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Edward Bawden (1903 - 1989)
Westminster Abbey (1966)
Linocut print 52 x 68 cm (92 x 107 framed) Signed, titled, inscribed 'Artist's Proof' and numbered 42/75 (Bawden inscribed 'Artist's Proof on all of his prints). Bawden's view of Westminster Abbey, cast in shades of blue, grey, and black.Edward Bawden was an English painter, illustrator and graphic artist, known for his prints, book covers, posters, and garden metalwork furniture. Bawden taught at the Royal College of Art, where he had been a student, worked as a commercial artist, and served as a war artist in World War II. He illustrated several books and painted various public murals, and his work and career are often associated with that of his contemporary, Eric Ravilious.Condition: generally very good. Inscription slightly faded. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other work by the artist. -
J Black (early 19th century) after Frederick Mackenzie (1788 - 1854)
Screen Over the Chantry of Henry V, Westminster Abbey (1812)
Hand-coloured aquatint 26 x 31 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the gothic screen of the elaborately carved chantry chapel dedicated to Henry V, and below which lies his tomb, in Westminster Abbey. Mackenzie's drawing was engraved by Black and published by Ackermann in his 1812 "History of Westminster Abbey". The Abbey is an historic, mainly Gothic church in the City of Westminster, London, just to the west of the Palace of Westminster. It is one of the United Kingdom''s most notable religious buildings and since Edward the Confessor, a burial site for English and, later, British monarchs. Since the coronation of William the Conqueror in 1066, all coronations of English and British monarchs have occurred in Westminster Abbey. Sixteen royal weddings have occurred at the abbey since 1100. According to a tradition first reported circa 1080, a church was founded at the site (then known as Thorney Island) in the seventh century, in the time of Mellitus, Bishop of London. Construction of the present church began in 1245 on the orders of Henry III. Frederick Mackenzie (1788 - 1854) was a British watercolourist and architectural draughtsman. He first exhibited at the Royal Academy in 1804, and contributed eleven drawings between that year and 1828. He contributed to the Society of Painters in Water Colours exhibitions from 1813, becoming an associate in 1822, and a full member the following year. From 30 November 1831 till his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
J Black (early 19th century) after Frederick Mackenzie (1788 - 1854)
East End of South Aisle, Westminster Abbey (1812)
Hand-coloured aquatint 31 x 24 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the East End of Westminster Abbey's south aisle. Mackenzie's drawing was engraved by Black and published by Ackermann in his 1812 "History of Westminster Abbey". Charles II, Queen Anne, Queen Mary II and her husband King William III, and Mary, Queen of Scots are all buried in the south aisle. The Abbey is an historic, mainly Gothic church in the City of Westminster, London, just to the west of the Palace of Westminster. It is one of the United Kingdom's most notable religious buildings and since Edward the Confessor, a burial site for English and, later, British monarchs. Since the coronation of William the Conqueror in 1066, all coronations of English and British monarchs have occurred in Westminster Abbey. Sixteen royal weddings have occurred at the abbey since 1100. According to a tradition first reported circa 1080, a church was founded at the site (then known as Thorney Island) in the seventh century, in the time of Mellitus, Bishop of London. Construction of the present church began in 1245 on the orders of Henry III. Frederick Mackenzie (1788 - 1854) was a British watercolourist and architectural draughtsman. He first exhibited at the Royal Academy in 1804, and contributed eleven drawings between that year and 1828. He contributed to the Society of Painters in Water Colours exhibitions from 1813, becoming an associate in 1822, and a full member the following year. From 30 November 1831 till his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
J Black (early 19th century) after Frederick Mackenzie (1788 - 1854)
East Side of St Erasmus' Chapel, Westminster Abbey (1812)
