one around the Horn as a deckhand in the windjammer Olivebank in 1931, which he described in ‘Rolling Round the Horn’, published in 1933. Armed with a sketchbook, his aim was to be able to ‘paint ships and the sea with greater authority’. This he certainly achieved, perfectly capturing the limpid first light of morning over the Port of Aden, the choppy rain-grey waters of the Bay of Biscay and a streak of sunlight through gathering storm clouds at dusk in Exeter. He became an Associate of the Royal Watercolour Society in 1931 and was a founder member, and later President, of the Royal Society of Marine Artists. During the Second World War, Muncaster served in the Royal Naval Volunteer Reserve (RNVR) from 1940-44, training as a navigator before going on to advise on the camouflage of ships, and also worked as an official war artist. In ‘Still Morning at Aden’ (1944) he depicts Allied warships in this safe anchorage in the Middle East; the back is stamped with Admiralty approval. In 1946-7 he was commissioned by the Queen to produce watercolours of the royal residences at Windsor, Sandringham and Balmoral; the Duke of Edinburgh, in a foreword to a biography of Muncaster, recalls looking at these and considering the artist’s ‘unerring instinct for a subject’, his sense of atmosphere. Other commissions included large panoramas of the Thames and of Bradford. His career also included work as an etcher, illustrator, writer, lecturer and broadcaster, and his paintings can be found in the Royal Academy, Tate, National Maritime Museum Cornwall, National Railway Museum and Royal Air Force Museum. Condition: generally good, few isolated spots to sky as can be seen in the magnified version of the picture. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Claude Muncaster (1903-1974) Factory Scene

    Monochrome aquatint Signed in plate 22x28cm Provenance: the family of the artist, by descent. Click here for more from the same source. Aquatint is an unusual medium for Muncaster - the renowned watercolourist - and an unusual subject. Here he has handled the factory scene with perhaps more even than his usual skill. The smoke makes dramatic courses across the sky, and the wires, roofs and gantries all bring very strong triangular forms to a scene with powerful vertical lines. Claude Grahame Muncaster, RWS, ROI, RBA, SMA was the son of Oliver Hall RA. At the age of fifteen his career as a landscape painter began, and he soon took to the seas, spending the 1920s and 30s travelling the world with his sketchbook in a series of vessels. With the outbreak of war and he joined the RNVR training as a navigator. Having left school at fifteen his mathematics was very weak and it was a relief for all when his artistic talents meant he was recruited as a camofleur. A master of capturing seascapes he was therefore able to hide huge ships ‘in plain sight’ with clever disguises. After the war he painted for the Royal Family and was a frequent guest at Sandringham. Claude Muncaster was a watercolourist known for his landscapes and maritime scenes. He was born Grahame Hall, the son of the Royal Academician Oliver Hall who taught his son to paint from an early age; Grahame first exhibited his work aged 15 and a few years later was showing at the RA. However, he adopted the name Claude Muncaster in 1922 to dissociate his career from that of his father. Muncaster’s primary choice of subject matter came from a genuine love of the sea. He made several long-distance sea voyages, including one around the Horn as a deckhand in the windjammer Olivebank in 1931, which he described in ‘Rolling Round the Horn’, published in 1933. Armed with a sketchbook, his aim was to be able to ‘paint ships and the sea with greater authority’. This he certainly achieved, perfectly capturing the limpid first light of morning over the Port of Aden, the choppy rain-grey waters of the Bay of Biscay and a streak of sunlight through gathering storm clouds at dusk in Exeter. He became an Associate of the Royal Watercolour Society in 1931 and was a founder member, and later President, of the Royal Society of Marine Artists. During the Second World War, Muncaster served in the Royal Naval Volunteer Reserve (RNVR) from 1940-44, training as a navigator before going on to advise on the camouflage of ships, and also worked as an official war artist. In ‘Still Morning at Aden’ (1944) he depicts Allied warships in this safe anchorage in the Middle East; the back is stamped with Admiralty approval. In 1946-7 he was commissioned by the Queen to produce watercolours of the royal residences at Windsor, Sandringham and Balmoral; the Duke of Edinburgh, in a foreword to a biography of Muncaster, recalls looking at these and considering the artist’s ‘unerring instinct for a subject’, his sense of atmosphere. Other commissions included large panoramas of the Thames and of Bradford. His career also included work as an etcher, illustrator, writer, lecturer and broadcaster, and his paintings can be found in the Royal Academy, Tate, National Maritime Museum Cornwall, National Railway Museum and Royal Air Force Museum.
  • Claude Muncaster (1903-1974) Near Mundesley, Norfolk

