• Original vintage varsity poster by James Riddell.

    ‘Join the Oxford University Ski Club’, 1934/35 Klosters Varsity Ski poster by James Riddell

    £3,500

    James Riddell (1909-2000) 'Join the University Ski Club'

    Original vintage poster Lithograph 31 x 50 cm This charming poster was designed by professional skier James Riddell for the 1934/35 Varsity trip, bringing students from Oxford and Cambridge University together for the annual Varsity ski racing, held in Klosters. Riddell, a Cambridge alumnus, played a key role in the early days of skiing as a competitive sport and holiday industry. In his early days, he was a skiing champion: his accolades include winning the Kandahar Club's Muerren Inferno, still the longest and most demanding of amateur downhill races, and acting as vice-president at the 1936 Winter Olympics at Garmisch-Partenkirchen. After his professional skiing career, Ridell became an accomplished author, writing novels including 'The Ski Runs of Switzerland' (1957), 'The Ski Runs of Austria '(1958), 'Ski Holidays in the Alps' (1961) and 'Ski Lore and Disorder' (1962). He quit skiing in his 70s but continued to return to his much-loved Muerren, the Kandahar Club's Swiss Alpine headquarters, where he spent time painting watercolours. This poster is a fine example of art-deco art. The simplified, streamlined depiction of skiers with strong, curving lines reflects the influence of Art Deco’s geometric and dynamic design approach. The limited colour palette of blue, white, and red gives a striking and vibrant look. The lettering, with its outlined and shadowed appearance, is characteristic of the era's emphasis on bold, decorative typography. Finally, the flowing lines in the background and the dramatic positioning of the skiers create a feeling of speed and action, a hallmark of 1930s graphic design. The overall effect is dynamic, eye-catching and extremely memorable. Condition: Generally very good. Colours are excellent and the paper shows only a little sign of age.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • L'alliance de l'homme et de la montagne, original vintage poster by Samivel

    ‘L’alliance de l’homme et de la montagne’, original skiing poster by Samivel

    £950

    'Samivel' Paul Gayet-Tancrède (1907 - 1992) L'alliance de l'homme et de la montagne

    Original vintage poster 100 x 62 cm A man sits atop a grassy hill, taking in the nature around him and looking down into the valley below. He is surrounded by the white peaks of the French alps in the Parc national de la Vanoise. Nearby a sparrow has settled on a small boulder amongst the mountain flowers. The scene is bucolic and calls to mind traditional depictions of mountain life in the likes of Heidi. Samivel was a writer, an artist, a photographer, an explorer, and more. In 1948 he accompanied Paul Émile Victor on the first French Greenland expedition, making three documentary films in the process. His friends included Théodore Monod and Gilbert André - the latter the mayor of Bonneval-sur-Arc and one of the founders of the Vanoise National Park - and with them and others he spent his whole life aiming for the protection of the imperilled countryside. The graphic artist side of him had a life-long fascination with high mountains, and his illustrated books and series of posters of the French Alps have long been popular.
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  • Winston Churchill speech 'we shall fight on the beaches'

    ‘We shall never surrender’, iconic Churchill poster

    £8,000

    Winston Churchill 'We shall never surrender.'

    Original vintage poster 50 x 34 cm 'We shall not flag or fail, we shall go on to the end. We shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air. We shall defend our Island, whatever the cost may be; we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills. We shall never surrender.' Winston Churchill's 'We Shall Fight on the Beaches' speech, delivered to the House of Commons on June 4, 1940, is one of the most famous speeches of World War II. It was given in the wake of the Dunkirk evacuation (Operation Dynamo), where over 300,000 British and Allied troops were successfully rescued from France as German forces advanced. In this speech, Churchill had to describe a great military disaster, and warn of a possible invasion attempt by Nazi Germany, without casting doubt on eventual victory. The simple repetition and rhythm are unforgettable and helped to cement Churchill's reputation as an exceptional wartime leader.
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  • Civil Defence poster

    ‘Join your Neighbours in the Civil Defence’, original vintage recruitment poster

    £200

    'Join your Neighbours in the Civil Defence'

    Original vintage recruitment poster 38 x 26 cm Printed for HM Stationery Office by Stafford & Co Ltd Netherfield, Nottingham. There was no World War Two activity to which the population could not be encouraged by the use of a poster. First established in 1935, the Civil Defence Department was essential for maintaining order during air raids. Pictured here is a man in Civil Defence uniform walking along a residential street with a row of houses, exuding satisfaction at having protected the community from another night of bombing. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Oxford, original vintage map by Kerry Lee

    Oxford, original vintage map by Kerry Lee

    £1,000

    Kerry Lee (1903 - 1988) Oxford

    Original vintage map 46 x 60 cm Published by Pictorial Maps Limited, Kerry Lee's own company c.1965 This edition of the map was produced around 1965. It illustrates a number of famous Oxford landmarks, including the Radcliffe Camera, Christ Church College's Tom Tower and all of the colleges of Oxford University. Lee also frames this map with the crest of each college and an illustration of all the college founders. Well known as a creator of pictorial maps of British cities from the mid 20th century, Kerry Lee generally draws a self-portrait in the bottom corner by his signature - as here, where he is seen painting (mustachioed and bearded, and clad in a brown tunic) with his ever-faithful dog Jim. Educated at Reading Schools of Arts and Science, the Slade and the Sorbonne in Paris, he subsequently assisted his step-father, an architect named Mr Harvey, as draftsman. Following the Depression Lee set up 'Associated Artists' at Blandford Studios off Baker Street, with a group of other commercial artists. During World War II he was based in Hertfordshire creating detailed cut-away drawings of German aircraft, and after the war - still at Blandford Studios - published a series of pictorial maps, both those for British Rail and also his own publications. Condition generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • London 'The Bastion of Liberty', original vintage map by Kerry Lee

    London ‘The Bastion of Liberty’, original vintage map by Kerry Lee

    £900
    Kerry Lee (1903 - 1988) London 'The Bastion of Liberty' Original vintage map 46 x 60 cm Published by Pictorial Maps Limited, Kerry Lee's own company c.1965 This edition of the map was produced around 1965. It depicts a number of London's iconic landmarks, including Tower Bridge, St Paul's Cathedral, Westminster and the Houses of Parliament and Buckingham Palace, all of which are distinguishable by the red banners which highlight each London landmark. Lee frames this charming map with illustrations of London boroughs and other landmarks that lie out of the scope of the map, Hampstead, Alexandra Palance, and Greenwich, for example. Well known as a creator of pictorial maps of British cities from the mid 20th century, Kerry Lee generally draws a self-portrait in the bottom corner by his signature - as here, where he is seen painting (mustachioed and bearded, and clad in a green tunic) with his ever-faithful dog Jim. Educated at Reading Schools of Arts and Science, the Slade and the Sorbonne in Paris, he subsequently assisted his step-father, an architect named Mr Harvey, as draftsman. Following the Depression Lee set up 'Associated Artists' at Blandford Studios off Baker Street, with a group of other commercial artists. During World War II he was based in Hertfordshire creating detailed cut-away drawings of German aircraft, and after the war - still at Blandford Studios - published a series of pictorial maps, both those for British Rail and also his own publications.
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  • Stratford-upon-Avon, original vintage poster by Kerry Lee

    The Life of William Shakespeare and Map of Stratford-upon-Avon, original poster by Kerry Lee

    £600

    Kerry Lee (1903 - 1988) The Life of William Shakespeare and Map of Stratford-upon-Avon

    Original vintage poster 46 x 60 cm Published by Pictorial Maps Limited, Kerry Lee's own company c.1965 This edition of the map was produced around 1965. It depicts a map of Stratford-upon-Avon with several well known landmarks including the Royal Shakespeare Theatre on the waterfront. As is typical for Lee's maps, however, this map has a unique charm as it not only illustrates the geography of the town, but also the history, recounting the life of Stratford-upon-Avon's most famous export, William Shakespeare. Lee scrawls a chronology of Shakespeare's life over any and every free green space, referring to the playwright affectionately as 'Will.' Lee also frames the map with scenes from Shakespeare's most famous plays, including Romeo and Juliet, The Tempest and Macbeth. Well known as a creator of pictorial maps of British cities from the mid 20th century, he generally draws a self-portrait in the bottom corner by his signature - as here, where he is seen painting (mustachioed and bearded, and clad in a green tunic) with his ever-faithful dog Jim. Educated at Reading Schools of Arts and Science, the Slade and the Sorbonne in Paris, he subsequently assisted his step-father, an architect named Mr Harvey, as draftsman. Following the Depression Lee set up 'Associated Artists' at Blandford Studios off Baker Street, with a group of other commercial artists. During World War 2 he was based in Hertfordshire creating detailed cut-away drawings of German aircraft, and after the war - still at Blandford Studios - published a series of pictorial maps, both those for British Rail and also his own publications.
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  • Winston Churchill, original vintage poster.