Hand-coloured aquatint 28 x 19 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the east side of the chapel of St Erasmus in Westminster Abbey. Mackenzie's drawing was engraved by Black and published by Ackermann in his 1812 "History of Westminster Abbey". The chapel was built in the late 15th century by order of Edward IV's wife, Elizabeth Woodville. It would have been used to worship St Erasmus, also known as St Elmo (a Christian saint and martyr venerated as the patron saint of sailors and abdominal pain). The Abbey is an historic, mainly Gothic church in the City of Westminster, London, just to the west of the Palace of Westminster. It is one of the United Kingdom's most notable religious buildings and since Edward the Confessor, a burial site for English and, later, British monarchs. Since the coronation of William the Conqueror in 1066, all coronations of English and British monarchs have occurred in Westminster Abbey. Sixteen royal weddings have occurred at the abbey since 1100. According to a tradition first reported circa 1080, a church was founded at the site (then known as Thorney Island) in the seventh century, in the time of Mellitus, Bishop of London. Construction of the present church began in 1245 on the orders of Henry III. Frederick Mackenzie (1788 - 1854) was a British watercolourist and architectural draughtsman. He first exhibited at the Royal Academy in 1804, and contributed eleven drawings between that year and 1828. He contributed to the Society of Painters in Water Colours exhibitions from 1813, becoming an associate in 1822, and a full member the following year. From 30 November 1831 till his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Piper (1903-1992)
Westminster School I (1961)
49 x 63 cm Signed lower right and numbered 66/100 lower left in pencil. Piper's skilled and characterful rendering of Westminster School's gateway, sometimes known as Burlington's Arch. The historic entrance to the school dates from 1734 and is carved with the names of former pupils. John Piper CH was an English painter, printmaker, and designer of stained-glass windows. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. Condition: Generally very good, gentle even toning to the paper. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Piper (1903-1992)
Westminster School II (1961)
42 x 59 cm Signed lower right and numbered 86/100 lower left in pencil. Piper’s second view of Westminster School; both views were commissioned by the school in 1981. Here he depicts Grant's House, with College on the far left and Rigaud’s House on the right. The view is serene and silent, set against a night sky the colour of stone, mimicking the buildings below. John Piper CH was an English painter, printmaker, and designer of stained-glass windows. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. Condition: generally very good; a little age toning. A few spots to margins. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by John Piper CH. -
What to Eat and Why
Original Poster 51x76cm If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
White City Routemaster Slipboard Poster c1970
Screenprint poster 64x19cm Printed for London Transport for use on Routemaster or RT busses. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good, small professionally repaired tear on right hand margin. -
Elizabeth Byrne (1777 - 1849) after Joseph Farington RA (1747 - 1821)
North View of Whitehaven, Cumbria
Hand-coloured engraving 27.5 x 56.5 cm A view of the cliffs and port of Whitehaven in Cumbria. Joseph Farington RA was an 18th-century English landscape painter and diarist. He drew a north and south view of Whitehaven, which were engraved by Elizabeth Byrne in the early 19th century. Byrne was a London-born etcher and landscape painter, who was taught by her father, the etcher William Byrne. She and her father contributed etchings to the 'Magna Britannia' and 'Britannia depicta', books illustrating the most interesting views in various English counties, published by Samuel Lysons in the late 1810s. Condition: good. Two folds and some light age toning. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Wilfred Gabriel de Glehn RA (1870-1951)
Clare College from the Backs
Watercolour Inscribed “To my friend H Thirkill Master of Clare” Signed “W de Glehn, 1940” 40x50cm De Glehn painted Henry Thirkill in a portrait that is in the collection of Clare College and may be viewed here. Thirkill was Master between 1939 and 1958 and the portrait was commissioned in 1947. A versatile painter, skilled at portraiture, landscapes and figures de Glehn is regarded as one of England’s premier Impressionist painters. His ability to portray lighting in a lively fashion and his vibrant use of colour combine to provide wonderfully rich paintings. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Wilhelmina Barns-Graham (1912-2004)
Monreale, Sicily (1955)
