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Pieter van der Aa (1659-1733), after David Loggan (1634–1692)
St John's College, Oxford (1727)
Engraving 12 x 16 cm An eighteenth-century view of St John's, 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. -
Pieter van der Aa (1659-1733), after David Loggan (1634–1692)
Wadham College, Oxford (1727)
Engraving 12 x 16 cm An eighteenth-century view of Wadham, 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. -
Pieter van der Aa (1659-1733), after David Loggan (1634–1692)
St John's College, Oxford (1727)
Engraving 12 x 16 cm An eighteenth-century view of Canterbury Quad, St John's, 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. -
Pieter van der Aa (1659-1733), after David Loggan (1634–1692)
Pembroke College, Oxford (1727)
Engraving 12 x 16 cm An eighteenth-century view of Pembroke College, Oxford, engraved by Pieter van der Aa after an earlier one by 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. -
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. -
Pieter van der Aa (1659-1733), after David Loggan (1634–1692)
Christ Church, Oxford (1727)
Engraving 12 x 16 cm An eighteenth-century view of Christ Church, 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. -
Pieter van der Aa (1659-1733), after David Loggan (1634–1692)
Oriel College, Oxford (1727)
Engraving 12 x 16 cm An eighteenth-century view of Oriel 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. -
Pieter van der Aa (1659-1733), after David Loggan (1634–1692)
Merton College, Oxford (1727)
Engraving 12 x 16 cm An eighteenth-century view of Merton 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. -
Pieter van der Aa (1659-1733), after David Loggan (1634–1692)
St Alban Hall, Oxford - now Merton College (1727)
Engraving 12 x 16 cm St Alban Hall, sometimes known as St Alban's Hall or Stubbins, was one of the medieval halls of the University of Oxford, and one of the longest-surviving. It was established in the 13th century and was acquired by neighbouring Merton College in the 16th century. The institutions formally merged in the late 19th century. The site in Merton Street, Oxford, is now occupied by Merton's Edwardian St Alban's Quad. 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. -
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. -
Pieter van der Aa (1659-1733), after David Loggan (1634–1692)
Stonehenge (1727)
Engraving 12 x 16 cm Two eighteenth-century views of the pagan and mystical Stonehenge, 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. -
Pieter van der Aa (1659-1733), after David Loggan (1634–1692)
Trinity College, Oxford (1727)
Engraving 12 x 16 cm An eighteenth-century view of Trinity College, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter who specialised in engravings of Oxford and Cambridge. 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. -
Pieter van der Aa (1659-1733), after David Loggan (1634–1692)
Balliol College, Oxford (1727)
Engraving 12 x 16 cm An eighteenth-century view of Balliol, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter who specialised in engravings of Oxford and Cambridge. 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; trimmed just onto platemark on left side. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Julian Trevelyan (1910-1988)
Spinnakers (1972)
Etching 48 x 35 cm (sheet size 68 x 55 cm) Signed in pencil and numbered 1/65. The Tate holds number 24/56 - reference P01330. Small vessels weave around two great boats with striped masts, observed by a dark sky full of geometric clouds. A red buoy bobs in the foreground, and the heavily textured sea and sky blend into one. Nephew of the historian G M Trevelyan, Julian Trevelyan was educated at Bedales and then at Trinity College, Cambridge, where he read English. After moving to Paris, Trevelyan studied engraving at Stanley William Hayter’s school, working alongside artists such as Max Ernst, Joan Miro and Pablo Picasso. He married the potter Ursula Darwin in 1934, and in 1935 they moved to Hammersmith, buying Durham Wharf beside the River Thames which was Trevelyan’s studio – and home – for the rest of his life. His wartime service was – like so many artists – as a camoufleur. A Royal Engineer from 1940-43, he served in North Africa and Palestine, forcing the German Afrika Korps to use resources against a dummy army whilst real tanks were disguised as more harmless equipment. In the desert, nothing could be hidden - but it could be disguised. Following the dissolution of his marriage in 1950, he married the painter Mary Fedden. Teaching at Chelsea School of Art, Trevelyan eventually became head of the Etching Department and his pupils included David Hockney and Peter Ackroyd. Condition: generally very good. Mounted to board. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Angela Stones (1914 - 1995)
