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Louis Osman FRIBA (1914 - 1996)
Proposal for St John's Smith Square (1953)
Watercolour 62 x 37 cm Signed in red crayon lower right. Louis Osman's proposal for the post-war, post-bombing redevelopment of St John's church on Smith Square. Osman had envisioned an interior with a ceiling painted by Picasso; sadly, this project was never executed. The church was bombed in 1941 and gutted by fire; subsequently, the church was a ruin open to the sky for over 20 years. It was saved by Lady Parker of Waddington, who formed the Friends of St John's in 1962 to raise money and restore the church to its former glory - a reconstruction in the style of the church's original architect, Thomas Archer. Osman was as much an artist as an architect. This is likely a portfolio piece from his time studying at the Bartlett School of Architecture, and is as such a piece of architectural history as well as a beautiful Osman design. Osman was awarded a First Class degree and the Donaldson Medal of the RIBA (for the best result in his year group) by the Bartlett, and then went on to the Slade School of Art. He subsequently trained with Sir Albert Richardson - we also have several Richardson works in our collection. After the war, Osman busied himself as an architect. His work included contributions to Westminster Abbey, and Lincoln, Exeter, Ely, and Lichfield Cathedrals, Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his folly: the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire, now a National Trust property. At Canons Ashby he established a workshop and had a team of silversmiths and goldsmiths working for him. In 1976 he made the gold enamelled coffin that holds the copy of the Magna Carta on view in the United States Capitol, Washington, DC. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Lionel Edwards (1878 - 1966)
The Quorn Hunt (1934)
Lithograph 34 x 62 cm Signed, titled and dated in plate lower right. Signed in pencil outside plate lower left. A Lionel Edwards lithograph depicting the Quorn - part of the artist's 'Hunting Countries' series. The Quorn Hunt has a claim to be the oldest hunt in the country, being founded in 1696 by Mr Thomas Boothby of Tooley Park, Leicestershire. The hunt takes its name from the village of Quorn, where the hounds were kennelled from 1753 to 1904. Lionel Edwards was a British artist who specialised in pictures of country life, particularly horses, and provided illustrations for Country Life. He is best known for his hunting scenes but also painted pictures of horse racing, shooting and fishing. Condition: print generally good; a couple of very small brown spots. Original 3/4" black frame in generally good condition. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other hunting pictures. -
Lionel Edwards (1878 - 1966)
The Hertfordshire Hunt (1927)
Lithograph 36 x 50 cm Signed and dated in plate lower left. A Lionel Edwards lithograph depicting the Hertfordshire - part of the artist's 'Hunting Countries' series. The Hertfordshire Hunt was founded circa 1775 by the Countess of Salisbury, of Hatfield House. Lionel Edwards was a British artist who specialised in pictures of country life, particularly horses, and provided illustrations for Country Life. He is best known for his hunting scenes but also painted pictures of horse racing, shooting and fishing. Condition: print generally good; a couple of tiny scuffs to surface. Modern frame. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other hunting pictures. -
Lionel Edwards (1878 - 1966)
The South Notts Hunt (1928)
Lithograph 31 x 51 cm Signed and dated in plate lower left, and in pencil outside plate lower left. Note to reverse (1988) identifies those illustrated. A Lionel Edwards lithograph depicting the South Notts Hunt - part of the artist's 'Hunting Countries' series. The South Notts country lies in Nottinghamshire and Derbyshire and has been hunted as far back as 1677 by the Earl of Lincoln. In 1775 it was hunted by John Musters, the great-grandfather of John Chaworth-Musters, and in 1860 Mr. John Chaworth-Musters re-established the hunt. Lionel Edwards was a British artist who specialised in pictures of country life, particularly horses, and provided illustrations for Country Life. He is best known for his hunting scenes but also painted pictures of horse racing, shooting and fishing. Condition: print good; original handsome period frame. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other hunting pictures. -
Lionel Edwards (1878 - 1966)
The Belvoir Hunt (1928)
Lithograph 31 x 51 cm Signed and dated in plate lower left, and in pencil outside plate lower left. A Lionel Edwards lithograph depicting the Belvoir - part of the artist's 'Hunting Countries' series. The Belvoir Hunt, sometimes known as the Duke of Rutland's Hounds, dates from 1750 and became a foxhound pack in 1762. Since then, the kennels have been located at Belvoir Castle. Lionel Edwards was a British artist who specialised in pictures of country life, particularly horses, and provided illustrations for Country Life. He is best known for his hunting scenes but also painted pictures of horse racing, shooting and fishing. Condition: print good; original handsome period frame; small area of loss to top of frame. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other hunting pictures. -
Lionel Edwards (1878 - 1966)
The Old Surrey and Burstow Fox Hounds - at Burstow (1926)
Lithograph 36 x 51 cm Signed and dated in plate lower right. In original 3/4" black frame. A Lionel Edwards lithograph depicting the Old Surrey and Burstow - part of the artist's 'Hunting Countries' series. The Old Surrey and Burstow (now the Old Surrey, Burstow and West Kent Hunt) has been hunting from Felbridge since 1909. The Burstow dates as a foxhound pack from 1866, having previously existed as a harrier pack. Lionel Edwards was a British artist who specialised in pictures of country life, particularly horses, and provided illustrations for Country Life. He is best known for his hunting scenes but also painted pictures of horse racing, shooting and fishing. Condition: print generally good; the odd tiny spot in top right corner. In original 3/4" black frame; some scratches to frame. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other hunting pictures. -
Lionel Edwards (1878 - 1966)
Foxhounds [unidentified pack] (1962)
Lithograph 31 x 43 cm Signed and dated in plate lower right. A Lionel Edwards lithograph - part of the artist's 'Hunting Countries' series. If you know which pack is depicted here, please let us know! Lionel Edwards was a British artist who specialised in pictures of country life, particularly horses, and provided illustrations for Country Life. He is best known for his hunting scenes but also painted pictures of horse racing, shooting and fishing. Condition: print generally good; some time staining to periphery. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other hunting pictures. -
Charles "Snaffles" Johnson Payne (1884 - 1967)
"Oh! To Be In England Now That April's There"