Pencil and wash on paper 48 x 58 cm Signed and dated lower left. A heady evocation of summer in Sicily, characterised by burnt oranges and yellows. Wilhelmina Barns-Graham, known as Willie, was born in St Andrews, Fife, on 8 June 1912. Her parents were second cousins, and their respective families were well established representatives of minor Scottish gentry from both the east and west of the country. As a child, Barns-Graham showed very early signs of creative ability. It was at school that Wilhelmina decided that she wanted to be an artist, stating later in life that "painting chose me, not I it". After school she set her sights on Edinburgh College of Art where, after some dispute with her father (who was an emotional man prone to uncontrolled anger), she enrolled in 1931. During her time at Edinburgh College, Barns-Graham was taught by tutors including portrait painter David Alison and painter William MacTaggart. Her friends there included the influential Scottish painters Robert MacBryde, Robert Colquhoun, and William Gear. After her education, Barns-Graham made study trips to Paris, London, and St Tropez before moving to St Ives, Cornwall, in 1940 (at the suggestion of the Edinburgh College of Art's Principal Hubert Wellington). Barns-Graham moved near to where a group of modernist artists had settled, at Carbis Bay - this was a pivotal moment in her life. On one of her first evenings there she met the sculptor Barbara Hepworth, who made an immediate and lasting impression on her. She then went on to meet Borlase Smart, Alfred Wallis, and Bernard Leach, as well as the painter Ben Nicholson and the sculptors Naum Gabo and Margaret Mellis. After two weeks in St Ives, Barns-Graham acquired her first studio, directly below the Porthmeor Gallery which was the administrative headquarters of the St Ives Society of Artists. Her paintings at the time were heavily influenced by the Cornish landscapes and the St Ives harbour. During 1940 and 1941, Barns-Graham contributed to the war effort by volunteering in a factory making camouflage nets. In 1942 Barns-Graham became a member of the Newlyn Society of Artists, in which she exhibited with every year, and the St Ives Society of Artists. Whilst establishing herself in St Ives, Barns-Graham also continued to send work back to Scotland for major exhibitions held there such as the Royal Scottish Academy's 117th Exhibition in 1943. The 1940s were an active time for the St Ives Society of Artists who received a number of invitations to send exhibitions and groups of works to galleries in the UK and abroad, Barns-Graham's work was always included in these as the Society's secretary, Borlase Smart, thought highly of her work. Barns-Graham's first opportunity to exhibit in London came when her work was included in a group exhibition of six at the Redfern Gallery. This was due to the introduction and support of Patrick Heron, who had visited Barns-Graham's studio in St Ives and was excited by her work. Barns-Graham would later have her first one-person exhibition in London at Redfern in 1952. After a few years of tension, Barns-Graham eventually left the St Ives Society of Artists in 1949, becoming one of the founding members of a new breakaway group named Penwith Society of Arts. The first Penwith Society exhibition opened in June 1949 to huge success - 2755 paying visitors came to see it. Provenance: Barns-Graham Charitable Trust, authentication no 1665. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Wilhelmina Barns-Graham (1912 - 2004)
Card for Sandra Blow's 75th birthday (1995)
Gouache and collage 34 x 21 cm Inscribed to reverse "For Sandra, Happy Birthday, with love Willie, 13/9/95". Barns-Graham's modern design features 70 vividly coloured circles; each one is different from the last, but all are geometrically aligned in neat rows and columns. Sandra Blow's initials appear separately as "S" and "B" in the design. Blow and Barns-Graham became friends in the 1950s; both spent lengthy periods of time in St Ives, and made major contributions to Britain's catalogue of post-war art. Wilhelmina Barns-Graham, known as Willie, was born in St Andrews, Fife, on 8 June 1912. Her parents were second cousins, and their respective families were well established representatives of minor Scottish gentry from both the east and west of the country. As a child, Barns-Graham showed very early signs of creative ability. It was at school that Wilhelmina decided that she wanted to be an artist, stating later in life that "painting chose me, not I it". After school she set her sights on Edinburgh College of Art where, after some dispute with her father (who was an emotional man prone to uncontrolled anger), she enrolled in 1931. During her time at Edinburgh College, Barns-Graham was taught by tutors including portrait painter David Alison and painter William MacTaggart. Her friends there included the influential Scottish painters Robert MacBryde, Robert