Still Life with Fruit and Flowers
Oil on board 62 x 46 cm A typically stylish mid-century still life. The citrus fruits in the foreground are the painting's focus, with their peel dancing between reds, greens, yellows, and oranges. Stones was educated at the Chelsea School of Art, and was a member of an artistic dynasty. Her mother Dorothy Bradshaw (1893-1983) studied under Jack Merriott – the artist famous for his British Rail posters, and her son, Christopher Assheton-Stones (1947-1999), was arguably the foremost pastel artist of his time. Provenance: the family of the artist. Condition: very good; recently cleaned and varnished. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
V A Hards (British, c. 1930-c. 2012) Exterior for a University Research Institute (1956)
Watercolour on wove 77 x 55 cm Signed and dated 1956. Hards was educated at Brixton School of Building and Woolwich Polytechnic between 1948 and 1956, during which period he produced some very competent work, including this design for a brutalist University Institute's exterior. Brixton School of Building was incorporated into the Polytechnic of the South Bank - now London South Bank University. Condition: some edge wear and isolated spots - see photographs. Stamped and marked with 'Brixton School of Building' stamp. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
V A Hards (British, c. 1930-c. 2012) Design for Modernist Brutalist University Institute IV (1956)
Watercolour on wove 77 x 55 cm Signed and dated 1956. Hards was educated at Brixton School of Building and Woolwich Polytechnic between 1948 and 1956, during which period he produced some very competent work, including this design for a university's brutalist building. Brixton School of Building was incorporated into the Polytechnic of the South Bank - now London South Bank University. Condition: some edge wear and isolated spots - see photographs. Stamped and marked with 'Brixton School of Building' stamp. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
V A Hards (British, c. 1930-c. 2012) Design for Modernist dental surgery (1956)
Watercolour on wove 77 x 55 cm Signed and dated 1956. Hards was educated at Brixton School of Building and Woolwich Polytechnic between 1948 and 1956, during which period he produced some very competent work, including this rather fun modernist design for a dentist's surgery. Brixton School of Building was incorporated into the Polytechnic of the South Bank - now London South Bank University. Condition: some edge wear and isolated spots - see photographs. Stamped and marked with 'Brixton School of Building' stamp. Condition: some edge wear and isolated spots - see photographs. Stamped and marked with 'Brixton School of Building' stamp. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Out of stock
Shmuel Shapiro (1924 - 1983) Two Lovers (1966)
Original lithograph on handmade Barcham Green paper 34 x 44 cm (sheet size 40 x 57 cm) Signed, dated, and numbered 75/100 in pencil. Published and printed at the Curwen Studio, London, in 1966. Shapiro was an American Jewish artist. This typically emotive but unusually colourful work conveys the passion that accompanies true love, with the green and orange forms pressing desperately against one another. An example of this lithograph is held in the Tate Gallery's permanent print collection. Provenance: acquired directly from the Curwen Archive. Condition: excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Pieter van der Aa (1659-1733), after David Loggan (1634–1692)
Cambridge from the East (1727)
Engraving 12 x 16 cm An eighteenth-century view of Cambridge from the East, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter who specialised in engravings of Oxford and Cambridge. A wide Cambridgeshire sky opens out over the harvest scene; in the background, the spires of the city's skyline are numbered, and identified below. A fascinating engraving which muses on the relationship between the city and its University. 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: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Pieter van der Aa (1659-1733), after David Loggan (1634–1692)
The Bodleian Library, University of Oxford
Engraving (1727) 12 x 16 cm An eighteenth-century view of the interior of the Bodleian Library, 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 are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Pieter van der Aa (1659-1733), after David Loggan (1634–1692)