    ‘Never have so many owed so much to so few,’ original Winston Churchill poster (1940)

    £8,000

    Original Winston Churchill Poster

    Lithograph 51 x 40 cm c.1940-1945 "Never in the field of human conflict have so many owed so much to so few." The summer of 1940 saw the Battle of Britain reach its peak. Churchill delivered this speech to the House of Commons on the 20th of August 1940. The Battle of Britain had reached its peak that summer and when Churchill famously stated "Never in the field of human conflict have so many owed so much to so few", he was paying tribute to the enormous efforts made by the fighter pilots and bomber crews to establish air superiority over England. At the end of June 1940, the Luftwaffe had a large numerical superiority over the Royal Air Force, with around 2,550 planes compared to the only 750 planes of the RAF. As a result, the pilots who fought in the victorious Battle of Britain were known as "the few." This speech figures among Churchill's most famous, standing alongside "we shall fight on the beaches", "their finest hour", and "blood, toil, tears, and sweat" in the history books. This poster features the famous quote in bold lettering with a faint outline of Churchill's face in the background. The insignia of the Royal Air Force dominates the top of the poster, linking the speech to its context within the Battle of Britain. Condition: Generally very good, backed to linen.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • German Aircraft, original vintage WW2 poster

    German Aircraft, original vintage WW2 poster

    £650

    German Aircraft Original vintage poster

    Lithograph 57 x 45 cm This original vintage poster, published in 1941, depicts a series of German aircraft, including the fighter plane Heinkel HE 113, the bomber plane Junkers JU 89 and the sea plane Arado Ar 196. Each plane is depicted from three different angles, illustrating their unique features and insignia. During the Second World War, the Ministry of Information produced a number of posters detailing the differences between British and German aircraft. They were designed to help British civilians and military personnel identify enemy aircraft, distinguishing them from Allied planes. Condition: Generally very good, tape stain to right hand corner, will be covered by mount.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Spires of Oxford from the Canal I, watercolour by William Matthison

    £2,200
    William Matthison (1853-1926) Spires of Oxford from the Canal Watercolour 22 x 55 cm Signed lower right. A charming watercolour of the spires of Oxford as seen from the canal. Matthison expertly captures the light of a cool winter evening. He depicts a charming scene in this watercolour: the sun is setting, sheep are grazing on the banks of the canal, steam rises out the chimney of one canal boat, another moves slowly through the water and a young girl guides her horse along the path. 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. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

    For other general views of Oxford, click here. 
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  • William Matthison, Oxford Spires from the Canal, watercolour

    Spires of Oxford from the Canal II, watercolour by William Matthison

    £2,200
    William Matthison (1853-1926) Spires of Oxford from the Canal Watercolour 22 x 55 cm Signed lower right. A charming watercolour of the spires of Oxford as seen from the canal. Matthison expertly captures the light of a warm summer's evening. He depicts a charming scene in this watercolour, with cows drinking from the canal, a canal boat quietly drifting by and a young girl leading her friend along the path on a horse. 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. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

    For other general views of Oxford, click here. 
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  • Sidney Sussex College, Cambridge, engraving by David Loggan

    £1,950

    David Loggan (1634 - 1692) Sidney Sussex College, Cambridge

    Engraving 33 x 45 cm An eighteenth-century view of Queens' College, Cambridge, engraved by David Loggan, the noted engraver, draughtsman, and painter. 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. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

    For other views of Sidney Sussex, please click here. 
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  • Queens' College, David Loggan

    Queens’ College, Cambridge, engraving by David Loggan

    £1,950

    David Loggan (1634 - 1692) Queens' College, Cambridge

    Engraving 33 x 45 cm An eighteenth-century view of Queens' College, Cambridge, engraved by David Loggan, the noted engraver, draughtsman, and painter. 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. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

    For other views of Queens' College, please click here. 
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  • Sidney Sussex, Cambridge, engraving by David Loggan.

    Sidney Sussex, Cambridge, engraving by David Loggan

    £1,950

    David Loggan (1634 - 1692) Sidney Sussex College, Cambridge

    Engraving 33 x 45 cm An eighteenth-century view of Sidney Sussex, Cambridge, engraved by David Loggan, the noted engraver, draughtsman, and painter. 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. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

    For other views of Sidney Sussex, please click here. 
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  • Watching over the fire, pencil drawing by Hillary Hennes

    Watching Over the Fire, pencil drawing by Hillary Hennes

    £350

    Hillary Hennes (1919-1993) Watching Over the Fire

    Pencil drawing 43 x 28 cm Hillary Hennes was a British artist and illustrator. Her father was a curator at the South London Art Gallery and she was consequently initiated into the art world from a young age. After attending the Blackheath High School, Hennes (then Miller) studied at the Blackheath School of Art and then spent a further three years at the Royal College of Art. After graduating, Miller taught at the South East Sussex Technical College and in 1946 married the artist Hubert Hennes. Between 1948 and 1967 Miller frequently exhibited paintings at the Royal Academy in London and also illustrated a number of books on gardening and natural history, such as The Living World and Boff's Book of Gardening. This pencil drawing depicts a woman resting by the fireplace. Her legs are crossed and she is slumped gently to the side. Hennes excellently captures the light of the room: the mirror in the background reflects a sunny day and the woman is basked in light, though it is unclear if this from the gentle glow of a fire or the sun rays peaking through the window. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • R.A.E. Little, Christ's College Chapel, Cambridge 1842.

    Christ’s College Chapel, Cambridge, 1842 by R.A.E Little

    £850

    R.A.E Little Christ's College Chapel, Cambridge, 1842

    Watercolour 20 x 26 cm Charming watercolour depicting a view of Christ's College Chapel in the mid nineteenth century. In this painting, Little pays special attention to the watercolours and the light and shadows that fill the chapel. Thanks to this care, the scene is imbued with an uplifting ambiance. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

    For other views of Christ's College, Cambridge, please click here.
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  • Girton College, watercolour by Joy Fox

    Girton College, Cambridge, watercolour by Joy Fox

    £600

    Joy Fox (née Hollings) Girton College

    Watercolour 24 x 17 cm Signed to bottom right. Little is known about Joy Fox. It seems that she studied at Girton College, Cambridge between 1939 and 1942. This charming watercolour depicting the main gate at the college featured in Douglas de Lacey's book 'Girton's War: the Village 1939-1945.' The work included memories of rationing and the various strategies employed to keep warm and to find clothes for coming up to Girton. There are also descriptions of lectures, college rules, entertainments and war work. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

    For other views of Girton College, please click here. 
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  • Stained glass window design by Jane Gray

    Pencil design for stained glass window by Jane Gray

    £350

    Jane Gray (b.1931) Design for stained glass window

    Pencil and coloured pencil on paper 52 x 68 cm Dated 1975 to lower right. Jane Gray A.R.C.A. (b.1931) is a British stained glass artist. She studied stained glass at the Kingston School of Arts (1949-51) and later at the Royal College of Art (1951-55) under Lawrence Lee. Lee was so impressed with Gray’s work that he asked her to work alongside him on the design of ten nave windows for Coventry Cathedral. This six-year-long design project culminated in their final installation in 1962 after the cathedral’s consecration. Gray was the first woman to become a liveryman of the Worshipful Company of Glaziers and has designed more than a hundred windows in private and public buildings, chapels and over forty churches across the country, including St Peter’s, Martindale, Shrewsbury Abbey, St Oswald, Oswestry and St Mary, Chirk. Gray’s designs mark a crucial turning point in the history of stained glass art as the Victorian style gave way to a modern aesthetic. In her work, Gray navigates this shift with a style that, whilst distinctly modern, retains a deep rooted sense of the medieval. Despite many of her commissions being for church windows, stained glass design was not simply about religious depiction for Gray, but more about ‘colour, shapes, luminosity, [and] playing with rainbows’. This stained glass cartoon depicts a lovely wildflower meadow. In keeping with her love of colour and luminosity, the flowers included in this design promise to breathe a breath of fresh air into any room. Although it remains unclear if and where this design was realised in glass, Gray's drawing and annotations offer valuable insights into her working process.
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  • Naess Sovereign, lithograph by Laurence Dunn.

    Naess Sovereign, lithograph by Laurence Dunn

    £200

    Laurence Dunn (1910 - 2006) Naess Sovereign

    Pencil drawing 29 x 43 cm A vibrantly coloured lithograph depicting the Naess Sovereign at sea. The Naess Sovereign was originally built in 1961 by Mitsubishi Zosen, Nagasaki. When delivered, she was the third largest vessel in the world, and the largest vessel under British flag. In 1963, she was then followed by her sister vessel: the Naess Champion. Both ships were owned by the Naess group, one of the largest private shipping countries in the world. They were subsequently sold to Burmah Oil and the Sovereign was eventually laid up in 1975 and broken up in 1977. Laurence Dunn was a well-known British marine artist and writer known for his depictions of ships. He grew up in Devon, where he practised drawing passing ships, and went on to study at the Central School of Art. He then worked for shipbuilding firm John I. Thornycroft & Company Limited, where he contributed to the design of the Royal Yacht. During the Second World War, Dunn worked in naval intelligence. In the early 1960s, he created many line drawings of Atlantic ocean liners. Upon his death in 2006, the World Ship Society published the following obituary: 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. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • HMS Hermes, lithograph by Laurence Dunn.

    HMS Hermes, lithograph by Laurence Dunn

    £200

    Laurence Dunn (1910 - 2006) HMS Hermes

    Pencil drawing 20 x 38 cm A vibrantly coloured lithograph depicting the HMS Hermes with illustrations of uniforms on the HMS Hermes to the reverse. As per Dunn's notes, this lithograph was produced for the builders and admiralty following the ship's reconstruction. HMS Hermes (R12) was a Centaur-class aircraft carrier of the British Royal Navy, commissioned in 1959. It served in multiple roles over its career, including as a strike carrier, commando carrier, and anti-submarine warfare carrier. It was originally commissioned in 1959 and was designed as a as a strike carrier for fixed-wing aircraft. During the 1980s it served as the flagship of the British task force against Argentina, playing a crucial role in air defence and amphibious operations. It was eventually sold to India in 1987 and was recommissioned as INS Viraat, before being taken out of service in 2017. Laurence Dunn was a well-known British marine artist and writer known for his depictions of ships. He grew up in Devon, where he practised drawing passing ships, and went on to study at the Central School of Art. He then worked for shipbuilding firm John I. Thornycroft & Company Limited, where he contributed to the design of the Royal Yacht. During the Second World War, Dunn worked in naval intelligence. In the early 1960s, he created many line drawings of Atlantic ocean liners. Upon his death in 2006, the World Ship Society published the following obituary: 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. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Container Ship, pencil drawing by Laurence Dunn

    Container Ship, pencil drawing by Laurence Dunn

    £200

    Laurence Dunn (1910 - 2006) Container Ship

    Pencil drawing 41 x 21 cm Laurence Dunn was a well-known British marine artist and writer known for his depictions of ships. He grew up in Devon, where he practised drawing passing ships, and went on to study at the Central School of Art. He then worked for shipbuilding firm John I. Thornycroft & Company Limited, where he contributed to the design of the Royal Yacht. During the Second World War, Dunn worked in naval intelligence. In the early 1960s, he created many line drawings of Atlantic ocean liners. Upon his death in 2006, the World Ship Society published the following obituary: 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.
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  • Out of stock
    Mabel Rae Oliver, etching of Keble College Oxford

    Keble College, Oxford, etching by Mabel Oliver Rae

    £195

    Mabel Oliver Rae (1868-1956) Keble College, Oxford

    c.1920 Etching 14 x 18 cm Signed in pencil below. Mabel Oliver Rae was born in Cambridge, Cambridgeshire, and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works with the pseudonym 'M.Oliver Rae', a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. This particular etching depicts a lovely view of Keble College, Oxford. Condition: Generally very good, mounted to board, residual glue to margins under the mount.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

    For other views of Keble College, Oxford, click here. 