Colquhoun, and William Gear. After her education, Barns-Graham made study trips to Paris, London, and St Tropez before moving to St Ives, Cornwall, in 1940 (at the suggestion of the Edinburgh College of Art's Principal Hubert Wellington). Barns-Graham moved near to where a group of modernist artists had settled, at Carbis Bay - this was a pivotal moment in her life. On one of her first evenings there she met the sculptor Barbara Hepworth, who made an immediate and lasting impression on her. She then went on to meet Borlase Smart, Alfred Wallis, and Bernard Leach, as well as the painter Ben Nicholson and the sculptors Naum Gabo and Margaret Mellis. After two weeks in St Ives, Barns-Graham acquired her first studio, directly below the Porthmeor Gallery which was the administrative headquarters of the St Ives Society of Artists. Her paintings at the time were heavily influenced by the Cornish landscapes and the St Ives harbour. During 1940 and 1941, Barns-Graham contributed to the war effort by volunteering in a factory making camouflage nets. In 1942 Barns-Graham became a member of the Newlyn Society of Artists, in which she exhibited with every year, and the St Ives Society of Artists. Whilst establishing herself in St Ives, Barns-Graham also continued to send work back to Scotland for major exhibitions held there such as the Royal Scottish Academy's 117th Exhibition in 1943. The 1940s were an active time for the St Ives Society of Artists who received a number of invitations to send exhibitions and groups of works to galleries in the UK and abroad, Barns-Graham's work was always included in these as the Society's secretary, Borlase Smart, thought highly of her work. Barns-Graham's first opportunity to exhibit in London came when her work was included in a group exhibition of six at the Redfern Gallery. This was due to the introduction and support of Patrick Heron, who had visited Barns-Graham's studio in St Ives and was excited by her work. Barns-Graham would later have her first one-person exhibition in London at Redfern in 1952. After a few years of tension, Barns-Graham eventually left the St Ives Society of Artists in 1949, becoming one of the founding members of a new breakaway group named Penwith Society of Arts. The first Penwith Society exhibition opened in June 1949 to huge success - 2755 paying visitors came to see it. Provenance: the Jonathan Grimble Estate; the Sandra Blow Estate. Condition: very good; in original frame. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
William Alfred Pite (1860-1949)
King`s College Hospital, Denmark Hill general bird`s-eye view (1913)
Initialled H.M.F., signed and titled by William A. Pite F.R.I.B.A. (1860-1949), lower right, on board support with R.I.B.A. `Exhibition of Contemporary British Architecture` label, and architect`s label both mounted on verso Watercolour over pencil 46 x 92cm (26.25 x 18 inches) -
William Alistair MacDonald (1861-1948)
Middle Temple Lane, London
Signed Watercolour 26x17cm The buildings of Middle Temple Lane were constructed between 1684 and 1780. MacDonald is best known for his scenes of London landmarks. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
William Logsdail (1859-1944)
St John's College Cambridge, Great Gate
Oil on board 39 x 28 cm Signed lower right. In an original 19th century gilt composition frame. Provenance: the private collection of the late Christopher Wood, a renowned dealer in Victorian art who was a member of St John’s. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
William Logsdail (1859-1944)
Trinity College Gateway, Oxford
Oil on canvas Signed W Logsdail (lower right) 37 x 29.5 cm (14.5 x 11.5 in) Biographical details and other works by Logsdail may be found by clicking here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Logsdail's skill at painting old stonework is particularly clear here, the crumbling stonework of the gateway has been created through the blending of a large spectrum of colours, creating a very realistic effect. -
William Matthison (1853-1926)
All Saints Church and Carfax in the Evening, Oxford
Watercolour 25 x 17 cm Matthison was born near Birmingham and attended King Edward's School in the city. He learned drawing at the Birmingham Central School of Art and then became a pupil of Birmingham artist Edward Watson. He became a professional artist in 1875 and moved to Oxfordshire a few years after; this was where he had the opportunity to produce many of the Oxford views for which he is known today. In 1902 he moved to Park Town in Oxford and was commissioned by Robert Peel to paint more than seventy views of the University of Oxford, which were subsequently made into postcards. Priced at seven for a shilling, they were only available from E Cross of Pembroke Street (a long-since closed business). Raphael Tuck & Sons also commissioned him to produce postcard scenes of Cambridge. Matthison's views of Oxford were later printed in Fifty Watercolour Drawings of Oxford, published in 1912 by Alden & Co. Click here for other works by the artist. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