Lithograph 51 x 67 cm Signed in pencil lower left. Snaffles was one of the foremost sporting artists of his era, publishing many popular prints such as these: hunting pictures, racing scenes, and military subjects. Snaffles' distinctive drawing style is emphasised by his 'remarque' - sketches in the margin - and his witty titles. Condition: generally very good; crease to top left corner; slight unevenness to bottom edge; a few scratches to frame. -
Fahye Design Consultants for Cunard
Queen Elizabeth 2 - Staircase G
Gouache and lettraset 59 x 83 cm A fabulously mid-century design for a staircase in the QE2, a luxury ocean liner operated by Cunard from 1969 to 2008. Glamorous passengers in black tie mingle on the staircase landing before dinner. Fahye's gouache designs illustrate the mid-century modern aesthetic of the golden age of ocean travel. The Queen Elizabeth 2 was designed in Cunard's offices in Liverpool and Southampton and built in Clydebank, Scotland. She was retired in 2018 and is now a floating hotel in Dubai. Condition: very good; mounted to foamboard. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Fahye Design Consultants for Cunard
Queen Elizabeth 2 - Midships Lobby
Gouache and lettraset 59 x 83 cm A fabulously mid-century design for a lobby in the QE2, a luxury ocean liner operated by Cunard from 1969 to 2008. Glamorous passengers in black tie mingle in the lobby before dinner. A sunken conversation pit marks the mid-century interior style of the ship. The Queen Elizabeth 2 was designed in Cunard's offices in Liverpool and Southampton and built in Clydebank, Scotland. She was retired in 2018 and is now a floating hotel in Dubai. Condition: very good; mounted to foamboard. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
V Robinson
The Lent Bumps 1931 - 1940
Pen, ink and watercolour 60 x 48 cm A hand-painted chart illustrating the results of the Lent Bumps from 1931 to 1939, with a note that in 1940 there were 'No Lent Races due to War'. The Lent Bumps, also known as "Lents" or the Lent Races are a set of University of Cambridge rowing races held each year on the River Cam. The races are open to all college boat clubs from the University of Cambridge, the University Medical and Veterinary Schools and Anglia Ruskin Boat Club. The Lent Bumps take place over five days (Tuesday to Saturday) at the end of February / start of March and are run as bumps races (of rowing race in which a number of boats chase each other in single file, each crew attempting to catch and 'bump' the boat in front without being caught by the boat behind). The men's races officially began in 1887 and the women's in 1976. Condition: generally good; some age toning to board and a little staining to the margins that will be hidden by a mount. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other Cambridge pictures. -
Donald Ayres (b. 1936)
The Clifton Foot Beagles on Butcombe Hill
Lithograph 24 x 44 cm Signed and numbered 423/500. A lithograph of the Clifton Foot Beagles, now the Chilmark and Clifton Foot Beagles. Donald Ayres is a landscape painter specialising in country sports such as hunting, shooting, and fishing. His work has been exhibited in most of the major commercial galleries in Britain, as well as many in Europe and America. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other hunting pictures. -
David Loggan (1634 - 1692)
The Divinity School, Oxford (1675)
Engraving 33 x 41 cm David Loggan's view of Oxford's medieval Divinity School, which was once the beating heart of theological studies at the University. Of particular interest here is the trompe l'oeil scroll of torn paper which frames the view. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells (born 1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: trimmed within platemark and mounted to board, otherwise in very good condition. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other general views of Oxford. -
Clifford and Rosemary Ellis
London Underground Map (1935)
Original vintage poster 103 x 64 cm Signed in the plate 'Clifford & Rosemary Ellis '35". Printed by Waterlow & Sons Ltd for London Transport. Provenance: the artists' studio. This marvellous original vintage poster was designed for London Transport and encourages shoppers to use the Tube to do their Christmas shopping. The map of London's streets of shops, including High Street Kensington, Westbourne Grove, and the Brompton Road, are set on the background of Christmas wishlists and shopping lists. The cross-section of a Christmas stocking at the top of the poster includes a doll and a toy train amongst other stocking fillers. London Transport was the forerunner of London Underground. During the 1930s London Transport commissioned over forty posters a year from well-known artists such as Laura Knight, CRW Nevinson, Edward Wadsworth, Eric Ravilious, Paul Nash, Graham Sutherland, and Edward McKnight Kauffer – a bold policy that did much to popularise avant-garde artistic styles that stemmed from Cubism, Futurism and Abstraction. Condition: very good; backed to linen. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage London Transport posters. -
Clifford and Rosemary Ellis
London Underground Map (1935)
Original vintage poster 103 x 64 cm Signed in the plate 'Clifford & Rosemary Ellis '35". Printed by Waterlow & Sons Ltd for London Transport. Provenance: the artists' studio. This marvellous original vintage poster was designed for London Transport and encourages shoppers to use the Tube to do their Christmas shopping. The map of London's streets of shops, including Oxford Street, Regent Street, and Bond Street, are set on the background of a Christmas shopping list and various items to be purchased. The cross-section of a Christmas cracker at the top of the poster includes the joke: 'Why is a railway timetable like life?' - 'Because it is full of ups and downs. London Transport was the forerunner of London Underground. During the 1930s London Transport commissioned over forty posters a year from well-known artists such as Laura Knight, CRW Nevinson, Edward Wadsworth, Eric Ravilious, Paul Nash, Graham Sutherland, and Edward McKnight Kauffer – a bold policy that did much to popularise avant-garde artistic styles that stemmed from Cubism, Futurism and Abstraction. Condition: very good; backed to linen. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage London Transport posters. -
David Loggan (1634 - 1692)
Jesus College, Cambridge (1690)
Engraving 36 x 52 cm Loggan's skilful view of Jesus College from the 'Cantabrigia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: extant portions very good; partly trimmed to within platemark; lacking portions of letters in lower left; also missing 1cm-width section down middle, historically replaced in pen and ink. Backed to laid paper. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Jesus College, Cambridge. -
Ronald T Horley (active 1930s - 1940s)
The Gateway to Cornwall