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  • Clare Bridge Cambridge, etching by Mabel Oliver Rae

    £195

    Mabel Oliver Rae (1868-1956) Clare Bridge, Cambridge

    c.1920 Etching 13 x 17 cm Signed in pencil below. Mabel Oliver Rae was born in Cambridge, Cambridgeshire, and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works with the pseudonym 'M.Oliver Rae', a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. This particular etching depicts a lovely view of Clare Bridge, Cambridge. Rae expertly captures the reflections of the bridge's arcs and the shadows of the trees on the water surface. In the foreground of the etching, a punter enjoys the tranquil scene and the work is consequently imbued by the atmosphere of a warm summer's day. Condition: generally very good, slight age toning to paper.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

    For other views of Clare College, Cambridge, please click here.
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  • Merton Tower, Oxford, etching by Mabel Oliver Rae

    £195
    Mabel Oliver Rae (1868-1956) Tom Tower, Oxford c.1920 Etching 12 x 9 cm Signed in pencil below. Mabel Oliver Rae was born in Cambridge, Cambridgeshire, and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works with the pseudonym 'M.Oliver Rae', a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. This particular etching depicts a lovely view of Merton Tower, Oxford. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

    For other views of Merton College, Oxford, click here. 

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  • Abstract landscape, watercolour by Colin Fifield.

    Abstract Landscape, watercolour by Colin Fifield

    £500

    Colin Fifield (1940-2022) Abstract landscape

    Watercolour 26 x 36 cm Colin Fifield was a British artist specialising in painting and pottery. He trained at the Camberwell School of Arts and Crafts before specialising in painting and etching at the Slade School of Art. Over the course of his long career, Fifield displayed a variety of interests, ranging from landscape paintings in oils, watercolours and acrylics to pen and ink drawings. Many of his paintings take inspiration from the landscapes of Kent in South East England, featuring the bucolic pastures and fields. This painting is characteristic of Fifield's artistic output. He playfully depicts a rural landscape scene, incorporating wavy shapes and bright colours. In doing so, he brings the painting to life. The waves through the long crops and grasses evoke the wind breezing through them. The hazy clouds in the sky seem to be moving, and a man-- simplistic in form--walks down the country-lane, appreciating the tranquility of the moment.
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  • Mabel Oliver Rae, Tom Tower, Oxford

    Tom Tower, Oxford, etching by Mabel Oliver Rae

    £175
    Mabel Oliver Rae (1868-1956) Tom Tower, Oxford c.1920 Etching 12 x 9 cm Signed in pencil below. Mabel Oliver Rae was born in Cambridge, Cambridgeshire, and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works with the pseudonym 'M.Oliver Rae', a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. This particular etching depicts a lovely view of Tom Tower, Oxford. Condition: Generally very good, small tear to bottom right and slight age toning to paper.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

    For other views of Christ Church, Oxford, click here. 
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  • Out of stock
    Mabel Oliver Rae, etching of King's College, Cambridge.

    King’s College Cambridge, etching by Mabel Oliver Rae

    £175
    Mabel Oliver Rae (1868-1956) Kings College, Cambridge (view from the Meadow) c.1920 Etching 12 x 9 cm Signed in pencil below. Mabel Oliver Rae was born in Cambridge, Cambridgeshire, and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works with the pseudonym 'M.Oliver Rae', a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. This particular etching depicts a lovely view of King's chapel from the backs. The River Cam is also visible in the foreground, with what seems to be a punter making their way across the river.
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  • Rufford Old Hall- Door Details, pencil drawing by M R A Hollis

    £400

    M R A Hollis Rufford Old Hall, Door Details

    Pencil drawing 56 x 77 cm Professor Malcolm A Hollis was a chartered surveyor, arbitrator and professor of Building Pathology. He produced this architectural sketch while studying at the Liverpool College of Building. The study depicts details of the door at Rufford Old Hall. Hollis' accuracy is impressive: the clean lines all seem to be perfectly spaced, the presumably metal detailing on the door symmetrical and aesthetically pleasing. His commendable precision make this a striking piece. Rufford Old Hall is a historic Tudor manor house in Rufford, Lancashire, England. It was built in the 16th century and was the home of the Hesketh family for over 400 years. It is also notable as a stomping ground for the young William Shakespeare. It is now managed as a National Trust property and is a popular tourist attraction.
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  • Out of stock
    Local History Society Poster, M R A Hollis

    The Local History Society Presents Prehistoric Animals, vintage poster by M R A Hollis

    £300

    M R A Hollis The Local History Society Presents Prehistoric Animals

    Vintage poster Gouache 38 x 55 cm Professor Malcolm A Hollis was a chartered surveyor, arbitrator and professor of Building Pathology. This poster very clearly stands apart from his other architectural sketches. It is playful and bold, depicting a stegosaurus.
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  • Rufford Old Hall, drawing by M R A Hollis.

    Rufford Old Hall, pencil drawing by M R A Hollis

    £400

    M R A Hollis Rufford Old Hall, Charles II Wing

    Pencil drawing 56 x 77 cm Professor Malcolm A Hollis was a chartered surveyor, arbitrator and professor of Building Pathology. He produced this architectural sketch while studying at the Liverpool College of Building. The study depicts a view of the Charles II Wing at Rufford Old Hall. As is typical of Hollis' drawings, the sketch is characterised by extremely clean lines, attention to detail and a strong architectural perspective. Particular attention is paid to the grouting of the brick work and the building's crest, signalling that it was originally built in 1662. Rufford Old Hall is a historic Tudor manor house in Rufford, Lancashire, England. It was built in the 16th century and was the home of the Hesketh family for over 400 years. It is also notable as a stomping ground for the young William Shakespeare. It is now managed as a National Trust property and is a popular tourist attraction.
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  • The Old Bluecoat School, drawing by M A Hollis

    The Old Bluecoat School, pencil drawing by M R A Hollis

    £400

    M R A Hollis The Old Bluecoat School

    Pencil drawing 56 x 77 cm Professor Malcolm A Hollis was a chartered surveyor, arbitrator and professor of Building Pathology. He produced this architectural sketch while studying at the Liverpool College of Building. The study depicts a frontal view of the Bluecoat School, showcasing its grand 18th-century architecture and is characterised by clean lines and a strong sense of architectural perspective. The Bluecoat School is the oldest building in both central Liverpool and the city's UNESCO World Heritage Site. It was originally built in 1717 to house the Blue Coat School for Orphans. After almost 200 years, the school moved to a different premises in 1906 and in 1907 the Sandon Studios Society, a breakaway from University of Liverpool’s School of Applied Art, moved into the vacant building, establishing one of the first dedicated art centres in the world. It continues to serve this purpose today and celebrated its 300 year anniversary in 2017.
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  • Bluecoat School, drawing by M R A Hollis.

    The Bluecoat School, pencil drawing by M R A Hollis

    £400

    M R A Hollis The Old Bluecoat School

    Pencil drawing 56 x 77 cm Professor Malcolm A Hollis was a chartered surveyor, arbitrator and professor of Building Pathology. He produced this architectural sketch while studying at the Liverpool College of Building. The work is characterised by clean lines and a strong sense of architectural perspective. His appreciation of architecture and attention to detail particularly shine through, however, in his careful depiction of the plaster mouldings on the columns. The Bluecoat School is the oldest building in both central Liverpool and the city's UNESCO World Heritage Site. It was originally built in 1717 to house the Blue Coat School for Orphans. After almost 200 years, the school moved to a different premises in 1906 and in 1907 the Sandon Studios Society, a breakaway from University of Liverpool’s School of Applied Art, moved into the vacant building, establishing one of the first dedicated art centres in the world. It continues to serve this purpose today and celebrated its 300 year anniversary in 2017.
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  • Stage design by Rosemary Anne Sisson

    ‘The Splendid Outcast’, stage designs by Rosemary Anne Sisson

    £250

    Rosemary Anne Sisson (1923-2017) 'The Splendid Outcast', stage designs

    20 x 28 cm Watercolour (set of three) Cesar Borgia has ambitious plans and one of them is to take over the Kingdom of Naples...What follows in 'the Splendid Outcast' is a sordid love story. Marriages slip into affairs, affairs turn into assassinations, lust transforms to greed... Sisson wrote this play in 1960. The stage designs that followed in 1961 are vibrant, marked with the warm tones one might expect in a play set in Renaissance period Italy. Although a writer by craft, Sisson also proves herself adept with a brush and palette, executing playful mise-en-abimes as she incorporates miniature works of art into her stage designs. The abundance of windows and light in these watercolours also gestures to a world beyond her play, quite literally breathing a breath of fresh air and life into these works. Rosemary Anne Sisson was born in 1923 in Middlesex to the well-known Shakespeare scholar Charles Jasper Sisson, Lord Northcliffe. She developed a reputation as an acclaimed writer and playwright and was subsequently described by playwright Simon Farquhar in 2014 as being "one of television's finest period storytellers."
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  • Clare Bridge, watercolour by Mark McCrum