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

    Doris Clare Zinkeisen (1898-1991) Costume design for Twelfth Night

    1942, for International Ballet Tour 39x28cm Gouache, pencil and wash on paper From a series of six, click here to see the others Condition: Pin holes to corners; these are working drawings and carry some signs of this. A Scottish theatrical stage and costume designer, Zinkeisen was best known for her work in theatrical design. Born in Argyll the family moved to Pinner, London when she was 11 years old. After four years at the Harrow School of Art she won a scholarship to the Royal Academy Schools in 1917 - together with her younger sister Anna, also an artist. The two of them shared a studio in London during the 1920s and 1930s, where Doris developed her realist style. This made her popular as both a portrait painter and as an illustrator and commercial artist, producing advertising posters for railway companies, the London Underground and murals for the RMS Queen Mary. Despite her success in these fields, it was as a stage and costume designer that she achieved her greatest success. One of her first stage designs was in 1923, shortly after leaving the Royal Academy. Amongst her greatest successes in this field are 'This Year of Grace' by Noel Coward in 1928 at the London Pavilion, the musical 'The Great Waltz' at the Center Theatre on Broadway, Old Vic productions of 'Arms and the Man' and 'Richard III'. Films included 'Show Boat' (1936). During World War II she joined the St John Ambulance Brigade, working as a nurse in London at St Mary's Hospital, Paddington where she nursed in the casualty department in the mornings and painted the events of the day in the afternoons. Following the liberation of Europe she was appointed by the War Artists' Advisory Committee inter alia spending three days at Bergen-Belsen concentration camp in April 1945 immediately following its liberation.
  • Out of stock

    Doris Clare Zinkeisen (1898-1991) Costume design for Viola for Twelfth Night

    1942, for International Ballet Tour 39x28cm Gouache, pencil and wash on paper From a series of six, click here to see the others Condition: Pin holes to corners; pin holes and small spots to top left corner; these are working drawings and carry some signs of this. A Scottish theatrical stage and costume designer, Zinkeisen was best known for her work in theatrical design. Born in Argyll the family moved to Pinner, London when she was 11 years old. After four years at the Harrow School of Art she won a scholarship to the Royal Academy Schools in 1917 - together with her younger sister Anna, also an artist. The two of them shared a studio in London during the 1920s and 1930s, where Doris developed her realist style. This made her popular as both a portrait painter and as an illustrator and commercial artist, producing advertising posters for railway companies, the London Underground and murals for the RMS Queen Mary. Despite her success in these fields, it was as a stage and costume designer that she achieved her greatest success. One of her first stage designs was in 1923, shortly after leaving the Royal Academy. Amongst her greatest successes in this field are 'This Year of Grace' by Noel Coward in 1928 at the London Pavilion, the musical 'The Great Waltz' at the Center Theatre on Broadway, Old Vic productions of 'Arms and the Man' and 'Richard III'. Films included 'Show Boat' (1936). During World War II she joined the St John Ambulance Brigade, working as a nurse in London at St Mary's Hospital, Paddington where she nursed in the casualty department in the mornings and painted the events of the day in the afternoons. Following the liberation of Europe she was appointed by the War Artists' Advisory Committee inter alia spending three days at Bergen-Belsen concentration camp in April 1945 immediately following its liberation.
  • Out of stock

    Doris Clare Zinkeisen (1898-1991) Costume design for Viola ii for Twelfth Night

    1942, for International Ballet Tour 39x28cm Gouache, pencil and wash on paper From a series of six, click here to see the others Condition: Pin holes to corners; occasional small spots; these are working drawings and carry some signs of this. A Scottish theatrical stage and costume designer, Zinkeisen was best known for her work in theatrical design. Born in Argyll the family moved to Pinner, London when she was 11 years old. After four years at the Harrow School of Art she won a scholarship to the Royal Academy Schools in 1917 - together with her younger sister Anna, also an artist. The two of them shared a studio in London during the 1920s and 1930s, where Doris developed her realist style. This made her popular as both a portrait painter and as an illustrator and commercial artist, producing advertising posters for railway companies, the London Underground and murals for the RMS Queen Mary. Despite her success in these fields, it was as a stage and costume designer that she achieved her greatest success. One of her first stage designs was in 1923, shortly after leaving the Royal Academy. Amongst her greatest successes in this field are 'This Year of Grace' by Noel Coward in 1928 at the London Pavilion, the musical 'The Great Waltz' at the Center Theatre on Broadway, Old Vic productions of 'Arms and the Man' and 'Richard III'. Films included 'Show Boat' (1936). During World War II she joined the St John Ambulance Brigade, working as a nurse in London at St Mary's Hospital, Paddington where she nursed in the casualty department in the mornings and painted the events of the day in the afternoons. Following the liberation of Europe she was appointed by the War Artists' Advisory Committee inter alia spending three days at Bergen-Belsen concentration camp in April 1945 immediately following its liberation.
  • Out of stock