Charcoal heightened with white 76 x 53 cm Signed and inscribed lower right 'Architect's Office, 83 Marlborough Place NW8 Marylebone'. The Great Western Railway commissioned a series of posters promoting train travel around the UK. This charcoal drawing of the Royal Albert Bridge at Saltash is the artist's original design for a poster encouraging rail travel to Devon and Cornwall. The bridge is known fondly as the 'Gateway to Cornwall'. The Royal Albert Bridge was designed by Isambard Kingdom Brunel. Surveying started in 1848 and construction commenced in 1854. The first main span was positioned in 1857 and the completed bridge was opened by Prince Albert on 2 May 1859. Condition: generally very good; a few isolated spots to bottom left corner. Click here for other original vintage travel posters and designs. -
William Williams (Welsh, active 1724 - 1733)
The First Map of Oxford (1733)
Engraving 47 x 54 cm In 1578, Ralph Agas drew the first ever map of Oxford, studded with the first colleges of the University. In 1733 it was engraved by William Williams for publication in the Oxonia Depicta, a book of illustrations depicting similar views as David Loggan's volume of engravings. Ralph Agas was an English surveyor and cartographer. He was born in Suffolk and lived there throughout his life, although he travelled regularly to London. He began to practise as a surveyor in about 1566, and has been described as "one of the leaders of the emerging body of skilled land surveyors". regular work consisted of drawing up local estate maps and surveys for a variety of clients. He was one of the first estate surveyors to move beyond the traditional practice of compiling purely written descriptions of landed property, and to supplementing them with measured maps. Condition: generally very good; a few marks to margins. Central fold as issued. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other general views of Oxford. -
Margaret Souttar (1914 - 1987)
Selwyn College, Cambridge
Lithograph 77 x 56 cm Signed in pencil lower right. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. Selwyn College was one of the first Cambridge colleges to admit women as students - it did not do so until 1976. Provenance: the artist's studio sale. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Selwyn College, Cambridge. -
Margaret Souttar (1914 - 1987)
Selwyn College, Cambridge
Lithograph 77 x 56 cm Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. Selwyn College was one of the first Cambridge colleges to admit women as students - it did not do so until 1976. Provenance: the artist's studio sale. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Selwyn College, Cambridge. -
Margaret Souttar (1914 - 1987)
Selwyn College, Cambridge III
Acrylic 51 x 70 cm (image); sheet 67 x 98 cm Inscribed left Selwyn Cambridge '61, with annotations by the artist concerning colour. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good; some crinkling as a result of using water-based paints on thin paper. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Selwyn College, Cambridge. -
Margaret Souttar (1914 - 1987)
Selwyn College, Cambridge II
Acrylic 71 x 52 cm Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good; some crinkling as a result of using water-based paints on thin paper; a little creasing to edges. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Selwyn College, Cambridge. -
Margaret Souttar (1914 - 1987)
Selwyn College, Cambridge I
Acrylic 70 x 51 cm Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good; some crinkling as a result of using water-based paints on thin paper; a little creasing to edges. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Selwyn College, Cambridge. -
Margaret Souttar (1914 - 1987)
Queens' College, Cambridge II
Acrylic paint 55 x 75 cm Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good; some crinkling as a result of using water-based paints on thin paper; slight toning to paper in some areas. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Queens' College, Cambridge. -
Margaret Souttar (1914 - 1987)
Queens' College, Cambridge I
Acrylic paint 67 x 74 cm Signed below. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good, on thin paper; some crinkling to paper as a result of being painted. Possible slight discolouration around pediment. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Queens' College, Cambridge. -
Margaret Souttar (1914 - 1987)
Queens' College, Cambridge
Lithograph 72 x 56 cm Numbered 169/178 lower left, and signed lower right, in pencil. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Queens' College, Cambridge. -
Margaret Souttar (1914 - 1987)
Queens' College, Cambridge
Lithograph 72 x 56 cm Proof print aside from the numbered edition of 178. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Queens' College, Cambridge. -
Margaret Souttar (1914 - 1987)
Magdalene College, Cambridge V
Acrylic paint 75 x 55 cm Signed lower left; titled in margin upper left. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good; some crinkling as a result of using water-based paints on thin paper; slight toning to paper in some areas. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Magdalene College, Cambridge. -
Margaret Souttar (1914 - 1987)
Magdalene College, Cambridge IV
Acrylic paint 70 x 100 cm Signed lower left; titled in margin upper left. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good; some crinkling as a result of using water-based paints on thin paper; a little creasing to edges. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Magdalene College, Cambridge. -
Margaret Souttar (1914 - 1987)
Magdalene College, Cambridge III
Acrylic paint 75 x 55 cm Signed lower left; titled in margin upper left. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good; some crinkling as a result of using water-based paints on thin paper. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Magdalene College, Cambridge. -
Margaret Souttar (1914 - 1987)
Magdalene College, Cambridge II
Acrylic paint 54 x 72 cm Signed lower right. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good; painted on thin paper which has crinkled as a part of the artist's working technique. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Magdalene College, Cambridge. -
Margaret Souttar (1914 - 1987)
Magdalene College, Cambridge I
Acrylic paint 49 x 66 cm Signed lower left; titled in margin upper left. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Magdalene College, Cambridge. -
Margaret Souttar (1914 - 1987)
Trinity Hall, Cambridge V
Acrylic paint 56 x 72 cm Signed lower right. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. Trinity Hall was one of the first Cambridge colleges to admit women as students – it did not do so until 1976. Provenance: the artist's studio sale. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity Hall. -
Out of stock
Margaret Souttar (1914 - 1987)
Trinity Hall, Cambridge IV
Acrylic paint 62 x 92 cm Signed lower right. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. Trinity Hall was one of the first Cambridge colleges to admit women as students – it did not do so until 1976. Provenance: the artist's studio sale. Condition: generally very good; on thin paper - some crinkling to paper as a result of being painted. Further sketch to reverse. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity Hall. -
Margaret Souttar (1914 - 1987)
Trinity Hall, Cambridge II
