• Hugo Wetli (1916-1972) Ticino - Come and Paint Ticino Contest for your holidays 1964

    Original Poster 1964 If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent.
  • Julian Otto Trevelyan, RA (1910 -1988) Caius College II, Cambridge (1959/1962)

    Signed by the artist and inscribed in pencil Artist's Proof, aside from the edition of 70. The edition consisted of 70 numbered proofs and 30 artist’s proofs. We also have listed one of the 70 numbered proof prints, which is in a purple colourway - rather than the blue here. 37x51cm (14.5×20 inches) This comes from Julian Trevelyan’s Cambridge Suite which consisted of 10 lithographs: Caius College, Caius College II, Christ’s College, Corpus Christi College, Downing College, Emmanuel College, Jesus College, Peterhouse, St Catharine’s College and Sidney Sussex College. The Government Art Collection has copies of several of the prints in this series. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. Old crease that runs from top to bottom has been restored and is barely perceptible - see photograph.
  • George Pyne (1800-1884) Exeter College, Oxford

    Watercolour 22x18.5cm Pyne was the elder son of William Henry Pyne, the publisher artist behind the monumental History of the Royal Residences, and son-in-law of John Varley – two founders of the Society of Painters in Watercolours. Living in Oxford from the 1850s until his death, he brought the hand of an architectural draughtsman to his views of Oxford, the works for which he is best known, but with an artist’s ability to represent the romance of old stone. His views of Cambridge and Eton also contribute to his valuable and historical record of the period. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally excellent condition.
  • Erté (Romain de Tirtoff) (1892-1990) 'Manhattan Mary IV'

    Serigraph (Artist's Proof IL/L) Signed in pencil 70 x 56cm (sheet) 41.5 x 30.5cm (plate) The Russian born Romain de Tirtoff moved to Paris around 1912 to work as a designer, choosing the pseudonym ‘Erté’ based on the French pronunciation of his initials. He produced fashion plates for the designer Paul Poiret and signed a contract with Harper’s Bazaar that saw him design over 200 covers for the magazine. Costume and stage design followed in the 1920s, for the Folies Bergeres and similar revues in Paris, then in Hollywood for Louis B. Mayer. Erté’s distinctive and elegant style came to epitomise the Art Deco era; it is characterised by a combination of sharp geometric line - like the harlequin background to this print - strong colour planes and images of fashionable modern women with close-cropped hair and asymmetric hemlines. Art Deco enjoyed a revival in the 1960s, and it was from this point that limited edition prints began to be produced from Erté’s designs. ‘Manhattan Mary’ was a Broadway musical which opened at the Apollo Theatre, New York in September 1927, with set and costume designs by Erté. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent.
  • Printed by Lowe & Brydone Printers (1944)

    Great Britain's War Effort No. 6 (Munitions)

    50x37cm "Seven-tenths of all munitions for the Armed Forces of the British Commonwealth and Empire were made in the United Kingdom. This picturegraph is based on latest official figures issued by HM Government November 1944." The population of the Empire had to be persuaded that Britain was pulling her weight in World War 2. Bu this poster and others similar could the message be put across. The fine stylised tanks, bombs, ships, guns and other vehicles are stacked up on the left-hand side showing the British contribution. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Folds as issued, otherwise generally excellent.
  • Printed by Lowe & Brydone Printers (1944)

    Great Britain's War Effort No. 5 (Taxation)

    50x37cm "The British people paid two and a half times as much Income Tax in 1943 as they paid in the year before the war. This picturegraph is based on latest official figures issued by HM Government November 1944." Pre-war taxation: £472,000,000 War-time £1,169,000,000 The population of the Empire had to be persuaded that Britain was pulling her weight in World War 2. By this poster and others similar could the message be put across. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Folds as issued, otherwise generally excellent.
  • Printed by Lowe & Brydone Printers (1944)

    Great Britain's War Effort No. 2 (Men in the armed forces)