William Matthison
Christ Church Cathedral, Oxford
Watercolour 26 x 34 cm Matthison was born near Birmingham and attended King Edward’s School in the city. He learned drawing at the Birmingham Central School of Art and then became a pupil of Birmingham artist Edward Watson. He became a professional artist in 1875 and moved to Oxfordshire a few years after; this was where he had the opportunity to produce many of the Oxford views for which he is known today. In 1902 he moved to Park Town in Oxford and was commissioned by Robert Peel to paint more than seventy views of the University of Oxford, which were subsequently made into postcards. Priced at seven for a shilling, they were only available from E Cross of Pembroke Street (a long-since closed business). Raphael Tuck & Sons also commissioned him to produce postcard scenes of Cambridge. Matthison’s views of Oxford were later printed in Fifty Watercolour Drawings of Oxford, published in 1912 by Alden & Co. Click here for other works by the artist. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
William Matthison (1853-1926)
Christ Church Oxford Staircase
Watercolour 38 x 25 cm Matthison was born near Birmingham and attended King Edward’s School in the city. He learned drawing at the Birmingham Central School of Art and then became a pupil of Birmingham artist Edward Watson. He became a professional artist in 1875 and moved to Oxfordshire a few years after; this was where he had the opportunity to produce many of the Oxford views for which he is known today. In 1902 he moved to Park Town in Oxford and was commissioned by Robert Peel to paint more than seventy views of the University of Oxford, which were subsequently made into postcards. Priced at seven for a shilling, they were only available from E Cross of Pembroke Street (a long-since closed business). Raphael Tuck & Sons also commissioned him to produce postcard scenes of Cambridge. Matthison’s views of Oxford were later printed in Fifty Watercolour Drawings of Oxford, published in 1912 by Alden & Co. Click here for other works by the artist. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
William Matthison (1853-1926)
Oriel Street, Oxford and St. Mary's Church
Watercolour 26 x 17 cm Matthison was born near Birmingham and attended King Edward’s School in the city. He learned drawing at the Birmingham Central School of Art and then became a pupil of Birmingham artist Edward Watson. He became a professional artist in 1875 and moved to Oxfordshire a few years after; this was where he had the opportunity to produce many of the Oxford views for which he is known today. In 1902 he moved to Park Town in Oxford and was commissioned by Robert Peel to paint more than seventy views of the University of Oxford, which were subsequently made into postcards. Priced at seven for a shilling, they were only available from E Cross of Pembroke Street (a long-since closed business). Raphael Tuck & Sons also commissioned him to produce postcard scenes of Cambridge. Matthison’s views of Oxford were later printed in Fifty Watercolour Drawings of Oxford, published in 1912 by Alden & Co. Click here for other works by the artist. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
William Matthison (1853-1926)
The Sheldonian Theatre, Oxford
Watercolour 18 x 28 cm Matthison was born near Birmingham and attended King Edward's School in the city. He learned drawing at the Birmingham Central School of Art and then became a pupil of Birmingham artist Edward Watson. He became a professional artist in 1875 and moved to Oxfordshire a few years after; this was where he had the opportunity to produce many of the Oxford views for which he is known today. In 1902 he moved to Park Town in Oxford and was commissioned by Robert Peel to paint more than seventy views of the University of Oxford, which were subsequently made into postcards. Priced at seven for a shilling, they were only available from E Cross of Pembroke Street (a long-since closed business). Raphael Tuck & Sons also commissioned him to produce postcard scenes of Cambridge. Matthison's views of Oxford were later printed in Fifty Watercolour Drawings of Oxford, published in 1912 by Alden & Co. Click here for other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
William Matthison (1853-1926)
Trinity College Cambridge Great Gate