Acrylic paint 56 x 65 cm cm Souttar was a Scottish painter and printmaker known for her town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. Trinity Hall was one of the first Cambridge colleges to admit women as students – it did not do so until 1976.6. Provenance: the artist's studio sale. Condition: generally very good, some crinkling as a result of using water-based paints on thin paper. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity Hall. -
Out of stock
Margaret Souttar (1914 - 1987)
Trinity Hall, Cambridge with Blue Sky
Lithograph 76 x 56 cm Numbered 3/50, and signed lower right, in pencil. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. Trinity Hall was one of the first Cambridge colleges to admit women as students - it did not do so until 1976. Provenance: the artist's studio sale. Condition: generally very good, the odd very short tear and handling mark affecting outer few millimetres of margin. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity Hall. -
Margaret Souttar (1914 - 1987)
Emmanuel College, Cambridge Lion Rampant (1960)
Acrylic paint 74 x 50 cm Signed and dated lower right. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good; some crinkling as a result of using water-based paints on thin paper. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Emmanuel College, Cambridge. -
Margaret Souttar (1914 - 1987)
Emmanuel College, Cambridge with Lion Rampant (1960)
Acrylic paint 102 x 69 cm Signed and dated lower right. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Emmanuel College, Cambridge. -
Margaret Souttar (1914 - 1987)
Emmanuel College, Cambridge (1960)
Acrylic paint 102 x 69 cm Signed and dated lower right. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Emmanuel College, Cambridge. -
Lionel Edwards (1878 - 1966)
The Berkeley Hunt - Near Rockhampton (1925)
Lithograph 34 x 51 cm Signed in plate lower right. In original 3/4" black frame. A Lionel Edwards lithograph depicting the Berkeley - part of the artist's 1925 'Hunting Countries' series. The yellow coats with green collars and the running fox on the lapel are worn by the Masters and Hunt Staff and are unique in hunting circles, representing the outdoor livery of the Berkeley family; the ladies' colours of navy and maroon represent the indoor livery. The Berkeley is the oldest pack in the country and is one of the very few that are still family owned. The Fifth Earl of Berkeley could hunt his hounds from Berkeley Castle to Berkeley Square in London and had six kennels along the route. The season would start in Berkeley and progress to each of his kennels to London and then in stages back again to Gloucestershire. The present kennels date from the early 18th century and are home to around 90 hounds. Lionel Edwards was a British artist who specialised in pictures of country life, particularly horses, and provided illustrations for Country Life. He is best known for his hunting scenes but also painted pictures of horse racing, shooting and fishing. Condition: print generally good; the odd tiny spot in top left area. In original 3/4" black frame - some scratches to frame. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other hunting pictures. -
David Loggan (1634 - 1692)
Pembroke College, Oxford (1705)
Engraving 31 x 44 cm Loggan's view of Pembroke from the second edition of the 'Oxonia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells (born 1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: good. Backed to Japanese Paper. Evidence of some historic separation to central fold. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Pembroke College, Oxford. -
Dennis Flanders (1915 - 1994)
Wadham College, Oxford, Garden Front
Lithograph 30 x 48 cm Numbered 117/500 lower left and signed lower right, both in pencil. Signed lower left and titled lower right in the plate. A tranquil view of Wadham, verdant of grass and leafy of tree. Two undergraduates in jeans and t-shirts chat, laden down with books. Dennis Flanders RBA RWS was a British artist and draughtsman who specialised in pen and ink drawings, often of English landscapes and buildings. He is notable for his meticulous depictions of the impact of aerial bombing upon historic buildings during World War Two. After attending the Merchant Taylors' School, Flanders studied at the Regent Street Polytechnic, St. Martin's School of Art, and at the Central School of Arts and Crafts. Flanders worked at the School of Military Engineering during World War Two and made models of buildings and landscapes based on aerial reconnaissance photographs. He applied for a commission with the War Artists' Advisory Committee and, although he was unsuccessful, the Committee did agree to purchase several drawings from him. These were mostly detailed depictions of bomb-damaged buildings and churches which included views of St Paul's Cathedral and Canterbury Cathedral. After the war, Flanders became a regular exhibitor at the Royal Academy and held his first solo exhibition at Colnaghi in 1947. He illustrated several books and published two volumes of prints from his own drawings of British architecture and landscapes, which had been the dominant theme of his artistic career. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Wadham College, Oxford. -
James Basire II (1769 - 1822) after Edward Dayes (1763 - 1804)
Magdalen Tower and Bridge etc. (1797)
Engraving 35 x 44 cm An engraving illustrating the pinnacles of Magdalen Tower and the Bridge below. James Basire II was a British engraver, son of James Basire I, also a celebrated engraver. In 1802 he became Engraver to the Society of Antiquaries. Edward Dayes was an English watercolour painter and mezzotint engraver. He first exhibited at the Royal Academy in 1786, when he showed a portrait and views of Waltham Cross and Canterbury. In the three following years he exhibited both miniatures and landscapes. He continued to exhibit at the Academy regularly until the year of his death, contributing a total of 64 works. He also exhibited at the Society of Artists, and worked as draughtsman to the Duke of York and Albany. Condition: generally good; some age toning within margins. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Magdalen College, Oxford. -
John Dadley (1767 - 1817) after Edward Dayes (1763 - 1804)
Front View of Christ Church (1796)
Engraving 33 x 45 cm An engraving illustrating the magnificent facade of Christ Church from St Aldate's, dominated by Tom Tower. John Dadley was a British portraitist and engraver. Edward Dayes was an English watercolour painter and mezzotint engraver. He first exhibited at the Royal Academy in 1786, when he showed a portrait and views of Waltham Cross and Canterbury. In the three following years he exhibited both miniatures and landscapes. He continued to exhibit at the Academy regularly until the year of his death, contributing a total of 64 works. He also exhibited at the Society of Artists, and worked as draughtsman to the Duke of York and Albany. Condition: generally very good; some age toning to margins. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Christ Church. -
David Roberts (1769 - 1864)
Citadel of Sidon - April 28th, 1839 (published 1943)