    Clare Bridge, watercolour by Mark McCrum

    £250

    Mark McCrum Clare Bridge

    Watercolour 29 x 39 cm Signed and dated to lower right Mark McCrum, born in Cambridge, England, is a distinguished author and artist known for his diverse body of work spanning travel writing, ghostwriting, crime fiction, and landscape painting. An accomplished landscape painter, McCrum specialises in watercolours, often painting en plein air to capture the immediacy of the scene. His works feature landscapes from Cambridge and regions such as North Norfolk, Scotland's Outer Hebrides, and the West of Ireland. He has held multiple solo exhibitions, showcasing his evocative portrayals of natural settings. This lovely watercolour depicts Clare bridge in Cambridge, with the still water of the Cam reflecting the arches of the bridge. Although unfinished, the greenery of the trees gestures outwards and it is not hard to imagine the serene scene surrounding the bridge. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

    For other views of Clare College, please click here.
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  • The Holy Sepulchre at Norfolk, engraving by John Basire

    The Holy Sepulchre at Northwold in the county of Norfolk, 1795, engraving by James Basire

    £295

    James Basire & Robert Blemmel Schnebbelie The Holy Sepulchre at Northwold in the county of Norfolk

    Engraving 45 x 60 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing by the English painter and illustrator Robert Blemmel Schnebbelie. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This particular edition depicts the Holy Sepulchre at Northwold in Norfolk. This sepulchre probably dated to the late 15th century and was used for the Deposition and Resurrection rituals on Good Friday and Easter Sunday-- an in depth commentary on such sepulchre in Norfolk was written by Veronica Sekules for the University of Missouri. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Exeter Cathedral (1797), engraving by James Basire.

    Architectural View of Exeter Cathedral, 1797, engraving by James Basire

    £1,200

    James Basire & John Carter Architectural View of Exeter Cathedral

    Engraving 61 x 95 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, based on drawing by the English architect and draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This particular edition depicts a side-view of Exeter Cathedral. Basire's creation of contrasts between light and dark creates a strong sense of architectural perspective as the arms of the transept protrude away from the nave. Basire's strong command of the medium also allows him to expertly capture the fine details of the stained glass windows, presenting a lovely view over this majestic building. Condition: Generally very good, slight spotting to the central fold.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • St Albans, 1810 engraving by James Basire

    St Albans Cathedral, 1810, engraving by James Basire

    £1,200

    James Basire & John Carter Floor plan of St Albans Cathedral

    Engraving 61 x 95 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire, based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This particular edition depicts a cross section of St Alban's Cathedral, offering a unique insight into both the architectural features of the building and its finer masonry and design details. Condition: Generally very good, slight spotting to the central fold.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • St Albans, 1810 engraving by James Basire

    Floor Plan of St Albans Cathedral, 1810, engraving by James Basire

    £800

    James Basire & John Carter Floor Plan of St Albans Cathedral

    Engraving 61 x 95 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire, based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This particular edition depicts the architectural floor plan of St Albans Cathedral. The cruciform architecture is striking, as portrayed from an aerial view. Basire and Carter also expertly preserve the finer details of this beautiful cathedral in these plans, depicting the details of the floor tiling and the masonry of the columns. This attention both to the architecture and the details produces a unique overall view of the cathedral. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Chimney Piece in Exeter, engraving by John Basire

    A Chimney Piece in the Bishop’s Palace at Exeter, 1797, engraving by James Basire after William Turner Davey

    £295

    James Basire & William Turner Davey A Chimney Piece in the Bishop's Palace at Exeter

    Engraving 45 x 60 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing by the English artist and engraver William Turner Davey. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts an ornate chimney piece in the Bishop's Palace at Exeter. It features a number of crests and Basire's masterful engraving technique expertly captures the fine masonry of the piece. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Architectural fragments of St Albans cathedral, engraving by John Basire

    Architectural Fragments of St Albans Cathedral, 1810, engraving by James Basire

    £295

    James Basire & John Carter Architectural Fragments of St Albans Cathedral

    Engraving 60 x 44 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire, based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Architectural fragments of St Albans Cathedral, engraving by John Basire

    Architectural Fragments of St Albans Cathedral, 1810, engraving by James Basire

    £295

    James Basire & John Carter Architectural Fragments of St Albans Cathedral

    Engraving 60 x 44 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire, based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Architectural fragments of St Albans Cathedral

    Architectural Fragments of St Albans Cathedral, 1810, engraving by James Basire

    £295

    James Basire & John Carter Architectural Fragments of St Albans Cathedral

    Engraving 60 x 44 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire, based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Architectural fragments of St Albans Cathedral, engraving by John Basire

    Architectural Fragments of St Albans Cathedral, 1810, engraving by James Basire

    £295

    James Basire & John Carter Architectural Fragments of St Albans Cathedral

    Engraving 60 x 44 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire, based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • The Abbey Church of St Albans, engraving by John Basire

    The Abbey Church of St Albans, 1810, engraving by James Basire

    £295

    James Basire & John Carter The Abbey Church of St Albans

    Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising St Albans Cathedral as one of England's most significant medieval structures, the society commissioned a series of engravings by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Architectural details of St Albans Cathedral, engraving by John Basire

    Architectural Details of St Albans Cathedral, 1810, engraving by James Basire

    £295

    James Basire & John Carter Architectural Details of St Albans Cathedral

    Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Romanesque Church of St Albans, engraving by John Basire

    St Albans Cathedral, 1810 engraving by James Basire

    £700

    James Basire & John Carter St Albans Cathedral

    Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This particular engraving is especially striking, as Carter expertly creates contrasts between light and dark, giving his work a strong sense of depth and conveying the impressive stature of St Albans Cathedral. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Architectural fragments of St Albans Cathedral, engraving by John Basire

    Architectural Fragments of St Albans Cathedral, 1810, engraving by James Basire

    £295

    James Basire & John Carter Architectural Fragments of St Albans Cathedral

    Engraving 44 x 62 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good, some spotting to the corners.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Ornaments of the architecture of St Albans, engraving by John Basire

    Specimens of the Architecture of St Albans Cathedral, 1810, engraving by James Basire

    £295

    James Basire & John Carter Specimens of the Architecture and Ornaments of the Abbey Church at St Albans

    Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good, some spotting to the corners.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Plan of the Rood Loft in St George's Chapel at Windsor, engraving by John Basire after Henry Elwyn.

    Plan of the Rood Loft in St George’s Chapel at Windsor, 1790, engraving by James Basire

    £295
    James Basire & Henry Emlyn Plan and Elevation of the Rood Loft in St George's Chapel at Windsor Engraving 47 x 55 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing by Henry Emlyn. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts the plan and elevation of the rood loft in St George's Chapel in Windsor. The strong lines and striking shapes stand out in this work, with the two cross sections of each column leaving a particularly strong impression. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Architectural fragment of St Alban's Cathedral, engraving by John Basire

    Architectural Fragment of St Albans Cathedral, 1810, engraving by James Basire after John Carter

    £295

    James Basire & John Carter Architectural Fragment of St Albans Cathedral

    Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, in 1810 the society commissioned a series of engravings of St Albans Cathedral by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts an architectural fragment of St Albans Cathedral, focussing on the tiered windows that line the nave. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Fragment of St Alban's Cathedral, engraving by John Basire.

    Architectural Fragment of St Albans Cathedral, 1810, engraving by James Basire after John Carter

    £295

    James Basire & John Carter Architectural Fragment of St Albans Cathedral

    Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, in 1810 the society commissioned a series of engravings of St Albans Cathedral by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts an architectural fragment of St Albans Cathedral, focussing on the tiered windows that line the nave. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Titley Church Essex & Rochester Cathedral, engraving by John Basire

    Stalls in Tiltey Church Essex & in Rochester Cathedral, 1790, engraving by James Basire

    £295

    James Basire & John Carter Stalls in Tiltey Church Essex & Stalls in the Choir of Rochester Cathedral

    Engraving 50 x 32 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing by John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts the stalls in Tiltey Church Essex and Rochester Cathedral. Each set of stalls has its own set of distinguishing features. Although the stalls in Tiltey Church are comparatively pared back with their bare bricks and simple stone masonry, these nooks are not simply stalls but are in fact a three-levelled sedilia with a piscina, as was typical in medieval churches. The sedilia in Rochester Cathedral is, in contrast, extremely ornate, figuring as a fine example of Gothic architecture, specifically from the Decorated period (c. 1250–1350). Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Wainflete School, engraving by John Basire

    Wainflete School, Lincolnshire, 1790, engraving by James Basire

    £295

    James Basire & Robert Blemmell Schnebbelie Wainflete School, Lincolnshire

    Engraving 50 x 32 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing by Robert Schnebbelie. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts a north-westerly view of a school in Wainflete, Lincolnshire. It is likely that the building pictured illustrates the Magdalen College School, opened in 1484 by William Patten of Wainlete as a feeder school for Magdalen College, which he founded in 1458. The engraving showcases the lovely red-brick building and the effigies of his father Richard Patten, presumably designed to feature in the school. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Monument to King Edward IV in Windsor, engraving by John Basire

    Monument of King Edward IV in St George’s Chapel at Windsor, 1790, engraving by James Basire

    £295

    James Basire & Robert Blemmell Schnebbelie Monument of King Edward IV in St George's Chapel at Windsor