Watercolour 36.5 x 26 cm Matthison was born near Birmingham and attended King Edward’s School in the city. He learned drawing at the Birmingham Central School of Art and then became a pupil of Birmingham artist Edward Watson. He became a professional artist in 1875 and moved to Oxfordshire a few years after; this was where he had the opportunity to produce many of the Oxford views for which he is known today. In 1902 he moved to Park Town in Oxford and was commissioned by Robert Peel to paint more than seventy views of the University of Oxford, which were subsequently made into postcards. Priced at seven for a shilling, they were only available from E Cross of Pembroke Street (a long-since closed business). Raphael Tuck & Sons also commissioned him to produce postcard scenes of Cambridge. Matthison’s views of Oxford were later printed in Fifty Watercolour Drawings of Oxford, published in 1912 by Alden & Co. Click here for other works by the artist. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
William Matthison (1853-1926)
Trinity Front Quad with Exeter College Chapel, Oxford
Watercolour 36.5 x 26cm Matthison was born near Birmingham and attended King Edward’s School in the city. He learned drawing at the Birmingham Central School of Art and then became a pupil of Birmingham artist Edward Watson. He became a professional artist in 1875 and moved to Oxfordshire a few years after; this was where he had the opportunity to produce many of the Oxford views for which he is known today. In 1902 he moved to Park Town in Oxford and was commissioned by Robert Peel to paint more than seventy views of the University of Oxford, which were subsequently made into postcards. Priced at seven for a shilling, they were only available from E Cross of Pembroke Street (a long-since closed business). Raphael Tuck & Sons also commissioned him to produce postcard scenes of Cambridge. Matthison’s views of Oxford were later printed in Fifty Watercolour Drawings of Oxford, published in 1912 by Alden & Co. Click here for other works by the artist. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
William Matthison
Balliol College Oxford
Watercolour 26 x 44 cm Signed lower right 'W Matthison'. Matthison was born near Birmingham and attended King Edward’s School in the city. He learned drawing at the Birmingham Central School of Art and then became a pupil of Birmingham artist Edward Watson. He became a professional artist in 1875 and moved to Oxfordshire a few years after; this was where he had the opportunity to produce many of the Oxford views for which he is known today. In 1902 he moved to Park Town in Oxford and was commissioned by Robert Peel to paint more than seventy views of the University of Oxford, which were subsequently made into postcards. Priced at seven for a shilling, they were only available from E Cross of Pembroke Street (a long-since closed business). Raphael Tuck & Sons also commissioned him to produce postcard scenes of Cambridge. Matthison’s views of Oxford were later printed in Fifty Watercolour Drawings of Oxford, published in 1912 by Alden & Co. Click here for other works by the artist. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
William Matthison (1853-1926)
Exeter and Balliol from the Sheldonian Theatre, Oxford
Watercolour 26 x 17 cm Matthison was born near Birmingham and attended King Edward’s School in the city. He learned drawing at the Birmingham Central School of Art and then became a pupil of Birmingham artist Edward Watson. He became a professional artist in 1875 and moved to Oxfordshire a few years after; this was where he had the opportunity to produce many of the Oxford views for which he is known today. In 1902 he moved to Park Town in Oxford and was commissioned by Robert Peel to paint more than seventy views of the University of Oxford, which were subsequently made into postcards. Priced at seven for a shilling, they were only available from E Cross of Pembroke Street (a long-since closed business). Raphael Tuck & Sons also commissioned him to produce postcard scenes of Cambridge. Matthison’s views of Oxford were later printed in Fifty Watercolour Drawings of Oxford, published in 1912 by Alden & Co. Click here for other works by the artist. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
William Nicholson (1872-1949) All Souls College, Oxford
Signed, and numbered 98, published by Stafford Gallery with blindstamp Lithograph 35x28cm Click here for biography and other works by this artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good condition. -
William Nicholson (1872-1949) Bodleian Library, University of Oxford
Signed and numbered 110, published by Stafford Gallery with blind stamp Lithograph 28 x 34.5cm Click here for biography and other works by this artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good condition. -