The Divinity School, University of Oxford
Engraving (1727) 12 x 16 cm An eighteenth-century view of Oxford's medieval Divinity School, which was once the beating heart of theological studies at the University. The scene is engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Of particular interest here is the trompe l'oeil piece of torn paper which frames the Divinity School view. 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 are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Pieter van der Aa (1659-1733), after David Loggan (1634–1692)
Map of Cambridge
Engraving (1727) 12 x 16 cm An eighteenth-century map of Cambridge engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter who specialised in engravings of Oxford and Cambridge. Loggan's vision illustrates the inimitable layout of Cambridge; the River Cam, Bridge Street, and Trumpington Street bend across the map like arteries. 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. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Hugh Casson (1910 - 1999)
Corpus Christi College, Cambridge
Watercolour 11 x 21 cm A beautiful original water of Corpus. Casson juxtaposes the sparely painted figures of undergraduates and academics with the majesty of the pale stone used to build much of the college. This watercolour was used in Casson's book "Hugh Casson's Cambridge." Sir Hugh Casson was educated at Eastbourne College; St John’s College, Cambridge; and the Bartlett School of Architecture. Trained in the 1930s in the early modernist style, he taught at the Cambridge School of Architecture. After employment as a camoufleur during World War 2 by the Air Ministry, in 1948 he was appointed as director of architecture for the Festival of Britain. A close friend of the Royal Family, he undertook designs for the 1953 coronation, designed the interior of the Royal Yacht Britannia (“The overall idea was to give the impression of a country house at sea”), and taught the young Charles III to paint in watercolours. Amongst his architectural achievements are the Elephant House at London Zoo, the 1978 redevelopment of Bristol Docks, the Raised Faculty Building for The University of Cambridge, and a building for the Royal College of Art. He published a number of illustrated books, of which Casson’s Oxford and Casson’s Cambridge are probably the best known. A limited edition series of prints was produced from the paintings. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Charles Paine (1895-1967)
Army Map of England (1944)
Lithograph 99 x 75 cm Published for the National Savings Committee in London, the Scottish Savings Committee in Edinburgh, and the Ulster Savings Committee in Belfast. Printed at Field Sons & Co. Ltd., Bradford, for His Majesty's Stationery Office, London. Signed lower left in the plate. Charles Paine was a versatile and prolific designer, who drew on his training in stained glass to create bold, structured and highly stylised lithographs for a variety of companies. This decorative and brightly-coloured map illustrates the various county regiments of Great Britain, with a border of regimental badges. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Fougasse (Cyril Kenneth Bird, 1887 - 1965)
'I'm very glad Jones offered me a lift home as the rain certainly seemed to get much heavier!' (1966)
Pen and ink 32 x 24 cm Signed upper right. Cyril Kenneth Bird, under the name Fougasse, was a British cartoonist. He was art editor of Punch 1937 - 1949, and subsequently editor until 1953. He is best known for his ‘Careless Talk Costs Lives’ series of posters, and produced many other posters for the Ministry of Information and London Underground. His pen and ink cartoons for Punch are some of his gentlest and funniest works. Provenance: The Fine Art Society Ltd., 148 New Bond Street, June 1966. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
N. V. Gray
The Royal Wedding: Picture Map of the Route through London (1947)
Lithograph 50 x 76 cm Produced by H.A. & W.L. Pitkin Ltd for the Daily Telegraph and published by Geographia Ltd., of Hutchinson & Co. Signed in plate lower right. Complete with slip showing the genealogy of the two parties. Princess Elizabeth (later Her Majesty Queen Elizabeth II) and Prince Philip married on Thursday 20th November 1947 at Westminster Abbey in London. This map, commissioned and sold by the Daily Telegraph newspaper, was designed by N. V. Gray. It depicts the route the carriage processions took on the way to the Abbey; Princess Elizabeth and her father King George Vi travelled in the magnificent Irish State Coach. Crests of London's boroughs border this delightfully coloured map. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Lancaster LL678 'Lily Mars' - 2