    50x37cm "Of the ten million men who served in the Commonwealth's Armed Forces five-and-a-half million men were from the United Kingdom alone. This picturegraph is based on latest official figures issued by HM Government November 1944." The population of the Empire had to be persuaded that Britain was pulling her weight in World War 2. By this poster and others similar could the message be put across. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Folds as issued, otherwise generally excellent.
  • After Ettore Tito (1859-1941) c.1920s A set of four pochoir prints: 'Les paroles s'envolent les ecrits restent'; 'On a souvent besoin d'un plus petit que soi'; 'Qui trop embrasse...'; 'Aide-toi le ciel t'aidera'

    23.5 x 16.5 cm (to mount) Ettore Tito (1859-1941) Tito trained at the Accademia di Belle Arti in Venice and later became a professor there, known for his landscapes and scenes of traditional life in the Veneto region, as well as producing several larger mythological murals notably for the Villa Berlinghieri in Rome and the Chiesa degli Scalzi in Venice. He associated with an expatriate artistic milieu that included John Singer Sargent and Isabella Stewart Gardner. However, in the 1920s he also produced these pochoir prints of emancipated women for a French magazine which were considered rather risqué at the time! If you are interested email info@manningfineart.co.ukor call us on 07929 749056. Condition: Excellent, mounted.
  • Pat Keely (d. 1970) The Royal Navy

    75x51cm Original lithographic poster 1939 Printed for HMSO by Vincent Brooks, Day & Son Ltd, London If your age is from 17 1/2 to 28 and you have at least 2 1/2 years' experience in any of the following trades: Ground Engineer (Civil Aviation) General Fitter Millwright Jig & Tool Fitter etc. Why not join the new Fleet Air Arm as Air Fitter or Air Rigger Generous Pay and Allowances - Really Secure Employment Good Prospects of Early Advancement to Air Artificer Little is known of the life of the rather private Pat Keely, a prolific and excellent designer of posters. He designed the World Scout Jamboree 4d stamp in 1957 and produced many posters for the British Government. In this excellent poster three aeroplanes are seen landing on the deck of an aircraft carrier; although somewhat stylised they are likely to be the Blackburn Skua. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good.
  • Hugo Wetli (1916-1972) Autumn on Lake Geneva Herbst am Genfersee Douceur automnale du Léman

    Original Poster c. 1960s 40x25" If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Pinholes to corners, some soft creases, not backed, generally good.
  • Ente Nazionale Italiano per il Turismo (The Italian Government Tourist Board)

    PISA - ITALY - LAND OF YOUR DREAMS

    Lithographic poster 101 x 63.5 cm If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. Pin-holes to corners; not backed.
  • Lance Cottermole A Map of Northumberland & Durham, UK

    1949 Lithographic poster Published for Railway Executive 102x63cm If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. Backed to linen, repaired tear, presents very well.
  • Robert Bonfils (French: 1886-1972) Design for scarf for Bianchini Ferrier

    'Haiti' 66x50cm Gouache and pencil Provenance: Christies, 25-27 July 2001 Bianchini Textiles sale Born in Paris, Bonfils spent between 1903-1909 at various Parisian art schools: the École Germain Pilon, the École Nationale Supérieure des Arts Décoratifs (where he subsequently taught for thirty-two years), and the École des Beaux Arts. From 1909 he exhibited regularly at the Salon d'Automne, by 1912 he was exhibiting at Salon des Artistes Décorateurs and then subsequently at Tuileries and abroad. He was an organiser of the 1925 Paris International Exposition of Modern Industrial and Decorative Arts, and the 1937 Exposition. His relationship with Bianchini commenced in 1915 who produced many of his textile designs. He was made Chevalier de la Légion d'honneur in 1926, being promoted to Officier in 1938. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition; Good.
  • Robert Bonfils (French: 1886-1972) Design for scarf for Bianchini Ferrier