Lithograph with hand-colouring 23 x 35 cm (sheet size 17.5 x 24.5 cm) The Citadel of Sidon, or Sidon Sea Castle, was built by crusaders in the thirteenth century as a fortress of the holy land. This lithograph is part of David Roberts' series of views of the Holy Land, which he produced from sketches made during lengthy tours of the Near East in the 1830s. Egypt was much in vogue at this time, and travellers, collectors and lovers of antiquities were keen to buy works inspired by the East or depicting the great monuments of ancient Egypt; Roberts was more than happy to produce pictures on this lucrative theme. Queen Victoria was one of his 400 subscribers, and her set of lithographs is still held by the Royal Collection Trust. The lithographer Louis Haghe worked with Roberts to turn the original sketches into high-quality lithographs, which were then published in the 1840s by the printer F. G. Moon in London. David Roberts RA RBA was a Scottish painter known for his Orientalist pictures. He was elected as a Royal Academician in 1841. -
Jane Gray (b.1931)
Stained Glass Window Design, St Mary’s Church, Twickenham (1960)
Watercolour41 x 37 cm
Signed and dated l.r.This stained glass window design is one of a handful Gray designed for her local church, St Mary’s Twickenham. St Mary’s Church stands on the site of an earlier church in Twickenham, a short distance from York House and the banks of the River Thames, and incorporates a 15th-century, medieval tower. St Mary's has an impressive and illustrious history of notable parishioners including the painter Godfrey Kneller who, after the collapse of the ancient church's 14th-century nave in 1714, took active involvement in redesigning the church in the Neo-classical style alongside local architect John James, as well as Henry Fielding and Alfred Lord Tennyson whose sons were both baptised here. Gray had a personal connection to St Mary’s, her great grandfather having been the vicar some years before. This design, in particular, commemorates the benedictine monastery at the mouth of the Somme River: the Abbey of Saint Valery-sur-Somme. The imagery focusses on the repeated motif of the heraldic and highly symbolic fleur-de-lis, set against a sky blue background, the central shield containing the head of an ornate, gilt shepherd’s crook; a religious symbol of care, particularly in difficult circumstances.
Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
Jane Gray (b.1931)
Sir Godfrey Kneller Stained Glass Window Design, St Mary’s Church, Twickenham (1961)
Watercolour42 x 48.5 cm
Signed and dated l.r.This stained glass window design is one of a handful Gray designed for her local church, St Mary’s Twickenham. St Mary’s Church stands on the site of an earlier church in Twickenham, a short distance from York House and the banks of the River Thames, and incorporates a 15th-century, medieval tower. St Mary's has an impressive and illustrious history of notable parishioners including the painter Godfrey Kneller who, after the collapse of the ancient church's 14th-century nave in 1714, took active involvement in redesigning the church in the Neo-classical style alongside local architect John James, as well as Henry Fielding and Alfred Lord Tennyson whose sons were both baptised here. Gray had a personal connection to St Mary’s, her great grandfather having been the vicar some years before. This design, in particular, commemorates Godfrey Kneller and his active involvement in the church and its redesign in the eighteenth century.
Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
Jane Gray (b.1931)
Winchester College: Patrons of Twickenham Stained Glass Window Design, St Mary’s Church, Twickenham (1960)
Watercolour41.5 x 37.5 cm
Signed and dated l.r.This stained glass window design is one of a handful Gray designed for her local church, St Mary’s Twickenham. St Mary’s Church stands on the site of an earlier church in Twickenham, a short distance from York House and the banks of the River Thames, and incorporates a 15th-century, medieval tower. St Mary's has an impressive and illustrious history of notable parishioners including the painter Godfrey Kneller who, after the collapse of the ancient church's 14th-century nave in 1714, took active involvement in redesigning the church in the Neo-classical style alongside local architect John James, as well as Henry Fielding and Alfred Lord Tennyson whose sons were both baptised here. Gray had a personal connection to St Mary’s, her great grandfather having been the vicar some years before. This design, in particular, focusses on the religious involvement of Winchester College, represented here by the right hand side of the shield which bears the key components of the school’s coat of arms; three red roses and two right-angled bars.
Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
Jane Gray (b.1931)
Fishermen at Work (1950)
Watercolour and ink38.5 x 54.5Â cm
Signed and dated l.l. 'Ross'This early ink and watercolour painting of fishermen hauling in a fresh catch, demonstrates Gray’s artistic versatility and highlights her bright, colourful, modern style—even when depicting a scene that is notably grey and wet. Verso, the work also holds a handful of figurative sketches of female and animal forms, and is signed and dated 1948.
Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
Jane Gray (b.1931)
Design for Large Stained Glass Window in a Church
Watercolour and pencil33.5 x 20.5Â cm
This design for a stained glass window draws together Gray’s modern yet traditional approach to designing church windows. The design features a central, inwardly repeating star shape with bright flame-like shapes curling upwards from its corners. This central motif sits against a blue sky background with smaller stars scattered in the smaller glass panes at the top of the design.
Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
Jane Gray (b.1931)
St Martin in the Fields
Ink and watercolour18 x 19.5Â cm
Detailed in the artist's handThis early architectural sketch, depicts, as Gray notes below the drawing, St Martin in the Fields, London, in blue and grey tones, and shows Gray to be an observant and sensitive draughtsman. St Martin-in-the-Fields is a Church of England parish church at the north-east corner of Trafalgar Square in the City of Westminster and is dedicated to Saint Martin of Tours.
Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
Jane Gray (b.1931)
Baptism Stained Glass Window Designs
Acrylic crackle6 x 13.5Â cm
This design for a pair of stained glass windows depicts two baptisms: the baptism of Christ by John on the banks of the Jordan river and, in turn, Christ baptising a child, although, this time, the baptism involves a font. Both images, however, share an identically placed dove, above their respective baptism scenes.
Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
Jane Gray (b.1931)
Port Scene Design for Stained Glass Roundel (1962)
WatercolourD. 25.5Â cm
One of Gray’s most interesting stained glass designs, this roundel depicts a colourful port scene, with a brightly attired middle class merchant standing on the dockside in front of an impressive carrack. Whilst a traditional scene, the design has Gray’s uniquely modern twist.
Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
Jane Gray (b.1931)
Stained Glass Window Design for a Church
Watercolour15.5 x 6Â cm
This design for a stained glass window draws together Gray’s modern yet traditional approach to designing church windows. The design features an oval external view of the church buildings beneath a pair of bright blue peacocks, two colourfully burning flames and a large red cross.
Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
Jane Gray (b.1931)
White Dog
Gouache15.5 x 11.5 cm
This gorgeous little painting of a white dog highlights Gray’s distinctive outlook at the world; the image is at once highly traditional—as if something out of a medieval bestiary—yet also decidedly modern, bold and colourful with a striking, geometric border.
Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
Jane Gray (b.1931)
'Work and Wait' Stained Glass Window Design
Watercolour37.5 x 20.5 cm
This highly graphic, modern stained glass design depicts a communist-style fist clasping a laurel wreath above a rope and scroll reading the motto: ‘Work and Wait’. Most likely a private commission, this design perfectly marries Gray’s traditional and modern approaches to her work.
Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
S Clapham (active 1940 - 1960)
Lettering Design
Watercolour 53 x 75 cm Examiner's mark 'M-' (likely 'lower merit') lower right within border. Signed lower right without border in pencil. A trainee architect's lettering design. It was crucial that an architectural draughtsman be skilled in depicting lettering which might appear on a building commission, and here is one of Clapham's stylish efforts, marked by an examiner. Condition: generally good, a few repaired very short edge tears not into image, with examiner's mark to bottom right. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
S Clapham (active 1940 - 1960)
A Heraldic Primer
Gouache and pencil 53 x 67 cm A delightful, brightly-coloured study of the various elements of heraldic shields. Condition: good; a few short and neatly-repaired marginal tears. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
S Clapham (active 1940 - 1960)
Greek Roman Detail
Pencil 51 x 72 cm A mid-century design for a column in the neoclassical style. Clapham was an architect based in Stockwell in London. Condition: very good; mounted to board. Slight even age toning to paper. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
S Clapham (active 1940 - 1960)
Design for Modernist Seaside House
Watercolour 27 x 40 cm Signed lower left and inscribed to reverse. Clapham's designs for a modernist war memorial to be erected in a training area at an army base. Clapham was an architect based in Stockwell in London. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
S Clapham (active 1940 - 1960)
Proposed Memorial for the Battle Training Area
Pencil wash 49 x 70 cm Signed lower left and inscribed to reverse. Clapham's designs for a modernist war memorial to be erected in a training area at an army base. Clapham was an architect based in Stockwell in London. Condition: generally very good; one small mark to far right towards bottom. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
Jane Gray (b.1931)
Applique Stained Glass Window Design
Watercolour18 x 16 cm
Studio label versoIn this stained glass design, Gray uses the appliqué method to construct a highly colourful, abstract, swirling image, typical of many of her more modern works. Gray uses the same technique as in other works of hers where a sense of the transcendental is married with modern abstraction, the viewer’s gaze hypnotically pulled in to the central red dot.
Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
Jane Gray (b.1931)
Gilmour Coat of Arms, Stained Glass Window Design
Watercolour38.5 x 32.5 cm
Signed versoThe Gilmours are part of clan Morrison of the Isle of Lewis, and the first documented bearer of this surname was Richard Gilemore, who was recorded in the Feet of Fines of Huntindonshire in 1228 AD. The family mottoes include, as Gray uses here, Perseveranti dabitur, meaning ‘It will be given to the persevering’.
Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
Jane Gray (b.1931)
Place Maubert, Paris (1951)
Ink on paper24.5 x 15.5 cm
Dated.This adolescent urban sketch of Paris depicts, as Gray notes next to her signature, Place Maubert, and shows Gray to be an observant and sensitive draughtsman. Lying in the 5th Arrondissement of Paris, the Place Maubert has a rich history, once used for debates and academics, and a famed site for religious pilgrimages, today it plays host to a popular open air market.
Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
Jane Gray (b.1931)
The Scarlet Pimpernel’s Home, Richmond Hill (1949)
Ink and pencil on paper 25.5 x 20 cm Dated.This adolescent urban sketch of Richmond Hill depicts, as Gray notes next to her signature, Richmond House, the home of Baroness Orczy’s eponymous hero, Sir Percy (the Scarlet Pimpernel), and shows Gray to be an observant and sensitive draughtsman. In Orczy’s novel, Sir Percy rechristens Richmond House as Blakeney Manor and it quickly rises to the centre of fashionable society.
Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
Jane Gray (b.1931)
Mosaic Design
Watercolour 11 x 12.5 cmThis highly modern, colourful and geometric stained mosaic design demonstrates Gray’s wide artistic range and love of employing colour and linear shapes in her work. The central image appears to depict a hamlet-like cluster of abstract houses surrounded by squares of field-like green.Â
Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
Jane Gray (b.1931)
Stained Glass Window Design
Watercolour 3 x 22.5 cmThis design for a two part stained glass window has an almost transcendental quality, the central spiralling structure hypnotically drawing the viewer’s gaze inwards. The design perfectly marries Gray’s spiritual and more abstract, secular works across her career.
Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
Out of stock
Jane Gray (b.1931)
Geometric Stained Glass Window Designs
Watercolour 18 x 4.5 cmThis triptych of highly modern, colourful and geometric stained glass designs demonstrates Gray’s wide artistic range and love of colour and shapes. The three unique panels are united in their colourful palette and geometric focus but present strong stand alone designs.
Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
Jane Gray (b.1931)
Stained Glass Window Design for Harold Pinter and Antonia Fraser (1980)
Watercolour and pencil 30.5 x 16 cmSigned lower right corner. Dated on backboard.
Harold Pinter and Antonia Fraser married in London in November 1980, five years after they first met, and only a few months after Gray commenced designing this impressive stained glass window for their house at 52 Campden Hill Square in London. Her notes surrounding the design give insights into her process and the themes and imagery she wished the design to contain such as: Harold and Antonia’s initials, cricket, hollyhocks, butterflies, medallions of test matches.
Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
Jane Gray (b.1931)
The Artist's Studio (1947)
Watercolour 38 x 27.5 cmSigned (Jane Ross) and dated top right corner. Prize labels verso.