Original Silver Gelatin photograph, December 1943 12 x 16 cm Stamped to reverse 'The Photograph has been passed by Censor' 'Copyright This TP copyright illustration from "The Aeroplane" must not be reproduced without the written permission of Temple Press Ltd'. 'Lancaster II heavy bombers are now flying with RAF BOMBER COMMAND.' 300 Lancaster II aeroplanes were made, fitted with Bristol Hercules radial engines, as there was a worry that there would be a shortage of Merlin engines, reserved for the Spitfire and Hurricane. Lily Mars was named after the 1943 American musical starring Judy Garland and was based at RAF Waterbeach, in Cambridgeshire. A podcast (click) gives details of the final flight on 13 June 1944 which was to be the final raid of the crew's tour. The bombing raid was of 303 Lancasters against the Nordstern synthetic oil plant at Gelsenkichen in the Ruhr, deep inside Germany and the aircraft took off at 23.12 hrs. On the home run LL678 was intercepted and shot down by a night fighter capitained by Oberleutnant Schmidt in a Bf 110 at 01.24 hrs at Zuidloo, a small hamlet, where five of the eight crew are buried; the other three crew members baled out and escaped. A memorial plaque was laid on 4 May 2016 and a Lancaster flypast was arranged. Owing to technical problems a Dakota from the BBMF was sent instead. On 4 May 2022 the Lancaster of the BBMF undertook a flypast which can be seen here. Dietrich Schmidt (1919-?) had 29 confirmed night kills by the time of LL678, achieving 41 kills by the end of the war off 171 missions and was awarded the Ritterkreuz - Knight's Cross. In 1999 the living crewmembers, Dutch resistance, and Schmidt and his wireless operator met in the Netherlands. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. -
Lancaster LL678 'Lily Mars' - 1
Silver Gelatin photograph, December 1943 12 x 16 cm Stamped to reverse 'The Photograph has been passed by Censor' 'Copyright This TP copyright illustration from "The Aeroplane" must not be reproduced without the written permission of Temple Press Ltd'. 'A general view of an Avro Lancaster II with Hercules radial motors.' 300 Lancaster II aeroplanes were made, fitted with Bristol Hercules radial engines, as there was a worry that there would be a shortage of Merlin engines, reserved for the Spitfire and Hurricane. Lily Mars was named after the 1943 American musical starring Judy Garland and was based at RAF Waterbeach, in Cambridgeshire. An excellent podcast (click) gives details of the final flight on 13 June 1944 which was to be the final raid of the crew's tour. The bombing raid was of 303 Lancasters against the Nordstern synthetic oil plant at Gelsenkichen in the Ruhr, deep inside Germany and the aircraft took off at 23.12 hrs. On the home run LL678 was intercepted and shot down by a night fighter capitained by Oberleutnant Schmidt in a Bf 110 at 01.24 hrs at Zuidloo, a small hamlet, where five of the eight crew are buried; the other three crew members baled out and escaped. A memorial plaque was laid on 4 May 2016 and a Lancaster flypast was arranged. Owing to technical problems a Dakota from the BBMF was sent instead. On 4 May 2022 the Lancaster of the BBMF undertook a flypast which can be seen here. Dietrich Schmidt (1919-?) had 29 confirmed night kills by the time of LL678, achieving 41 kills by the end of the war off 171 missions and was awarded the Ritterkreuz - Knight's Cross. In 1999 the living crewmembers, Dutch resistance and Schmidt and his wireless operator met in the Netherlands. -
An Avro Lancaster II at its dispersal point
Silver gelatin print 12 x 16 cm Stamped to reverse 'This photograph has been passed by censor' 'Copyright. The TP copyright illustration from 'The Aeroplane' must not be reproduced without the written permission of Temple Press Ltd.' December 1943 The Avro Lancaster II was fitted with the rotary Bristol Hercules engine. There was a fear that there would be a shortage of Rolls-Royce Merlin engines, therefore 300 were produced by Armstrong Whitworth in Coventry with an alternative engine. Here it is pictured at an airfield, coming out of the mist. Somewhere probably in East Anglia, an area prone to fog, this atmospheric shot is enhanced by the second Lancaster bomber that is just about visible in the background and the human figure, dwarfed by the aeroplane, standing on concrete to the right. Condition: good. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. -