William Nicholson (1872-1949) Christ Church Library, Oxford
Signed and numbered 34, published by Stafford Gallery with blind stamp Lithograph 26 x 34.5cm Click here for biography and other works by this artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good condition. -
William Nicholson (1872-1949)
Christ Church, Oxford (1906)
Lithograph, with Stafford Gallery blindstamp 35.5x27cm Click here for biography and other works by this artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
William Nicholson (1872-1949)
Clarendon Building Oxford (1906)
Lithograph, signed lower left, with Stafford Gallery blindstamp 32 x 26cm Click here for biography and other works by this artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
William Nicholson (1872-1949)
Garden Front with Chapel, Wadham College, Oxford (1906)
Lithograph, signed lower left, with Stafford Gallery blindstamp 29.5 x 33 cm (11.5 x 13 in.) Click here for biography and other works by this artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
William Nicholson (1872-1949)
Merton College, Oxford (1906)
Lithograph, signed lower left, with Stafford Gallery blindstamp 33.5 x 24.5cm Click here for biography and other works by this artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
William Roxby Beverley (1811-1889, British)
Durham Cathedral From the North East (c.1860)
16 cm x 24 cm Watercolour Provenance: Sotheby's lot 25, 25th January 1989. William Roxby Beverley was an English theatrical scene painter, known also as an artist in oils and watercolours. William John Lawrence, writing in the Dictionary of National Biography, considered him second only to Clarkson Stanfield among British scene painters of the nineteenth century. Condition: Slight loss of colour in sky area and very light foxing in same, otherwise generally very good. -
William Thomas Martin Hawksworth (1853-1935)
Peterhouse Cambridge
Watercolour, framed. 17.5 x 26cm. Provenance: with Thomas Agnew & Sons, London A Londoner, Hawksworth was a member of both the RI and RBA. The V&A and British Museum both hold examples of his watercolours. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
William Verner Longe (1857-1924)
Cottenham, December 1904
Watercolour 29 x 45 cm Signed and inscribed 'Red Coat Race, "Ewe Lamb ii" wins from "Why Not"'. A lively racing scene by William Verner Longe, and English artist noted for his scenes of racing, hunting, and other equestrian activities. He was educated at the Ipswich School of Arts and then the Royal Academy of Fine Arts in Antwerp. Condition: generally very good; original frame with antique glass. Some discolouration to margins. -
William Williams (Welsh, fl. 1724-1733) Christ Church, Oxford
Engraving c. 1732 for Oxonia Depicta (pub. London 1732-33) 41x60cm If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Fair, gentle staining towards top and usual handling marks to margins, as illustrated. -
William Williams (Welsh, fl. 1724-1733) Jesus College, Oxford
Engraving c. 1732 for Oxonia Depicta (pub. London 1732-33) 43x44cm If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Fair, gentle staining towards top and usual handling marks to margins, as illustrated. -
Pieter van der Aa (1659-1733), after David Loggan (1634–1692)
Winchester College, or "Le College de St Marie de Winton" (1727)
Engraving 12 x 16 cm An eighteenth-century view of Winchester College, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: a good impression. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
after Samuel Buck (1696 - 1779) and Nathaniel Buck (active 1724 - 1759)
The East View of Winchester Palace (1733)
Engraving 20 x 37 cm An engraved view of Winchester Palace, a bishop's palace built in the 12th century. It served as the London townhouse of the Bishops of Winchester and remained in use until around 1700, when it was divided up into tenements and warehouses. The building was largely destroyed by fire in 1814. Samuel and Nathaniel Buck were brothers and notable 18th century architectural artists, best known for their depictions of ancient castles and monasteries entitled 'Buck's Antiquities' and those of townscapes of England and Wales, ''Sea-Ports and Capital Towns''. Little is known about the brothers' lives. Samuel was born in Yorkshire and died in penury in London in 1779, and was buried in the churchyard of St Clement Danes. Nathaniel pre-deceased him, dying between 1759 and 1774. Condition: generally very good; slight age toning; sheet trimmed outside platemark; mounted to board. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other pictures of London. -
XVIes Jeux Olympiques d'Hiver (Albertville 1992)