    No.332 Goyescas 65x50cm Gouache and pencil Provenance: Christies, 25-27 July 2001 Bianchini Textiles sale Born in Paris, Bonfils spent between 1903-1909 at various Parisian art schools: the École Germain Pilon, the École Nationale Supérieure des Arts Décoratifs (where he subsequently taught for thirty-two years), and the École des Beaux Arts. From 1909 he exhibited regularly at the Salon d'Automne, by 1912 he was exhibiting at Salon des Artistes Décorateurs and then subsequently at Tuileries and abroad. He was an organiser of the 1925 Paris International Exposition of Modern Industrial and Decorative Arts, and the 1937 Exposition. His relationship with Bianchini commenced in 1915 who produced many of his textile designs. He was made Chevalier de la Légion d'honneur in 1926, being promoted to Officier in 1938. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition; Good.
  • A E Agar (artist) Original passenger list brochure for Shaw Savill Albion Line, c. 1940s or 1950s.

    24x34cm (approx) Provenance: the artist's estate As new, unissued printer's proof. Could be trimmed to the brochure size if desired. Fine image of ocean liner to front cover, map - via Panama Canal - to back cover. From the great age of Ocean Liners. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent.
  • Mary Fedden (1915-2012) Moonlight at Cappadocia (1970)

    Watercolour 18 x 13 cm Signed and dated lower left Lonely Planet says of Cappadocia, "As if plucked from a whimsical fairytale and set down upon the stark Anatolian plains, Cappadocia is a geological oddity of honeycombed hills and towering boulders of otherworldly beauty." Here Fedden presents an almost surreal landscape, where the forms of rocks, sky, and moonlight swim out of a subtle palette. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent. In original frame with replacement mount in the style of the original.
  • Paul Ashford, Lord Methuen (1886-1974) The Baptistry, Pisa,

    1956 Signed bottom right Pastel 18 x 26cm  
  • 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.
  • Anonymous Tours and Excursions

    Original Coach Poster 75x50cm Cool and crazy mid-century lettering. Poster with area for completion with details of a coach tour. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent.
  • Anonymous (British, 20th Century) Free Film Show

    Original Poster 75x50cm c. 1960s An excellent and colourful piece of typography. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent.
  • "Jacqs" (British, 20th century) For Private Parties... Hire a Coach to Take You Anywhere

    Original Poster c. 1960s 75x50cm If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent.
  • Frederick Nash (1782-1856) Drawn and etched Engraved by F C Lewis North East View of St George's Chapel, Windsor

    To the Right Reverend the Lord Bishop of Norwich and Dean of Windsor London Published by F Nash, No 6 Asylum Buildings, Westminster Road July 12 1804 55x40cm Frederick Nash was born in Lambeth. Initially studying architectural drawing under Thomas Malton he subsequently enrolled at the Royal Academy of Arts. From 1801 to 1809 he worked with the antiquarians John Britton and Edward Wedlake Brayley, subsequently becoming a member of the Society of Painters in Watercolours - a group of painters who had left the Royal Academy following complaints of under-recognition of their works. Latterly primarily a landscape painter he toured the rivers of Germany. Prints from this series are in the British Museum and also in the collection of Anglesea Abbey, a National Trust property outside Cambridge, England, with a very large collection of views of Windsor Castle. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: A good impression In generally very good condition. Not trimmed.
  • Frederick Nash (1782-1856) Drawn and etched Engraved by F C Lewis West Front of St George's Chapel, Windsor

    To the Right Reverend the Lord Bishop of Norwich and Dean of Windsor London Published by F Nash, No 6 Asylum Buildings, Westminster Road July 12 1804 55x40cm Frederick Nash was born in Lambeth. Initially studying architectural drawing under Thomas Malton he subsequently enrolled at the Royal Academy of Arts. From 1801 to 1809 he worked with the antiquarians John Britton and Edward Wedlake Brayley, subsequently becoming a member of the Society of Painters in Watercolours - a group of painters who had left the Royal Academy following complaints of under-recognition of their works. Latterly primarily a landscape painter he toured the rivers of Germany. Prints from this series are in the British Museum and also in the collection of Anglesea Abbey, a National Trust property outside Cambridge, England, with a very large collection of views of Windsor Castle. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: A good impression In generally very good condition. Not trimmed.
  • Frederick Nash (1782-1856) Drawn and etched Engraved by F C Lewis Arches and Columns