    Engraving 50 x 32 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing by Henry Emlyn. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts the ornate monument of King Edward IV in St George's Chapel at Windsor. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Suffolk Fonts, engraving by John Basire

    Fonts in Suffolk, 1792, engraving by James Basire

    £295

    James Basire, after James Johnson and John Carter Fonts in Suffolk

    Engraving 50 x 32 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on drawings by James Johnson and John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts fonts in Suffolk. The first illustration, originally executed by James Johnson, represents the ornate font in Ufford Church, complete with a uniquely suspended font cover. The second illustration, originally drawn by John Carter depicts a similarly ornate font in St Gregory's Church Sudbury. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Chatham Church, Kent, engraving by John Basire

    The Chancel of Chatham Church, Kent, 1790, engraving by James Basire after Robert Schnebbelie

    £295

    James Basire & Robert Blemmell Schnebbelie The Chancel of Chatham Church, Kent

    Engraving 48 x 33 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing the English painter and illustrator Robert Blemmell Schnebbelie. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts the Chancel of Chatham Church, Kent, 'as it appeared the 13th March 1788.' Across three figures, Schnebbelie depicts the dismantling of the church, illustrating the ornate finds uncovered by the workers and their pickaxes. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Easter Sepulchre at St Andrew's Church, Heckington, engraving by John Basire

    The Holy Sepulchre at Heckington in Lincoln, 1795, engraving by James Basire after Robert Schnebbelie

    £295

    James Basire & Robert Blemmell Schnebbelie The Holy Sepulchre at Heckington in Lincoln

    Engraving 45 x 30 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of architectural engravings in 1810 by James Basire, this one based on a drawing the English painter and illustrator Robert Blemmell Schnebbelie. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts the Holy Sepulchre at Heckington in the County of Lincoln. It illustrates the remarkable Easter Sepulchre at St Andrew's Church, Heckington. This carved structure features striking Gothic tracery, religious figures, and scenes related to Christ’s resurrection, all captured excellently by Basire's precision in engraving. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Architectural Details of St Alban's Cathedral, engraving by John Basire

    Architectural details of St Albans Cathedral, 1810, engraving by James Basire after John Carter

    £295

    James Basire & John Carter Architectural details of St Albans Cathedral

    Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Alban's Cathedral in 1810 by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • St Alban's Cathedral, engraving by John Basire

    St Albans Cathedral, 1810, engraving by James Basire after John Carter

    £795

    James Basire & John Carter St Albans Cathedral

    Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral in 1810 by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This striking engraving depicts a cross section of the cathedral, allowing the viewer to appreciate both the architectural details of the exterior and glimpse usually hidden areas of the building including the inside of the bell tower. Condition: Generally very good, repaired tear to the bottom right hand corner

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • St John's College, Oxford, engraving by Michael Angelo Rooker

    St John’s College Oxford (1783), watercolour by Michael Angelo Rooker

    £2,750

    Michael Angelo Rooker (1746–1801) St John's College, Oxford

    Watercolour 25 x 40 cm Depicting a lovely view over the gardens of St John's College, Oxford, this watercolour may have been produced for the 1783 edition of the Oxford Almanack. This almanack ran between 1674 and 2019 and traditionally included engravings and information about Oxford University. Michael Angelo Rooker (1746–1801) was an English painter, engraver, and illustrator, best known for his topographical landscapes and architectural scenes. His works often depicted picturesque views of British towns, universities, and ruins, executed with meticulous detail and atmospheric effects. He was particularly well-regarded for his ability to blend topographical accuracy with artistic beauty, making his works valuable both as historical records and as fine art. This watercolour exemplifies beautifully his fine attention to detail, atmosphere and architectural perspective, as he expertly depicts the façade of the college, while also capturing the long shadows cast by the trees on this seemingly warm summer's day. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • George Pyne, Brasenose College watercolour

    Brasenose College Quadrangle, watercolour by George Pyne

    £2,500
    George Pyne (1800 - 1884) Brasenose College Quadrangle Watercolour 16 x 22 cm Signed and dated to lower right A well-executed watercolour of the quadrangle at Brasenose College, Oxford. Pyne expertly depicts the main gate with the Radcliffe Camera behind and the spire of the University Church of St Mary shrouded in a light mist. He also intriguingly captures the smaller details of the scene: a scholar in academic dress wandering around the periphery of the quad, the shadows and relief of a statue which no longer stands in the Old Court, the reflections in the old single-glazed windows. In doing so, he captures the unique charm of Brasenose College on this sunny day in the late 19th Century. George Pyne was related to two founders of the Society of Painters in Watercolours – William Henry Pyne was his father, and John Varley his father-in-law. Pyne trained as an architectural draughtsman and lived in Oxford from the 1850s until his death in 1884, specialising in views of the city and its colleges. His Oxford pictures are both architecturally-minded and romantically creative, often combining intensely detailed depictions of college buildings with imagined pedestrian scenes. Pyne was also noted for his views of Cambridge and Eton, and for his drawing manuals ‘A Rudimentary and Practical Treatise on Perspective for Beginners’ (1848) and ‘Practical Rules on Drawing for the Operative Builder, and Young Student in Architecture’ (1854); the latter texts offer an insight into his method of depicting architecture and its surroundings. Condition: Generally very good, a couple of spots to the sky.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Keble College, Oxford, watercolour by David Garland.

    Keble College Chapel, watercolour by David Garland

    £2,500

    David Garland Keble College Chapel

    Watercolour 28 x 38 cm This richly coloured watercolour was painted by David Garland for the 1971 edition of the 'Oxford Almanack.' This almanac was published annually by the Oxford University Press for the University of Oxford from 1674 to 2019. These almanacs traditionally included engravings and information about Oxford University, including the Heads of Colleges and a university calendar. This painting was a warm and colourful contribution to the edition, capturing the distinctively striated red bricks of Keble College. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • High Holborn, watercolour by Sidney Cardew.

    High Holborn, watercolour by Sidney Cardew

    £250

    Sidney Cardew RSMA (1931-2017) High Holborn

    Watercolour 30 x 18 cm Sidney Cardew (1931–2017) was a British artist celebrated for his evocative watercolour paintings, particularly those depicting marine and coastal scenes. Born in London, Cardew developed an early passion for drawing and painting during his school years. After completing his national service in the Royal Air Force, he pursued a career as a senior design engineer with the Ford Motor Company. In his early thirties, Cardew began to paint earnestly, initially focusing on oil painting before transitioning to watercolours, attracted by their immediacy and fluidity. Cardew's artistic approach was deeply influenced by renowned artists such as Edward Seago, John Singer Sargent, William Russell Flint, Ted Wesson, and Jack Merriott. He often painted en plein air, employing minimal preliminary drawing and emphasizing wet-into-wet techniques to capture the transient qualities of light and atmosphere. In 1990, after attending sessions with the Wapping Group of Artists as a guest, Cardew was elected as a full member. Two years later, in 1992, he became a member of the Royal Society of Marine Artists (RSMA). Throughout his career, he exhibited with prestigious institutions such as the Royal Institute of Painters in Water Colours (RI) and the Royal Society of British Artists (RBA), and his works are held in various provincial galleries. As well as producing many maritime paintings, as a member of the Wapping Group of Artists Cardew frequently depicted scenes along the River Thames and its surroundings and was adept at capturing the essence of London's architecture and street life. This painting of High Holborn is a particularly fine example of Cardew's cityscapes, featuring splashes of colour, moving cars and a strong architectural focus. Condition: generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Queen's College in the High Street Oxford, watercolour by J. C. Buckler

    Queen’s College in the High Street Oxford, watercolour by J. C. Buckler

    £2,800

    J. C. Buckler (1793-1894) Queen's College in the High Street Oxford

    Watercolour 29 x 36 cm Signed to lower right. John Chessell Buckler (1793–1894) was a British architect and artist, renowned for his contributions to Gothic Revival architecture and his detailed architectural drawings. Throughout his career, Buckler did a lot of work in Oxford. He carried out repairs and additions to St Mary's Church, and Oriel, Brasenose, Magdalen, and Jesus colleges. During this period, he was also an extremely prolific artist, creating works characterised by his fastidious attention to detail and strong sense of architectural perspective. Between 1797 and 1830 he created no less than 625 Indian ink and 19 watercolour drawings, many of which are now housed in the Bodeleian libraries. As one of only 19 watercolour paintings produced by Buckler, this painting of Queen's College constitutes a rare opportunity to own such a fine example of Buckler's work. It depicts the façade of Queen's College using strong lines, exemplifying Buckler's strong sense of architectural perspective. Scholars, all dressed in academic robes, also wander down the street, breathing life into this architectural drawing. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Christ Church, pastel drawing by William Steeple Davis

    Christ Church College, Oxford, pastel drawing by William Steeple Davis

    £295

    William Steeple Davis (1884-1961) Christ Church College, Oxford

    Pastel drawing 31 x 23 cm William Steeple Davis (1884–1961) was an American artist known for his diverse artistic talents, including pastel drawings. While he primarily focused on etchings, hand-coloured prints, and block prints, he also created notable works using pastels. In his later years, particularly during the 1950s, Davis traveled to England, where he produced a series of pastel artworks. These pieces often depicted English landscapes and landmarks, including this drawing of Christ Church College, Oxford. Alongside his talents in painting, print making, photography and the graphic arts, these pastel works highlight Davis's ability to capture the essence of various locales, showcasing his versatility and keen observational skills.
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  • Mathematical Bridge, Cambridge, watercolour

    Watercolour of Queens’ College and Mathematical Bridge

    £295
    Queens' College and Mathematical Bridge Watercolour 26 x 35 cm An idyllic depiction of the famous view down the Cam towards mathematical bridge, this watercolour captures the soothing reflections of the medieval architecture of Queens' College and the gentle ripples created as a kayaker floats down the river. Sumptuous greenery and warm tones imbue this lovely watercolour with a calming effect.
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  • Oxford, the High, watercolour painting

    Queen’s College and the High, Oxford, 18th century watercolour

    £975
    Anonymous Queen's College and the High, Oxford Watercolour 12 x 16 cm Initialled to bottom left This highly-detailed watercolour depicts everyday life in front of Queen's College and on the High in Oxford in the Eighteenth Century. Well-dressed city dwellers wander along the high street while merchants tidy up after a carriage mishap and a dog dashes across the road. The noise of city life is intriguingly captured in this watercolour, harking back to days-gone-by. Condition: Generally very good, mounted to board.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Air raid, charcoal sketch.