Lithograph 80 x 61 cm This poster advertises the 1992 Winter Olympics. It features a snowy-white mountain against a bright blue sky, with a golden sun in the shape of a star above right, and the Olympic rings below. Condition: backed to linen; generally very good; some staining to right hand side that could be covered by a mount. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage posters. -
David Gentleman (born 1930)
Wolfson College, Oxford (1976)
Lithograph 33 x 46 cm A view of Wolfson College by David Gentleman. The modernist college emerges from between lush greenery and a bright blue sky. Gentleman produced this view in 1975, and it was published a year later in the "Oxford Almanack". The Oxford Almanack was an annual almanac published by the Oxford University Press for the University of Oxford from 1674 through 2019 (when printing sadly ceased due to "dwindling interest"). The almanac traditionally included engravings or lithographs of the University and information about the upcoming year. Other almanac artists have included James Basire, Michael Burghers, J. M. W. Turner, and John Piper. David Gentleman is an English artist. He studied art and painting at the Royal College of Art under Edward Bawden and John Nash, and produced several views of Oxford colleges for the Oxford Almanac. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Gavin Pomeroy (born 1929)
Wolfson College, Oxford
Watercolour 17 x 25 cm Signed and dated lower right. A watercolour of the modernist Wolfson College, featuring a 1970s mint-green car. Founded in 1965, its main building (designed by Powell and Moya Architects) was completed in 1974. Pomeroy portrays it in winter, with the cloudy sky and bare trees melding with the grey of the modernist facade. William Gavin Ingram Pomeroy was born in Newlyn, Cornwall. From 1947 he studied architecture under Geoffrey Bazeley, and later became a lecturer for the Plymouth School of Architecture. He became the senior lecturer in architecture at what is now Plymouth University and retired in 1999. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more views of Wolfson College. -
Wolverhampton School of Practical Art
Wolverhampton School of Practical Art Published for London Illustrated News (25 June 1853) 17.5x29cm Watercolour If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Women's Auxiliary Army Corps Officer (Clerical Section) 1917 uniform
Lithograph 50 x 31 cm Produced for the Institute of Army Education. Printed for HM Stationery Office by I A Limited, Southall 51. These posters were produced by the Institute of Army Education, likely for display in barracks. Created in the 1950s, they illustrate the 'vintage' uniforms worn by the Corps during the First World War. Condition: punched holes to corners as issued; otherwise generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage Institute of Army Education uniform posters. -
Auxiliary Territorial Service (now the Women's Royal Army Corps) 1939 - 1945 uniform
Lithograph 50 x 31 cm Produced for the Institute of Army Education. Printed for HM Stationery Office by I A Limited, Southall 51. These posters were produced by the Institute of Army Education, likely for display in barracks. Created in the 1950s, they illustrate the 'vintage' uniforms worn by the Corps during the First World War. Condition: punched holes to corners as issued; otherwise generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage Institute of Army Education uniform posters. -
Provost Richard Lynch Cotton Caricature
A rare specimen of the Cotton-ia Worcester-iensis (not to be found) in the Botanic Gardens Oxford
Pen ink watercolour and photographic collage 19.5 x 16 cm By repute, found in the rooms of Keble at the Hermitage Hotel in Eastbourne after his death, together with another watercolour of a ‘Ritualistic Priest’ also for sale. Please contact us for further information. If you are interested email info@manningfineart.co.ukor call us on 07929 749056. Condition: Good. -
Pieter van der Aa (1659-1733), after David Loggan (1634–1692)
Gloucester College, Oxford (now Worcester College) (1727)
Engraving 12 x 16 cm An eighteenth-century view of Worcester College's predecessor, Gloucester College. Gloucester College was founded in 1283 by the Benedictine Abbey of St Peter at Gloucester as a place of study for 13 monks. The dissolution of the monasteries in the 1530s resulted in the closure of the College, which was eventually re-founded as Worcester College in 1714. Pieter van der Aa's engraving comes after an earlier one by David Loggan, the noted engraver, draughtsman, and painter, when the site was still known as Gloucester. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: a good impression. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