    London Published by F Nash, No 6 Asylum Buildings, Westminster Road July 12 1804 55x39cm Frederick Nash was born in Lambeth. Initially studying architectural drawing under Thomas Malton he subsequently enrolled at the Royal Academy of Arts. From 1801 to 1809 he worked with the antiquarians John Britton and Edward Wedlake Brayley, subsequently becoming a member of the Society of Painters in Watercolours - a group of painters who had left the Royal Academy following complaints of under-recognition of their works. Latterly primarily a landscape painter he toured the rivers of Germany. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: In generally good condition, some offsetting of ink from adjacent print as visible in image, occasional spotting. Not trimmed.
  • Richard Beer (1928-2017) Oxford Spires - All Souls College and Radcliffe Camera

    Limited edition coloured etching signed in pencil and numbered 75/150. 62x44cm Born in London in 1928, just too late to serve in World War II, Richard Beer studied between 1945-1950 at the Slade School. Subsequently, a French Government scholarship allowed him to spend time in Paris at Atelier 17, working under Stanley William Hayter (1901-1988), one of the most significant print makers of the 20th Century – having spent the War in New York, advising as a camofleur, Hayter only returned to Paris in 1950. Subsequently Beer studied at the École des Beaux Arts, Paris. Working for John Cranko, choreographer for the Royal Ballet, Beer designed the sets and costumes for his The Lady and the Fool at Covent Garden, subsequently working for him following his move in 1961 to Stuttgart Ballet. Additionally he produced book illustrations and designed book jackets. Richard Beer taught print-making at the Chelsea School of Art where he was a popular teacher. Probably his greatest work was a collaboration with John Betjeman to produce a portfolio of prints of ten Wren Churches in the City for Editions Alecto, copies of which are in The Government Art Collection. That collection contains a total of 54 prints by Beer, and the Tate Gallery’s collection holds seven. His Oxford series was also produced for Editions Alecto, as was a series of predominantly architectural views in Southern Europe. Most of his prints are of architectural subjects, where he explores the use of colour in interesting fashion. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent.
  • Claude Harrison Shell Guide to Westmoreland

    Original poster for Shell Oil c. 1960s 76x51cm Shell commissioned a series of posters to go with their County Guide books, and they commissioned paintings by the leading artists of the day. Claude Harrison studied at Preston College of Art (1939-1941) and Liverpool College of Art (1941-2) after which he enlisted in the RAF for five years. On his return, he continued studies at Royal College of Art (1947-50). Harrison’s work consisted of murals, portraits, conversation pieces and mystical figure compositions - which are seen here in the Westmoreland poster. He was a member of the Royal Academy and his work has regularly been exhibited in the annual summer exhibition. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Fair. Short edge tears which are hidden by mount/mat; some age toning. Metal hanger removed to allow matting. See photograph for more information
  • Hammond (British, fl. 1920s) Original artwork for Design for Shakespeare Twelfth Night programme to be held in Bath

    26x21 cm Gouache, 1937 Sadly nothing is known of the life of the artist of thes series of rather fine Art Deco designs we have listed. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally good; small stain to reverse as illustrated in photograph; fold to centre as intended by artist.
  • Hammond (British, fl. 1920s) Original artwork for brochure for Municipal Art School, Ford St, Coventry, England UK

    21.5x14 cm Gouache, c. 1937 Sadly nothing is known of the life of the artist of thes series of rather fine Art Deco designs we have listed. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good.
  • Hammond (British, fl. 1930s) Design for Municipal Art School Brochure

    21.5x18 cm Lithograph drawn directly to stone, 1937 Sadly nothing is known of the life of the artist of this series of rather fine Art Deco designs we have listed. This is drawn directly onto the stone, a considerable skill in itself, and in just two colours in order to limit the cost of the lithography. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good.
  • Hammond (British, fl. 1930s) Original design for poster and flyer for Carnival Night at the King's Head