This rare, early watercolour interior of an artist’s studio by Gray, then Ross, was submitted to the Royal Drawing Society’s Exhibition Competition when Gray was only sixteen years old. Demonstrating fine draughtsmanship and a keen understanding of space, light and form, it is no surprise that the picture received a First Class Commendation.
Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
Jane Gray (b.1931)
Arms of University of Cambridge Design for Stained Glass Window
Watercolour 23 x 21 cm Detailed in artist's handThe University of Cambridge is one of the world’s oldest universities, with groups of scholars first congregating at the ancient Roman trading post of Cambridge for the purpose of study in 1209, the first college (Peterhouse) being founded in 1284. The university was granted its arms some years later in 1573 by Robert Cooke, Clarenceux King of Arms and a graduate of St. John's College. The granted arms are described in heraldic terminology, or blazon, as follows: Gules on a Cross Ermine between four Lions passant guardant Or a Bible fesswise Gules clasped and garnished Or the clasps in base.
Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
W. A. Scott
The Titanic Sinking
23 x 37Â cm
Bodycolour and ink on paperW. A. Scott was a marine artist known for his highly accurate line and body colour drawings.
It is likely that Scott was an admirer of Laurence Dunn as his work bears much resemblance to Dunn's highly regarded marine drawings.Â
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W. A. Scott
S. S. Automedon (1956)
26 x 33.5 cm
Bodycolour and ink on paper Signed l.r.SS Automedon was a Blue Funnel Line refrigerated cargo steamship. She was launched in 1921 on the River Tyne as one of a class of 11 ships to replace many of Blue Funnel's losses in the First World War.
A converted German auxiliary cruiser and merchant raider Atlantis captured and scuttled Automedon in 1940 in the Indian Ocean. Her capture is notable because she was carrying top secret documents addressed to the British Far East Command. Their capture may have influenced Japan's decision to enter the Second World War.
Automedon was Achilles' charioteer in Homer’s Iliad. This was the first of three Blue Funnel Line ships to be named after him. The second was a motor ship launched in 1949 and scrapped in 1972. The third was a motor ship launched in 1948 as Cyclops, renamed Automedon in 1975 and scrapped in 1977.
W. A. Scott was a marine artist known for his highly accurate line and body colour drawings. It is likely that he was an admirer of Laurence Dunn as his work bears much resemblance to Dunn's highly regarded marine drawings.Â
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Laurence Dunn (1910-2006)
WELDER, Merchant Ship
25.5 x 56Â cm
Ink on paper Signed l.r.Laurence Dunn (1910-2006) 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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Laurence Dunn (1910-2006)
Coastal Tramp
36 x 50.5 cm
Ink on paper Signed versoLaurence Dunn (1910-2006) 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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Laurence Dunn (1910-2006)
Hampton Ferry
19.5 x 31.5 cm
Bodycolour and ink on paper Signed l.l.Laurence Dunn (1910-2006) 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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Laurence Dunn (1910-2006)
Coastal Ship
19.5 x 31.5 cm
Pencil on paperLaurence Dunn (1910-2006) 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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Laurence Dunn (1910-2006)
Coastal Tramp
25 x 38.5 cm Pencil on paperLaurence Dunn (1910-2006) 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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Laurence Dunn (1910-2006)
Fashions in Oars and Sculls
6 x 25 cm Ink on paperThis series of eight neat, ink illustrations depicts, as the title suggests, the various fashions of oars and sculls. These fashions include the Solid, Single Girder, Double Girder, Box Loom, Plain Tubular, Square Tubular, Double Lined Tubular and Ordinary Tubular Scull designs.
Laurence Dunn (1910-2006) 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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Laurence Dunn (1910-2006)
The Stranded Astoria 4454
11.5 x 31.5 cm Watercolour on paperThis delicately coloured marine watercolour depicts the stranded Astoria, as Dunn notes in detail below the image:  ‘The stranded Danish ship ASTORIA as seen from the bridge of the searching destroyer BERGEN after the former had sent a call for aid. As the ASTORIA proved to be in no immediate danger the destroyer did not venture in among the treacherous fringe of skerries, leaving salvage operations to more suitable naval salvage craft which later reflected the ship. The ASTORIA 4454 was bound for Kristiansand from the Baltic in ballast approaching the harbour entrance during the night fog, washed soon ashore close to the Dynge Light some 15 miles away.’