    Doris Clare Zinkeisen (1898-1991) Costume design for Viola iii for Twelfth Night

    1942, for International Ballet Tour 39x28cm Gouache, pencil and wash on paper From a series of six, click here to see the others Condition: Pin holes to corners; pin holes and small spots to top left corner; these are working drawings and carry some signs of this. A Scottish theatrical stage and costume designer, Zinkeisen was best known for her work in theatrical design. Born in Argyll the family moved to Pinner, London when she was 11 years old. After four years at the Harrow School of Art she won a scholarship to the Royal Academy Schools in 1917 - together with her younger sister Anna, also an artist. The two of them shared a studio in London during the 1920s and 1930s, where Doris developed her realist style. This made her popular as both a portrait painter and as an illustrator and commercial artist, producing advertising posters for railway companies, the London Underground and murals for the RMS Queen Mary. Despite her success in these fields, it was as a stage and costume designer that she achieved her greatest success. One of her first stage designs was in 1923, shortly after leaving the Royal Academy. Amongst her greatest successes in this field are 'This Year of Grace' by Noel Coward in 1928 at the London Pavilion, the musical 'The Great Waltz' at the Center Theatre on Broadway, Old Vic productions of 'Arms and the Man' and 'Richard III'. Films included 'Show Boat' (1936). During World War II she joined the St John Ambulance Brigade, working as a nurse in London at St Mary's Hospital, Paddington where she nursed in the casualty department in the mornings and painted the events of the day in the afternoons. Following the liberation of Europe she was appointed by the War Artists' Advisory Committee inter alia spending three days at Bergen-Belsen concentration camp in April 1945 immediately following its liberation.
  • Edward Bawden (1903-1989)

    Captain of the Team Cat

    Pen and Ink 38x27 cm Signed and inscribed lower right For biographical details and other cats - and other works - by Bawden click here. Bawden developed a love of cats at a young age, copying Louis Wain's cats whilst under ten years old. This cat love never left him, and in his later years his drawings of cats became yet more frequent and 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 with a colour and colour." Doubtless he found it easier to draw an imaginary cat, such as this one. In this charming series of cats, they all have a function in life, my personal favourite being the 'cat with nine lives' clutching nine kittens. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Edward Bawden (1903-1989)

    Dandy Boy Cat

    Pen and Ink 38x27 cm Signed and inscribed lower right For biographical details and other cats - and other works - by Bawden click here. Bawden developed a love of cats at a young age, copying Louis Wain's cats whilst under ten years old. This cat love never left him, and in his later years his drawings of cats became yet more frequent and 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 with a colour and colour." Doubtless he found it easier to draw an imaginary cat, such as this one. In this charming series of cats, they all have a function in life, my personal favourite being the 'cat with nine lives' clutching nine kittens. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Edward Bawden (1903-1989)

    Hot Cat

    Pen and Ink 38x27 cm Signed and inscribed lower right For biographical details and other cats - and other works - by Bawden click here. Bawden developed a love of cats at a young age, copying Louis Wain's cats whilst under ten years old. This cat love never left him, and in his later years his drawings of cats became yet more frequent and 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 with a colour and colour." Doubtless he found it easier to draw an imaginary cat, such as this one. In this charming series of cats, they all have a function in life, my personal favourite being the 'cat with nine lives' clutching nine kittens. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Edward Bawden (1903-1989)

    House Proud Mum Cat

    Pen and Ink 38x27 cm Signed and inscribed lower right For biographical details and other cats - and other works - by Bawden click here. Bawden developed a love of cats at a young age, copying Louis Wain's cats whilst under ten years old. This cat love never left him, and in his later years his drawings of cats became yet more frequent and 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 with a colour and colour." Doubtless he found it easier to draw an imaginary cat, such as this one. In this charming series of cats, they all have a function in life, my personal favourite being the 'cat with nine lives' clutching nine kittens. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Edward Bawden (1903-1989)