    26x19 cm Gouache, 1937 Sadly nothing is known of the life of the artist of this series of rather fine Art Deco designs we have listed. An elegant couple dance in this well composed design. Designed to be lithographed, the artist has restricted himself to four colours. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good.
  • Jane Carpanini RWS RWA RCA (1949-) Gonville and Caius College, Cambridge

    30x45cm Digital Limited Edition Print 77/350 Bornin Bedfordshire, Carpanini studied at Brighton College of Art and the University of Reading. Since the start of her career she has been known for meticulous architectural paintings. Wales has been a favourite subject and she has paintings in the collections of the National Library of Wales and National Museum of Wales. Her renowned series of views of Oxford and Cambridge Colleges were published by Contemporary Watercolours. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent.
  • Tony Broderick (British, late 20th Century) Corpus Christi College Cambridge

    Print 35x25cm A Lincoln-based artist, known for his portrayal of Lincoln and also of the Cambridge Colleges. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent.
  • A E Agar (artist) Original advertising poster for Shaw Savill Albion Line, c. 1940s or 1950s.

    51x38cm Provenance: the artist's estate Fine image of ocean liner. From the great age of Ocean Liners. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good.
  • Laurence Dunn (1910-2006) Otra

    Gouache 11.5x18cm Inscribed to reverse 'Rough sketch for painting of "Otra" commissioned for Capt. F.E. Eagle, whose favourite command she was' and signed 'Laurence Dunn' The World Ship Society published the following obituary for Dunn: DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent.
  • Bowens (British, fl. mid 20th Century) Cambridge: Centre of Scientific Research

    Pye Group Records Pye - Nixa - Mercury - Vanguard - EmArcy c. mid-late 1950s Haig Road in Cambridge, where Pye had their factory, was subsumed into Elizabeth Way and was a long way from King's College chapel. However that iconic building is used to illustrate the Cambridge connection. EmArcy Records is a jazz record label founded in 1954 by Mercury Records. Mercury Record Corporation was founded in Chicago in 1945 Pye Records was a British record label; it had started life manufacturing televisions and radios, with its main plant off Haig Road in Cambridge. It purchased Nixa Records in 1953 Vanguard Records is a US record label set up in 1950 primarily as a classical label. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good.
  • W. A. A. Cox ARIBA Architectural Design for a Factory in the United Kingdom

    Watercolour, pencil 53x64 cm Signed and dated, lower right 'W. A. A. Cox ARIBA 1966' If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good.  
  • Design for Bianchi Ferier, Lyon for a silk scarf 5 March 1945

    Gouache, pen and ink 78cm x 76cm Provenance: The Bianchi Ferrier archive sale at Christies On 9 February 1945 the 'Colmar Pocket' was finally cleared of Germans - a process that had started in November 1944 - and the province of Alsace changed hands between France and Germany for the fourth time in 75 years. Happily in the succeeding 75 years Alsace has not changed ownership. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good.
  • Clifford Ellis (1907-1985) Hens by a chicken shed at Corsham Court