Lancaster Bomber with Crew
Original silver gelatin photograph c. 1943 16 x 21 cm Stamped to reverse 'This Photograph has been Passed by Censor' and 'Copyright Aeroplane [Magazine]' A photograph of the ground- and air-crew of DS689. The engine fitter second from left is Samuel Greisman. That the aeroplane has five operations marked on its nose suggests a date of late August or early September for the photograph. This photograph was published in 'Jews in Uniform' by Michael Greisman, published by Aster Publishing. DS689 OW-S (identified from this photograph on account of the nose art) served with 426 (Thunderbird) Squadron RCAF, based in Linton-on-Ouse (north of York). The Thunderbird featured inthe squadron crest is a North American native symbol signifying disaster and death to anybody who perceives it. The squadron converted to the Hercules-powered Lancaster II on 17 August 1943. Lancaster IIs were fitted with radial Bristol Hercules engines as it was feared there might be a shortage of Rolls-Royce Merlin engines. This particular aircraft was also able to carry 'cookies' with its extended bomb bay. DS689 was shot down by night-fighter on 8 October 1943 - prior to the date of publication of this photograph - near Rachecourt-sur-Blaise. It was on a 323-bomber mission to bomb Stuttgart in Germany, piloted by P/OMB Summers and equipped with the Airborne Cigar jamming system (ABC for short). This was the first operation using the ABC(3) jamming system, and only a small number of aircraft was lost on this raid. ABC jammed the airways and made night-fighter communications almost impossible. The Germans referred to is as 'dudelsack' (bagpipes) owing to the warbling sound. No 101 Squadron was the prime operator of this equipment and as a consequence of not maintaining radio silence suffered very high losses during the war; moreover its aircraft were on almost every bombing raid. A German-speaking operator identified the channels the night fighter operators were using and loud noise was played on that channel. Stuttgart was cloud covered and severe fog set in later, so bombs were dropped over a scattered area, destroying 344 houses and damaging a further 4,568. On its home run DS689 was intercepted by Oblt. Ferdinland Christiner from 5./NJG4at 3,800m and shot down (Christiner himself was shot down on 5/6 July 1944). Two crew members bailed out, the rest of the crew died in the crash and are buried in the local churchyard, click here to see photographs. The funeral was attended by the whole village and residents of the surrounding countryside and La Marsellaise was sung - to the annoyance of the Germans. The funeral was recorded by a photographer (click here) Condition: generally good. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. -
Lancaster Bomber De-icing System
Silver Gelatin photograph 1943 12 x 16 cm Stamped to reverse 'This photograph has been passed by censor. 17 Dec 1943' 'Copyright This TP copyright illustration from "The Aeroplane" must not be reproduced without the written permission of Temple Press Ltd.' 'De-icing system. - Cold air is passed into the flame-trap exhaust and forces hot air into wing leading edge.' Condition: good. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. -
Lancaster bomber LL683 General View of Hercules Power Egg
Silver Gelatin photograph 17 December 1943 12 x 16 cm LL683 JI-P was a Lancaster II and therefore fitted with Bristol Hercules engines rather than the Rolls-Royce Merlin. 350 aircraft were outfitted thus, as a result of fears of shortages of the Merlin. The Hercules came complete as a 'power egg' which is a modular engine installation including ancillary equipment which could be swapped over rapidly for maintenance purposes. LL683 was assigned to 514 Squadron RAF, stationed at Waterbeach from December 1943 with an operational strength of thirty aircraft. The squadron eventually received sixty-seven such Lancasters (fifty-nine of which were destroyed by enemy action or accident). Stationed at Waterbeach from December 1943, the squadron had previously been stationed at RAF Foulsham in Norfolk. Three of the bombers made the move between the two airfields via a bombing raid on Berlin, the crew members' kit - including bicycles - also travelling via Berlin. LL683, serving with 514 Squadron RAF and stationed at Waterbeach had John Clare Gilbertson-Pritchard as pilot for a bombing raid on Stuttgart on the night of 01/02 March 1944. Back in action on 30/31 March for a 795-bomber raid raid on Nurnberg and piloted by W/O WL McGown, the aeroplane suffered a forced landing at Sawbridgeworth; all crew members survived though one broke his back and never flew again. Condition: good. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. -