    Mum Cat with Nine Lives

    Pen and Ink 38x27 cm Signed and inscribed lower right For biographical details and other cats - and other works - by Bawden click here. Bawden developed a love of cats at a young age, copying Louis Wain's cats whilst under ten years old. This cat love never left him, and in his later years his drawings of cats became yet more frequent and 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 with a colour and colour." Doubtless he found it easier to draw an imaginary cat, such as this one. In this charming series of cats, they all have a function in life, my personal favourite being the 'cat with nine lives' clutching nine kittens. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Edward Bawden (1903-1989)

    Nurse Cat with Nine Lives

    Pen and Ink 38x27 cm Signed and inscribed lower right For biographical details and other cats - and other works - by Bawden click here. Bawden developed a love of cats at a young age, copying Louis Wain's cats whilst under ten years old. This cat love never left him, and in his later years his drawings of cats became yet more frequent and 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 with a colour and colour." Doubtless he found it easier to draw an imaginary cat, such as this one. In this charming series of cats, they all have a function in life, my personal favourite being the 'cat with nine lives' clutching nine kittens. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Edward Bawden (1903-1989)

    Secretary Cat

    Pen and Ink 38x27 cm Signed and inscribed lower right For biographical details and other cats - and other works - by Bawden click here. Bawden developed a love of cats at a young age, copying Louis Wain's cats whilst under ten years old. This cat love never left him, and in his later years his drawings of cats became yet more frequent and 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 with a colour and colour." Doubtless he found it easier to draw an imaginary cat, such as this one. In this charming series of cats, they all have a function in life, my personal favourite being the 'cat with nine lives' clutching nine kittens. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Edward Bawden (1903-1989)

    White Collar Worker Cat

    Pen and Ink 27x22 cm Signed and inscribed lower right For biographical details and other cats - and other works - by Bawden click here. Bawden developed a love of cats at a young age, copying Louis Wain's cats whilst under ten years old. This cat love never left him, and in his later years his drawings of cats became yet more frequent and 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 with a colour and colour." Doubtless he found it easier to draw an imaginary cat, such as this one. In this charming series of cats, they all have a function in life, my personal favourite being the 'cat with nine lives' clutching nine kittens. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • George Horace Davis (1888-1963) Design for publication probably in The Illustrated London News

    Tractors and mechanisation Signed and dated 1947 Gouache, monochrome 17.25x29.75" Here the reduction in manpower as a result of the mechanisation of agriculture is celebrated in a typical work by Davis. A "special artist" for 'The Illustrated London News', he worked for it for forty years, the scope and detail of his work being without peer in the rest of the staff. Tractors are pictured in every possible role in agriculture; however the great advances made in the sixty years since then could not have been forseen. Born in Kensington, London, Davis was educated at Kensington Park College and then at Ealing School of Art, working subsequently as a freelance artist until the First World War intervened. He served with the Royal Flying Corps (subsequently the Royal Air Force) with distinction, and had a number of his paintings of aerial combat published in 'The Sphere.' In 1923 he commenced work with The Illustrated London News, for which he worked for the next forty years. His first drawing related to the use, in small boats, of wireless and was the first of many similar diagrammatic drawings designed to educate and inform readers of advances in science, warfare, technology or transport. Needless to say his attention to detail meant architectural drawings were another strength of his, drawings of 10 Downing Street and Westminster Abbey, for instance - and also architectural phantasies such as a proposed heliport at Charing Cross Station. During his career at The Illustrated London News he is estimated to have produced illustrations covering some 2,500 pages of the publication; each one requiring an informed understanding arising from careful research. He continued to work for it until his eighties and at the time of his death there was a supply of finished but as-yet-unpublished works. The sale at Christies in London of the archive of The Illustrated London News on 7 October 2014 included many works by Davis - a price of £16,875 being obtained for a series of seven drawings by him.
  • James Gowan (1923, Glasgow - 2015, London) Fountains Abbey (1973)

    62x52cm Oil on Canvas Signed 'James Gowan' lower left Inscribed to reverse 'Fountains Abbey 1973 James Gowan No 199' For biographical details and other paintings by Gowan click here. The present work exhibits many of the characteristics obvious in his architectural works. There is a very strong architectural composition. The landscape and sky are approached in almost cubist fashion, reminiscent of the Toblerone-shaped roof of the Leicester Building, whilst the figures have a carefree feel to them. And here indeed are the gothic towers and flying butresses that we know inspired Gowan when designing the Leicester Engineering Building, being captured by the brightly-dressed members of an art class, splashes of primary colour in an already colourful landscape. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.