Laurence Dunn (1910-2006) 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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Laurence Dunn (1910-2006)
A Series of Coastal Tramp Silhouettes
34.5 x 24 cm Bodycolour on paper Dunn’s depictions of coastal tramps are early works, likely captured from the side of the Thames estuary near his home. This work contains extensive notes on the featured ships.Laurence Dunn (1910-2006) 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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S Clapham (active 1940 - 1960)
Puslinch House
Pencil 55 x 77 cm An architectural drawing of Puslinch House, a fine Christopher Wren-style Georgian mansion in Devon. The estate was owned by the Poslylinch, Mohun, and Upton families before being taken over by the Yonge family in 1718, following the marriage of John Yonge and Mary Upton. The Queen Anne House mansion was built on the occasion of their wedding and an earlier mediaeval house still exists in the grounds as a country cottage. During the war, the house was used as a voluntary hospital for wounded officers. Clapham was an architect based in Stockwell in London. Condition: generally good; a little spotting, backed to board by artist and signed to board lower right. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
S Clapham (active 1940 - 1960)
St Paul's Cathedral
Watercolour 51 x 68 cm Signed lower right. This architectural watercolour is a panegyric to the English Baroque grandeur of St Paul's Cathedral. Three small figures climb the steps, emphasising the size and magnificence of the architecture around them. St Paul's was built between 1675 and 1711 by Sir Christopher Wren. The foundation stone was laid in 1675 when Wren was 43 years old, and the building works were completed 35 years later by Wren's son. Its construction was part of a major rebuilding programme in the city after the Great Fire of London. Clapham was an architect based in Stockwell in London. Condition: generally very good; a couple of spots. Mounted to board by artist and signed to board. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
S Clapham (active 1940 - 1960)
Puslinch House
Watercolour 49 x 70 cm A beautifully-coloured watercolour of Puslinch House, a fine Christopher Wren-style Georgian mansion in Devon. The estate was owned by the Poslylinch, Mohun, and Upton families before being taken over by the Yonge family in 1718, following the marriage of John Yonge and Mary Upton. The Queen Anne House mansion was built on the occasion of their wedding and an earlier mediaeval house still exists in the grounds as a country cottage. During the war, the house was used as a voluntary hospital for wounded officers. Clapham was an architect based in Stockwell in London. Condition: generally very good; a little faint spotting to top right corner. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
S Clapham (active 1940 - 1960)
A Pair of Heraldic Designs
Watercolour 49 x 70 cm Signed lower right. Clapham was an architect based in Stockwell in London. Condition: generally very good; short repaired edge tear (barely visible) to left side. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
S Clapham (active 1940 - 1960)
Heraldic Design
Watercolour 51 x43 cm Signed lower right. Clapham was an architect based in Stockwell in London. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
S Clapham (active 1940 - 1960)
A Modernist Church
Pencil 29 x 43 cm A design for an octagonal church in the modernist mid-century style. Clapham was an architect based in Stockwell in London. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
S Clapham (active 1940 - 1960)
Designs for a Stained Glass Window
Watercolour 71 x 56 cm Signed lower right. A beautiful stained glass window design in the medievalist Arts and Crafts style popularised by William Morris in the 1890s. Clapham was an architect based in Stockwell in London. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
S Clapham (active 1940 - 1960)
Designs for an Interlacing Motif (1949)
Watercolour 37 x 52 cm Dated 26-2-1949 and signed. Clapham was an architect based in Stockwell in London. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
"HT"
Raven and Angel
Block print 28 x 41 cm Signed 'HT' upper right in the plate. A monochrome print of an angel holding a bird - usually a symbol of peace or prophecy. The birds here are black, however, rather than the more typical white dove, and the bird held by the weeping angel seems to be injured. Condition: generally very good; vertical crease to centre; even overall slight toning to paper. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Gerald Mac Spink (flourished 1920 - 1940)
Flowers
Pen and ink 15 x 23 cm Signed 'G Spink' lower right. Spink was a skilled artist, illustrator, and designer who produced a series of posters in the inter-war period for companies including the London Underground, Southern Railways, LNER, Hawker Engineering, and British Steel. He won a prize in 1933 from the Imperial Institute for his poster artwork. He also worked as an aeronautical engineer in Kingston-on-Thames for Hawker Engineering; his greatest achievement was the creation of the 'Squanderbug', a 500cc racing car which he built in 1947, and which races even to this day. Provenance: the artist's estate. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
Gerald Mac Spink (flourished 1920 - 1940)
Rodeo
Watercolour 15 x 23 cm Stallion bucking and whip cracking, a cowboy loses his hat. A depiction of the magnificent chapel at Kelham Hall, a sumptuous Gothic Revival Victorian country house designed by George Gilbert Scott. The artist highlights the soaring, cavernous proportions of the chapel and the delicate beauty of its focal point: a raised crucifix which also acts as an altar screen. There have been three halls at Kelham over the centuries, all built by the Manners Sutton family, whose links with Nottinghamshire go back to the 12th century. The first Kelham Hall was built shortly after the end of the Civil War for Robert Sutton, 1st Lord Lexington. It was destroyed by fire in 1728 and rebuilt for Bridget, the Duchess of Rutland, the daughter of the 2nd Lord Lexington. Bridget Sutton had married John Manners, the 3rd Duke of Rutland. Today's Kelham Hall was built by the revered Victorian architect Sir George Gilbert Scott after the second Hall was destroyed by fire in 1857. Between 1903 and 1973 the hall was used an Anglican theological college for the Society of the Sacred Mission, which built the domed chapel in 1928. The Hall is now a sought-after wedding venue. Spink was a skilled artist, illustrator, and designer who produced a series of posters in the inter-war period for companies including the London Underground, Southern Railways, LNER, Hawker Engineering, and British Steel. He won a prize in 1933 from the Imperial Institute for his poster artwork. He also worked as an aeronautical engineer in Kingston-on-Thames for Hawker Engineering; his greatest achievement was the creation of the 'Squanderbug', a 500cc racing car which he built in 1947, and which races even to this day. Provenance: the artist's estate. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
Gerald Mac Spink (flourished 1920 - 1940)
Sailing ship
Pencil 31 x 38 cm A stormy sea and the wind in her sails. Spink was a skilled artist, illustrator, and designer who produced a series of posters in the inter-war period for companies including the London Underground, Southern Railways, LNER, Hawker Engineering, and British Steel. He won a prize in 1933 from the Imperial Institute for his poster artwork. He also worked as an aeronautical engineer in Kingston-on-Thames for Hawker Engineering; his greatest achievement was the creation of the 'Squanderbug', a 500cc racing car which he built in 1947, and which races even to this day. Provenance: the artist's estate. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
Gerald Mac Spink (flourished 1920 - 1940)
Motorcyclist
Pencil on tracing paper 20 x 32 cm Spink was a skilled artist, illustrator, and designer who produced a series of posters in the inter-war period for companies including the London Underground, Southern Railways, LNER, Hawker Engineering, and British Steel. He won a prize in 1933 from the Imperial Institute for his poster artwork. He also worked as an aeronautical engineer in Kingston-on-Thames for Hawker Engineering; his greatest achievement was the creation of the 'Squanderbug', a 500cc racing car which he built in 1947, and which races even to this day. Provenance: the artist's estate. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
Gerald Mac Spink (flourished 1920 - 1940)
Stagecoach
Pencil 32 x 53 cm Signed 'Spink' lower right. Spink was a skilled artist, illustrator, and designer who produced a series of posters in the inter-war period for companies including the London Underground, Southern Railways, LNER, Hawker Engineering, and British Steel. He won a prize in 1933 from the Imperial Institute for his poster artwork. He also worked as an aeronautical engineer in Kingston-on-Thames for Hawker Engineering; his greatest achievement was the creation of the 'Squanderbug', a 500cc racing car which he built in 1947, and which races even to this day. Provenance: the artist's estate. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist.