    Air Raid, Second World War charcoal sketch

    £500
    Anonymous Air Raid Charcoal sketch 34 x 43 cm At first glance, this charcoal sketch seems fairly innocuous, after all it seems to simply depict a series of parked military vehicles at an operational centre. Look more closely, however, and you will notice the fleet of German bombers flying in formation, swooping through the air. Look even closer and you will notice the clusters of lines radiating outwards: bombs are falling, buildings are being hit and dust is clouding the air. The base has been hit no less than four times and the chaos seems to stretch beyond the narrow frames of this sketch as the bombers fly into the horizon. Condition: generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Camp Northampton, charcoal sketch

    Camp Northampton, charcoal sketch

    £500
    Anonymous Camp Northampton Charcoal sketch 34 x 43 cm At first glance, this charcoal sketch seemingly depicts three barns lining a country lane. The scene seems idyllic, trees and farmland forming a rural idyll. The caption of the sketch 'Camp Northampton' reveals it to be, however, a depiction of one of the seven Prisoner of War camps in Northamptonshire. These camps primarily housed German pilots who would work in the adjacent fields to support the farming industry. Some of these camps still stand today, their wooden shells acting as eery reminders of this dark past. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Bomber plane landing, charcoal sketch

    Bomber Plane Coming in to Land, charcoal sketch

    £500

    Anonymous A Bomber Plane Coming in to Land

    Charcoal sketch 34 x 43 cm This charcoal sketch depicts a four-engine bomber coming into land, featuring a further two bombers stationary in a hangar in the background. The circular insignia on the landing plane side distinguishes it as a part of the RAF, although its highly stylised form makes it impossible to identify which of the RAF bomber planes it is. The dynamism of this sketch is particularly striking, as the artist captures the speed of the plane using horizontal lines parallel to the ground.
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  • Naval battle, charcoal sketch

    Second World War Naval Battle, charcoal sketch

    £500

    Anonymous Naval Battle

    Charcoal sketch 34 x 46 cm Indistinctly inscribed to mount This striking charcoal sketch depicts a naval battle during the Second World War. It is a tumultuous scene, as bombs hit the water, making large splashes, planes fly overhead and naval vessels move through the water. The sketched nature of this drawing conveys the dynamism of the scene, everything moving at an accelerated past as the chaos of war unfurls.
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  • Erasmus' Tower, Queens' College Cambridge, watercolour by E. T. Talbot

    Erasmus’ Tower, Queens’ College Cambridge, watercolour by E. T. Talbot

    £950

    E. T. Talbot Erasmus' Tower, Queens' College Cambridge

    Watercolour 35 x 21 cm Signed, dated and inscribed to the reverse. A richly-coloured watercolour painting of Erasmus' Tower, Queens' College Cambridge. Part of the Old Court of Queens' College, dating back to the 16th century, Erasmus' tower was named after the humanist and scholar Desiderius Erasmus, who lived in the college in the early 16th century. It remains a symbol of the college’s rich academic history and its connections to the Renaissance scholar. Talbot expertly captures the charm of this medieval tower, using careful brushstrokes to depict the voluminous greenery. Condition: Generally very good, mounted to board.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • John Coney, engraving of Christ Church Cathedral from the Dean's garden, 1816

    Christ Church Cathedral, 1816, from the Dean’s gardens, engraving by John Cowey

    £195

    John Cowey (1786-1833) Christ Church Cathedral, Oxford, 1816, from the Dean's gardens 

    Engraving 23 x 32 cm Condition: generally very good, slight age toning to paper.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Christ's College Gate, etching by Mabel Oliver Rae

    Christ’s College Gate, etching by Mabel Oliver Rae

    £220

    Mabel Oliver Rae (1868-1956) Christ's College Gate

    27 x 19 cm Etching Signed and titled. Mabel Oliver Rae was born in Cambridge and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works as ‘M. Oliver Rae’, a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. This particular etching depicts the Great Gate at Christ's College Cambridge in the early 20th century. People can be seen walking along the pavement and a scholar sporting academic dress is making his way into the college. A car also trundles along the road, acting as a visual marker for the period during which this work was produced.
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  • Oxford Spires, lithograph by Brenda Cripps

    Oxford Spires, lithograph by Brenda Cripps

    £195

    Brenda Cripps Oxford Spires

    Lithograph 20 x 29 cm Titled, signed and dated to lower right hand corner. This lithograph depicts a view over the Oxford skyline. The Old Tom Tower of Christchurch, the Radcliffe Camera, the Church of St Mary the Virgin, and the Sheldonian Theatre tower over the canopy of luscious trees and stand out against the blue summer sky. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Pembroke College, Cambridge, engraving by Andrew Ingamells

    Pembroke College, Cambridge, engraving by Andrew Ingamells

    £1,150

    Andrew Ingamells (1956 - ) Pembroke College, Cambridge

    Etching 45 x 47 cm Publisher's proof, signed to lower right. This meticulously detailed gravure etching by Andrew Ingamells is the first etching or engraving to depict Pembroke College Cambridge from an aerial perspective since David Loggan's celebrated engraving of the 1680s. Ingamells trained at St Albans School of Art and the London College of Printing, subsequently working as a graphic designer and illustrator. Based in London, he began making drawings of the buildings and landscapes of London. Ingamells’ work is in many public collections including those of the Tate Gallery, The National Trust, The Paul Mellon Centre for British Art, and the City of London Guildhall Library. His pictures are also in several private collections, including those of various Oxford and Cambridge colleges, HRH King Charles III, and Shell Oil. The artist is currently part-way through his epic project to record all the colleges of Oxford and Cambridge, a project undertaken in homage to David Loggan. Condition: Generally very good, comes with frame.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

    For other views of Pembroke College, click here.
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  • Concerto da Camera, cartoon by Fougasse

    Concerto da Camera, drawing by Cyril Kenneth Bird ‘Fougasse’ for Punch Magazine

    £1,950

    Cyril Kenneth Bird ‘Fougasse’ (1887 - 1965) Concerto da Camera

    Ballpoint pen and ink 35 x 24 cm Sold with original catalogue and invoice. "Concerto da Camera. I suppose I'm hopelessly unmusical, but I still sometimes sigh for the days when one could sit peacefully in one's seat and listen to the music, instead of having to spend the entire performance swooping about all over the studio with the TV cameraman." The cartoon "Concerto da Camera" was published in Punch magazine on October 22, 1952. This piece humorously reflects on the experience of attending televised concerts, expressing a nostalgic preference for the days when one could sit peacefully and listen to music without the distractions of television production. It exemplifies Fougasse's signature style, characterised by minimalist line work and insightful commentary on contemporary life, providing a lighthearted yet poignant critique of societal changes. Fougasse was a British cartoonist. He was art editor of Punch between 1937 and 1949, and subsequently editor until 1953. He is best known for his ‘Careless Talk Costs Lives’ series of posters, and the other posters for the Ministry of Information and London Transport. As the Second World War progressed, the Ministry of Information’s poster campaign had become less and less effective. There were posters instructing the population to save old clothes for rags, turn off the lights, save food, dig for victory, watch out for spies, and keep calm and carry on. With this instruction overload, the population had ceased paying attention to the posters. Fougasse noticed this, and offered his services unpaid to the Ministry of Information, with a view to bringing a touch of humour to the posters. His amusing designs with pithy captions, reminiscent of newspaper cartoons, helped to get the Ministry's messages across in a novel way.
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  • Stage Design by Sir Terry Frost RA

    Stage Design by Sir Terry Frost RA

    £3,400

    Terry Frost (1915-2003) Stage Design

    Wax crayon drawing 21 x 42 cm Sir Terry Frost was a British abstract artist known for his vibrant use of colour, geometric forms, and expressive compositions. His work often explored movement, rhythm, and balance, influenced by his experiences in Cornwall and his interactions with leading modernist artists. Frost's artistic career began at the age of 30. During a period of internment at a prisoner of war camp in Bavaria, Frost was encouraged by the artist Adrian Heath to paint. Immediately after the war he enrolled at the Birmingham College of Art and subsequently spent a year studying at the St Ives School of Painting. Alongside exhibiting in various galleries, including the Leicester Galleries in London's West End, Frost also led a successful academic career, teaching at the University of Leeds and of Reading. He was eventually elected a Royal Academician in 1994 and knighted for his contributions to British art in 1998. This crayon sketch appears to depict a sequence of movements, possibly for a dance or performance piece. The red and black palette gives a sense of contrast and rhythm, emphasising the energy of the composition. Frost may have produced it for the Aldeburgh Festival, a renowned music and arts festival founded by composer Benjamin Britten, Peter Pears, and Eric Crozier in 1948. His abstract and dynamic use of colour and form, as exemplified by this striking work, would have complemented the festival’s innovative approach to opera and music. Condition: generally very good, comes framed.
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  • Radcliffe Camera, lithograph by Daniel Gentleman