    Watercolour 37x56cm Provenance: the family of the artist, by descent. Here Ellis paints the hens at Corsham Court together with their chicken shed. Born in Bognor in Sussex and trained at St Martin’s School of Art and Regent Street Polytechnic, Ellis was a graphic artist and illustrator who is best known for the posters he produced for London Transport during the 1930s. He generally collaborated with his wife Rosemary – whom he married in 1931 – on their posters. The General Post Office, Shell, and The Empire Marketing Board were also clients for their posters. They signed their posters C&RE, their initials being in alphabetical order and they are readily recognisable by their ebullient use of colour and form. Employed during the war as a camoufleur, along with so many other artists, Clifford was also an official war artist, serving with the Grenadier Guards. Rosemary, meanwhile, was an artist for the Recording Britain project. Following the war they trained art teachers at Bath Academy of Art. They also designed a series of nearly one hundred book jackets for Collins New Naturalist series, published between 1945 and 1982. Clifford Ellis studied illustration at the Regent Street Polytechnic, an institution that specialised in ’practical trade classes’, from 1924-27. He went on to design book covers (notably for Collins’ ‘New Naturalist’ series) and posters for London Transport, the General Post Office, Shell-Mex, the Empire Marketing Board and J. Lyons & Co., along with his wife, Rosemary Ellis, whom he married in 1931 while he was teaching at the Polytechnic. The couple’s poster designs combine striking colour with bold typography and depict stylised scenes of the countryside, birds and animals. In 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. Such an influence is clear in the Ellises poster ‘It’s better to shop early’ (above, 1935) in which arms, hands and parcels are disjointed and angular with the text on a slant, like the collaged newsprint insertions of synthetic Cubism. This strong foundation in graphic art clearly influenced his approach to composition for the rest of his career. Even his later abstract work, though tonally subtle, is based on a simple but powerful linear design. ‘The Coming of the Ice Age’, a series of watercolour and crayon studies (one large finished canvas, ‘Advance of an Ice Age’, exists in the collection of Derbyshire and Derby School Library Services) reduces natural forms to simplified shapes and colour planes, though retaining the texture of brushstrokes and crayon. The Ellises visited the Devon coastal town of Teignmouth to carry out a commission for Lyons for a lithograph in 1947, and the rocky bay with its whitewashed buildings and sailboats (below) caught Clifford’s imagination. He painted numerous preparatory watercolour views for the lithograph, while both the grey-blue colour palette as well as the pleasing repetitive geometry of sails reflected on water might be discerned in later abstract works. During the Second World War Ellis served as a camouflage artist and official war artist with the Grenadier Guards. Roland Penrose was another British artist who worked in this area and wrote ‘The Home Guard Manual of Camouflage’ which effectively adapted modern painting techniques for use in warfare. The tonal colour range of many of Ellis’s post-war paintings and the abstract network of shapes – for instance the pale blue patchwork ‘glacier’ in the ‘Coming of the Ice Age III’ (below) – seem to hark back to the art of the modernist camoufleur. Ellis played another important role during the war, painting and drawing scenes of Bath for the Recording Britain project. This project was conceived by Kenneth Clark, then Director of the National Gallery, alongside the official War Artists scheme; its aim was to document Britain’s landscape and architectural heritage in the face of the imminent threat of invasion and bomb damage. It also had a propaganda motive; the resulting works were exhibited during the war and aimed to boost the nation’s morale (they are now in the collection of the V&A). The paintings were predominantly in watercolour, a traditional British medium that Clark was keen to promote and felt would complement the subject matter. Two of Ellis’ pupils, discussing his watercolour sketch of VE Day in Bath, recall him as quietly observant but also someone who enjoyed life; the painting is spontaneous and full of the movement of dancing figures and waving flags. In particular, Ellis was commissioned to depict examples of Bath’s decorative architectural ironwork before it was removed to help the war effort and he also recorded the effects of bombing raids on the city. Meanwhile Ellis had joined the staff of the Bath School of Art (or Bath Technical College). Its temporary residence was destroyed by bombs in 1942 and Walter Sickert’s house at Bathampton offered as a refuge (Sickert, who had taught at the School, died in January 1942). After the war the School began its transformation into the Bath Academy of Art based at Corsham Court, of which Ellis was the Head from 1937-72, training art teachers and developing a pioneering new syllabus. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent. In a conservation mount.
  • V A Hards (British, c. 1930-c. 2012) Design for Modernist Fisherman's Hut