    Radcliffe Camera, lithograph by David Gentleman

    £450

    David Gentleman Radcliffe Camera

    Lithograph 53 x 64 cm Signed and numbered 41/200. Born on the 11th March 1930, David Gentleman is a British artist, illustrator, and designer known for his distinctive watercolours, engravings, and graphic work. He originally studied art and painting at the Royal College of Art under Edward Bawden and John Nash and has since produced work at scales ranging from platform-length murals for Charing Cross Underground Station in London to postage stamps and logos. His work is generally characterised by precise line drawings, detailed engravings, and delicate watercolour paintings, often depicting landscapes, architecture, and urban scenes. He notably distinguishes his work through his skilful ability to blend traditional techniques with modern sensibilities, rendering his work highly recognisable. He has left a lasting legacy on British graphic design and illustration and his work is now represented in the Tate Britain, the British Museum, the Victoria and Albert Museum, the Imperial War Museum and the Fitzwilliam Museum, Cambridge. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Out of stock
    St John's College, Cambridge, lithograph by Hugh Casson

    St John’s College, Cambridge, lithograph by Hugh Casson

    £395

    Hugh Casson (1910 - 1999) St John's College, Cambridge

    Lithograph 29 x 37 cm Signed and numbered 427/500, both in pencil. Sir Hugh Casson was educated at Eastbourne College; St John’s College, Cambridge; and the Bartlett School of Architecture. Trained in the 1930s in the early modernist style, he taught at the Cambridge School of Architecture. After employment as a camoufleur during World War 2 by the Air Ministry, in 1948 he was appointed as director of architecture for the Festival of Britain. A close friend of the Royal Family, he undertook designs for the 1953 coronation, designed the interior of the Royal Yacht Britannia (“The overall idea was to give the impression of a country house at sea”), and taught the young Charles III to paint in watercolours. Amongst his architectural achievements are the Elephant House at London Zoo, the 1978 redevelopment of Bristol Docks, the Raised Faculty Building for The University of Cambridge, and a building for the Royal College of Art. He published a number of illustrated books, of which Casson’s Oxford and Casson’s Cambridge are probably the best known. A limited edition series of prints was produced from the paintings. This lithograph depicts a view over Kitchen Bridge in St John's College. As is typical in many of his works, Casson expertly captures the architecture of this Cambridge college, while also portraying the everyday comings-and-goings of college life. In this case, a punt floats past a group of students basking in the sun and another group crosses over the bridge, perhaps on their way to get their lunch from the cafe. Condition: Generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

    For other views of St John's College, click here.
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  • Watercolour of the Radcliffe Camera by Rev. William Henry Barnard

    Watercolour of the Radcliffe Camera from the Great Quadrangle of All Souls College, Oxford by Rev. William Henry Barnard

    £5,000

    Rev. William Henry Barnard (Co. Donegal or Co. Derry 1767-1818 London) The Radcliffe Camera from the Great Quadrangle of All Souls College, Oxford

    Pen and brown ink and watercolour, on paper 30 x 44 cm Signed with initials 'H.B.' (lower right) Rev William Henry Barnard was an extremely well-connected artist and clergyman -being first cousin of Prime Minister George Canning, grandson of William Barnard, Bishop of Derry, and nephew of Thomas Barnard, Dean of Derry and Bishop of Limerick. He graduated from Pembroke College, Oxford in 1797. During his time at university he studied drawing with John Baptist Malchair (1731 – 1812) and produced numerous drawings and watercolours, often depicting humble Oxford street scenes using a black monochrome wash. He is now represented in a number of important collections. TATE acquired twelve of his paintings in 1996 and a drawing by Barnard of Windsor Castle was purchased for the Royal Collection in 1947. This watercolour depicts a view of the Radcliffe Camera from the great quadrangle of All Souls College, Oxford. It demonstrates a strong sense of architectural perspective as Barnard expertly captures the angles and masonry of the baroque architecture. In keeping with Barnard's tendency to capture humble Oxford street scenes, this loftier rendering of this Oxford landmark still presents gardeners and academics alongside each other. He thereby adeptly depicts everyday life in this Oxford college in the early Eighteenth Century. Provenance: The Collection of the Late John Appleby: A Channel Island. Condition: Generally very good, comes framed.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Notre Dame, etching and aquatint by Julian Trevelyan

    Notre Dame de Paris, etching and aquatint by Julian Trevelyan

    £1,600

    Julian Trevelyan (1910-1988) Notre Dame

    Etching and aquatint, stamped signature, numbered 42/50 35 x 48 cm Nephew of the historian G M Trevelyan, he was educated at Bedales and Trinity College, Cambridge, reading English. Moving to Paris and becoming an artist, studying engraving at Stanley William Hayter’s school he worked alongside artists such as Max Ernst, Joan Miro and Pablo Picasso. Marrying the potter Ursula Darwin in 1934, in 1935 they moved to Hammersmith, buying Durham Wharf beside the River Thames which was Trevelyan’s studio – and home – for the rest of his life. His wartime service was – like so many artists – as a camofleur. A Royal Engineer from 1940-43, he served in North Africa and Palestine, forcing the German Afrika Korps to use resources against a dummy army whilst real tanks were disguised as more harmless equipment. In the desert nothing could be hidden, but it could be disguised. On one occasion however the German Luftwaffe flattened a real installation, leaving only a – dummy – railhead the camofleurs had built. The following day they returned and dropped a wooden bomb on the railhead making it clear they had seen through the disguise. Following the dissolution of his marriage in 1950 he married the painter Mary Fedden. Teaching at Chelsea School of Art Trevelyan eventually became head of the Etching Department and his pupils included David Hockney and Peter Ackroyd. This particular edition depicts a view of the rear of the Notre Dame de Paris. Three fishermen line the promenade and the Square de l'Ile de France protrudes into the Seine, this combined with the curved river bank gives almost a sense of three dimensionality to the etching, as is characteristic of Trevelyan's playful manipulations of perspective.
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  • Old Court, Selwyn College Cambridge, lithograph by Jane Carpanini

    Old Court of Selwyn College, Cambridge, lithograph by Jane Carpanini

    £295

    Jane Carpanini Old Court, Selwyn College

    Lithograph 30 x 42 cm Born in Bedfordshire, Jane 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 and have since featured regularly in the Oxford and Cambridge Today magazines. Throughout her career, Carpanini has exhibited widely and her work is held by many public and private collections both in the UK and abroad. She was a regular exhibitor with the major Societies and was the first woman officer of the Royal Watercolour Society, serving as the Honorary Treasurer and also as Vice-President. In 2003 she was also nominated for the Presidency of the RWS becoming the first ever female candidate for the post. This lithograph depicts a sunny day over the Old Court at Selwyn College, featuring the Chapel, Master's Lodge and the Hall, recognisable by its distinctive stairs. A few students or academics wander round the periphery, perhaps enjoying this summery Cambridge scene. Condition: generally very good, can come framed.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Selwyn College, Cambridge, lithograph by Jane Carpanini.

    Selwyn College, Cambridge, lithograph by Jane Carpanini

    £295

    Jane Carpanini Selwyn College

    Lithograph 30 x 42 cm Born in Bedfordshire, Jane 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 and have since featured regularly in the Oxford and Cambridge Today magazines. Throughout her career, Carpanini has exhibited widely and her work is held by many public and private collections both in the UK and abroad. She was a regular exhibitor with the major Societies and was the first woman officer of the Royal Watercolour Society, serving as the Honorary Treasurer and also as Vice-President. In 2003 she was also nominated for the Presidency of the RWS becoming the first ever female candidate for the post. This lithograph depicts the comings-and-goings of the main entrance at Selwyn College, Cambridge. A student cycles along Grange Road, keeping pace with their walking friend, perhaps on their way to lectures at the nearby Sidgwick Site; another student is wheeling their bike towards the nearby bicycle parking. The weather is sunny and the trees are covered in leaves. This is a lovely representation of everyday life at the university and Selwyn College. Condition: Generally very good, can come with frame.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

     
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  • Out of stock
    Male nude, sketch by Keith Vaughan

    Male Nude, sketch by Keith Vaughan

    £995

    Keith Vaughan Male Nude

    Ballpoint pen sketch 17 x 13 cm Born in 1912, Keith Vaughan was a British painter known for his modernist and semi-abstract depictions of the male figure. He was self-taught as an artist but during his time as a conscientious objector in the Second World War, he befriended the painters Graham Sutherland and John Minton. Through these contacts, he formed part of the neo-romantic circle of the immediate post-war period. Over time, Vaughan's idiosyncratic style evolved away from the group as he focussed on male nudes and groups, often rendered in a geometric yet lyrical manner. Vaughan was openly gay at a time when homosexuality was criminalised in Britain. As a result, his work often reflected themes of isolation and desire, capturing both the physical and emotional aspects of human existence. He continues to be celebrated today and his works are held in several major galleries, inlcuding the National Galleries of Scotland, the National Portrait Gallery, the Tate and the Victoria and Albert Museum. This sketch depicting a male nude was taken from Vaughan's 'Ischia Cheese & Grill' sketchbook. Together the drawings in the sketchbook record Vaughan's experimentalism with landscape, abstraction and notably his commitment to the human form. This collection was sold as part of Peter Adam's estate; Adam was not just a close friend of Vaughan but his executor, biographer and the curator of multiple exhibitions of his work after he died in 1977. This sketch represents the unique opportunity to own a small piece of Keith Vaughan's oeuvre as he continues to grow in popularity. Condition: generally very good.

    UpdateIf you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Side profiles, sketch by Keith Vaughan

    Side Profiles, sketch by Keith Vaughan

    £995

    Keith Vaughan Side Profiles

    Ballpoint pen sketch 17 x 13 cm Born in 1912, Keith Vaughan was a British painter known for his modernist and semi-abstract depictions of the male figure. He was self-taught as an artist but during his time as a conscientious objector in the Second World War, he befriended the painters Graham Sutherland and John Minton. Through these contacts, he formed part of the neo-romantic circle of the immediate post-war period. Over time, Vaughan's idiosyncratic style evolved away from the group as he focussed on male nudes and groups, often rendered in a geometric yet lyrical manner. Vaughan was openly gay at a time when homosexuality was criminalised in Britain. As a result, his work often reflected themes of isolation and desire, capturing both the physical and emotional aspects of human existence. He continues to be celebrated today and his works are held in several major galleries, inlcuding the National Galleries of Scotland, the National Portrait Gallery, the Tate and the Victoria and Albert Museum. This sketch was taken from Vaughan's 'Ischia Cheese & Grill' sketchbook. It depicts two sculptures in side profile and an antelope skull. This intriguing combination of sculpture and skulls is suggestive of an ancient civilisation, perhaps indicating that he produced this sketch during a jaunt through a natural history museum while on his travels. Together the drawings in the sketchbook record Vaughan's experimentalism with landscape, abstraction and notably his commitment to the human form. This collection was sold as part of Peter Adam's estate; Adam was not just a close friend of Vaughan but his executor, biographer and the curator of multiple exhibitions of his work after he died in 1977. This sketch represents the unique opportunity to own a small piece of Keith Vaughan's oeuvre as he continues to grow in popularity. Condition: generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Male nudes II, sketch by Keith Vaughan

    Male Nudes II, sketch by Keith Vaughan

    £995

    Keith Vaughan Male Nudes II

    Ballpoint pen sketch 17 x 13 cm Born in 1912, Keith Vaughan was a British painter known for his modernist and semi-abstract depictions of the male figure. He was self-taught as an artist but during his time as a conscientious objector in the Second World War, he befriended the painters Graham Sutherland and John Minton. Through these contacts, he formed part of the neo-romantic circle of the immediate post-war period. Over time, Vaughan's idiosyncratic style evolved away from the group as he focussed on male nudes and groups, often rendered in a geometric yet lyrical manner. Vaughan was openly gay at a time when homosexuality was criminalised in Britain. As a result, his work often reflected themes of isolation and desire, capturing both the physical and emotional aspects of human existence. He continues to be celebrated today and his works are held in several major galleries, inlcuding the National Galleries of Scotland, the National Portrait Gallery, the Tate and the Victoria and Albert Museum. This sketch was taken from Vaughan's 'Ischia Cheese & Grill' sketchbook. It depicts a number of male nudes, each drawn with a sculptural quality, seemingly modelled from busts in an art gallery; interestingly it also seems to be a reiteration of another of his sketches of male nudes, drawn from a more distanced perspective, allowing the viewer to better take in the surrounding busts and sculptures. Together the drawings in the sketchbook record Vaughan's experimentalism with landscape, abstraction and notably his commitment to the human form. This collection was sold as part of Peter Adam's estate; Adam was not just a close friend of Vaughan but his executor, biographer and the curator of multiple exhibitions of his work after he died in 1977. This sketch represents the unique opportunity to own a small piece of Keith Vaughan's oeuvre as he continues to grow in popularity.
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  • Male nudes, sketch by Keith Vaughan

    Male Nudes, sketch by Keith Vaughan

    £995

    Keith Vaughan Male nudes

    Ballpoint pen sketch 17 x 13 cm Born in 1912, Keith Vaughan was a British painter known for his modernist and semi-abstract depictions of the male figure. He was self-taught as an artist but during his time as a conscientious objector in the Second World War, he befriended the painters Graham Sutherland and John Minton. Through these contacts, he formed part of the neo-romantic circle of the immediate post-war period. Over time, Vaughan's idiosyncratic style evolved away from the group as he focussed on male nudes and groups, often rendered in a geometric yet lyrical manner. Vaughan was openly gay at a time when homosexuality was criminalised in Britain. As a result, his work often reflected themes of isolation and desire, capturing both the physical and emotional aspects of human existence. He continues to be celebrated today and his works are held in several major galleries, inlcuding the National Galleries of Scotland, the National Portrait Gallery, the Tate and the Victoria and Albert Museum. This sketch was taken from Vaughan's 'Ischia Cheese & Grill' sketchbook. It depicts a number of male nudes, each drawn with a sculptural quality as if modelled from busts in an art gallery. Together the drawings record Vaughan's experimentalism with landscape, abstraction and notably his commitment to the human form. This sketchbook was sold as part of Peter Adam's estate; Adam was not just a close friend of Vaughan but his executor, biographer and the curator of multiple exhibitions of his work after he died in 1977. This sketch represents the unique opportunity to own a small piece of Keith Vaughan's oeuvre as he continues to grow in popularity. Condition: Generally very good.  
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  • Gentleman in glasses, sketch by Keith Vaughan

    Gentleman in Black-Tie, sketch by Keith Vaughan

    £995

    Keith Vaughan Gentleman in Black-Tie

    Ballpoint pen sketch 17 x 13 cm Born in 1912, Keith Vaughan was a British painter known for his modernist and semi-abstract depictions of the male figure. He was self-taught as an artist but during his time as a conscientious objector in the Second World War, he befriended the painters Graham Sutherland and John Minton. Through these contacts, he formed part of the neo-romantic circle of the immediate post-war period. Over time, Vaughan's idiosyncratic style evolved away from the group as he focussed on male nudes and groups, often rendered in a geometric yet lyrical manner. Vaughan was openly gay at a time when homosexuality was criminalised in Britain. As a result, his work often reflected themes of isolation and desire, capturing both the physical and emotional aspects of human existence. He continues to be celebrated today and his works are held in several major galleries, inlcuding the National Galleries of Scotland, the National Portrait Gallery, the Tate and the Victoria and Albert Museum. This sketch of a gentleman in black-tie was taken from Vaughan's 'Ischia Cheese & Grill' sketchbook. Together the drawings record Vaughan's experimentalism with landscape, abstraction and notably his commitment to the human form. This sketchbook was sold as part of Peter Adam's estate; Adam was not just a close friend of Vaughan but his executor, biographer and the curator of multiple exhibitions of his work after he died in 1977. This sketch represents the unique opportunity to own a small piece of Keith Vaughan's oeuvre as he continues to grow in popularity.
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  • Forestscape, watercolour by George Bissill.

    Forest Landscape, watercolour by George Bissill

    £250

    George Bissill (1896-1973) Forest Landscape

    Watercolour 9 x 18 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This watercolour forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This petite watercolour depicts a forestscape with a light clearing surrounded by dark trees and fields in the distance. Although the piece has a sketchy quality, produced by his layering of pencil and watercolour, multiple figures and a horse are discernible at the centre of the composition, perhaps passersby wandering through the forest trail. Condition: generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Landscape watercolour by George Bissill.

    Landscape watercolour by George Bissill

    £200

    George Bissill (1896-1973) View through the village

    Watercolour 26 x 31 cm Initialled to bottom right Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This watercolour forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. Condition: generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • View through the village, watercolour by George Bissill

    View Through the Village, watercolour by George Bissill

    £350

    George Bissill (1896-1973) View through the village

    Watercolour 26 x 21 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This watercolour forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. In this watercolour, Bissill paints a view through a village. Houses line a small road leading to a clearing where three horses are frolicking. Bissill combines watercolour and pencil in this multimedia composition, using pencil to detail the minimalistic horses, for example. This painting offers therefore a unique insight into Bissill's working processes as he frantically sketches and paints life around him. Condition: generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Rolling hills in the countryside, watercolour by George Bissill.

    Rolling Hills in the Countryside, watercolour by George Bissill

    £450

    George Bissill (1896-1973) Rolling hills in the countryside

    Watercolour 20 x 28 cm Signed to bottom right Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This watercolour forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. In this watercolour, one colour blends beautifully into the next, as the green rolling hills of the foreground shift into the dark blue fields of the background. What is particularly striking about this painting, however, is Bissill's brushwork. Each individual stroke of the tumultuous sky is distinguishable from the next. This suggests Bissill's high speed of working as he attempts to capture the atmosphere of this countryside scene, perhaps as he works in the manner of the French impressionists. Condition: generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • View over a bridge, watercolour by George Bissill

    View Over a Bridge, watercolour by George Bissill

    £275

    George Bissill (1896-1973) View over the bridge

    Watercolour 18 x 22 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This watercolour forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. In this watercolour, one colour blends beautifully into another, be it in the browns and purples of the foreground, or the greens and yellows of the fields in the background. Bissill demonstrates an expert command over the medium in his shading of the bridge, capturing the light and sun-rays of this summer's day excellently. Condition: generally very good, slight age toning to paper.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Cottage view, watercolour by George Bissill.

    Cottage View, watercolour by George Bissill

    £250

    George Bissill (1896-1973)

    Cottage View

    Watercolour 20 x 28 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This watercolour forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This watercolour depicts a quaint scene: a traditional thatched cottage with a small country road running by. The scene is dominated by greenery with grass, trees and a lovely English garden. In contrast to the the more flowing use of watercolour in the trees, Bissill uses strong lines, shading and careful detailing to create a sense of architectural perspective, allowing his idyllic cottage to stand out from its surroundings. Condition: generally very good, slight spotting to paper.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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  • Exploring the Lake District, Watercolour by George Bissill

    Exploring the Lake District, watercolour by George Bissill

    £900

    George Bissill (1896-1973) Exploring the Lake District

    Watercolour 20 x 28 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This watercolour forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. One of Bissill's most powerful and expertly executed watercolours, this painting depicts a view over the shores of a lake in the Lake District. The sky is overcast, the fells are sparse--painted with muddy tones--, and yet flashes of colour appear on the shoreline as visitors enjoy the offerings of the majestic scenery. The figures seem to be passing their time skimming pebbles, conversing and hiking up the craggy paths of the fells, with their presence lending a lightness to the dramatic scenery. Condition: generally very good.

    If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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