    Watercolour on wove Signed and dated March 1956 and stamped for Brixton School of Building. 77x55cm Hards was educated at Brixton School of Building and Woolwich Polytechnic between 1948 and 1956, during which period he produced some very competent work including this rather fun modernist brutalist design for a fisherman's hut, not designed to blend in with the scenery. Brixton School of Building was incorporated into the Polytechnic of the South Bank - now London South Bank University. To view more of his work we have listed, scroll down to 'View more from this seller' and click on 'View all from this seller' and then search for 'Hards'. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. Some edge wear and isolated spots.
  • Adriaen Collaert (c. 1560-1618) after Maerten de Vos (1532 - 1603) "Pastores venerunt festinantes; et inuenerunt Mariam et Ioseph, et infantem positum in praesepio" - Luke 2

    Engraving, From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 16.5x21.8cm From the Gospel of Luke, Chapter 2 Verse 16 - And the shepherds came with haste, and found Mary, and Joseph, and the babe lying in a manger. Adriaen Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Adriaen Collaert (c. 1560-1618) after Maerten de Vos (1532 - 1603) 5. "Postquam consummati sunt dies octo ut circuncideretur puer; vocatum est nomen eius Iesus" - Luke 2

    Engraving, From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 16.5x21.8cm From the Gospel of Luke, Chapter 2 Verse 21 - And when eight days were accomplished for the circumcising of the child, his name was called Jesus. Adriaen Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Jean Baptist Barbé (1578?-1649) Adriaen Collaert (c. 1560-1618) after Maerten de Vos (1532 - 1603) 6. "Procidentes adoravuerunt eum, et apertis thesauris suis obtulerunt ei munera, aurum, thus, et myrrham" - Matth 2

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 16.5x21.8cm From the Gospel of Matthew, Chapter 2 Verse 11 - and fell down and worshipped him: and when they had opened their treasures, they presented unto him gifts; gold, and frankincense and myrrh. The star hangs over the stable door, as the three Magi present their treasures to Our Lord, sitting upon Mary's knee, St Joseph in attendance behind. Adriaen Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Roy M Whittenbury (fl. 1920-1955) The Pool of London

    Oil on canvasboard 29 x 39.5 cm Whittenbury concentrated on marine subjects. Here he captures the Pool of London - that stretch of the River Thames from London Bridge to just below Tower Bridge which is controlled by the Port of London. Although no longer the busy port depicted in the painting, it is one of the reasons for London's political and economical pre-eminence over the last thousand years. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good.
  • Claude Muncaster (1903-1974) Canal Foot, The Ulverston Canal

    1920 Inscribed to reverse and numbered NX129 in the artist's catalogue Pencil Sketch 21x30cm Provenance: The estate of the artist and by descent Muncaster's watercolours capture the English countryside feel with great competence. Here he records the old swing bridge across the lock at the foot of the now-derelict Ulverston Canal. It was Britain's straightest canal, running two miles from Morecambe Bay to Ulverston but has long stood unused. Oliver Hall, Muncaster's father, lived at Ulverston in his latter years. 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. Condition: Good. Conservation mounted and wrapped in transparent sleeve for protection
  • Oliver Hall R.A., R.E., R.W.S. (1869-1957) Boat House, Windermere, Lake District, UK

    26x37cm Pencil drawing Provenance: Martin Muncaster, the artist's grandson Inscribed to reverse in pen by Claude or Martin Muncaster Hall was landscape painter in oil and watercolour with a fondness for both Spanish and rugged moorland as subjects. Having studied at the RCA between 1887-90 he attended evening classes at Westminster and Lambeth Schools of Art. Travelling extensively in Spain, France and Italy he began exhibiting etchings at the RA in 1890. Originally from Pulborough he moved in later life to Ulverston, Lancashire. His son was Claude Muncaster. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good.
  • 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.
  • William Williams (Welsh, fl. 1724-1733) Christ Church, Oxford

    Engraving c. 1732 for Oxonia Depicta (pub. London 1732-33) 41x60cm If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition:  Fair, gentle staining towards top and usual handling marks to margins, as illustrated.
  • William Williams (Welsh, fl. 1724-1733) Jesus College, Oxford

    Engraving c. 1732 for Oxonia Depicta (pub. London 1732-33) 43x44cm If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition:  Fair, gentle staining towards top and usual handling marks to margins, as illustrated.

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