Lancaster Bomber W4131 Undercarriage
Original silver gelatin photograph c. 1943 21 x 16 cm Stamped 'Copyright Aeroplane Magazine' Stamped 'Passed by Censor' Rare; we have been unable to trace another copy of this photograph in any collection. W4131 served with 50 Squadron, based at Swinderby. On 18 August 1942 W4131 crash landed at Swinderby on return from a training flight at 17.15. The wheels were retracted too soon on take-off by pilot SGT PH Blaskey, damaging the undercarriage. The pilot and crew were uninjured. It is possible that this photograph records repairs to the undercarriage following this incident. On 28 March 1943 W4131 was involved in another incident, again at Swinderby. Although the aeroplane landed safely, the airframe was found to have been strained during a fighter affiliation exercise as a result of violent movements. On 1 June 1943 while serving with 1660 HCU (Heavy Conversion Unit) the undercarriage collapsed following an engine failure during take-off from Swinderby. The aircraft was written off on 12 June 1943. Condition: good. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. -
Soviet Union pro-Lenin Marxist Bulgarian propaganda poster design (circa 1950s)
Gouache on board 20 x 11.5 cm After a Communist takeover in 1945, Bulgaria was a Soviet ally during the Cold War, and maintained good relationships with Russia until the Revolutions of 1989. From 1945 to 1948, the country became entrenched within the Soviet sphere of influence under the control of the Bulgarian Communist Party (BCP) which oversaw a program of Stalinization in the late 1940s and 1950s. Both countries are Slavic nations, and are bound together by a common Orthodox Christian culture. This poster design is a piece of Leninist propaganda, designed to make Bulgarians associate Lenin and Soviet Marxist rule with efficiency and plenty. It is inscribed to the reverse in Bulgarian 'To grow plants in rows next to each other - the thickest row with straight cobs'. The Pirin Mountains referred to in the top left-hand corner are a mountain range in southwestern Bulgaria. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Soviet Union socialist irrigation Bulgarian propaganda poster design (circa 1950s)
Gouache on board 18 x 11 cm After a Communist takeover in 1945, Bulgaria was a Soviet ally during the Cold War, and maintained good relationships with Russia until the Revolutions of 1989. From 1945 to 1948, the country became entrenched within the Soviet sphere of influence under the control of the Bulgarian Communist Party (BCP) which oversaw a program of Stalinization in the late 1940s and 1950s. Both countries are Slavic nations, and are bound together by a common Orthodox Christian culture. This poster design features huge juicy vegetables, grown as the result of newly-implemented irrigation systems. Socialist farming practices in Bulgaria were commonplace during its time as a Soviet ally or 'satellite'; the government was keen to encourage well-yielding farming practices and to be seen as a protector of agricultural infrastructure turing this turbulent period of the 20th century. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Bulgarian pro-natalist propaganda poster design (circa 1950s)
Gouache on board 17 x 12 cm After a Communist takeover in 1945, Bulgaria was a Soviet ally during the Cold War, and maintained good relationships with Russia until the Revolutions of 1989. From 1945 to 1948, the country became entrenched within the Soviet sphere of influence under the control of the Bulgarian Communist Party (BCP) which oversaw a program of Stalinization in the late 1940s and 1950s. Both countries are Slavic nations, and are bound together by a common Orthodox Christian culture. This poster design, painted in warm pink-purple tones and depicting a Bulgarian soldier holding a toddler aloft, was designed as post-war pro-natalist propaganda (likely from the 1950s). Bulgaria and its Soviet allies had lost a huge number of men during the war, and this design for a poster was intended to encourage Bulgarians to have more children. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Sir Leslie 'Spy' Ward for Vanity Fair Magazine
An MFH with a sense of humour (1905)
Lithograph 36 x 21 cm Published in Vanity Fair on 23rd November 1905. The 'MFH with a sense of humour' depicted here is Richard Greville Verney, 19th Baron Willoughby de Broke (1869 - 1923), British peer, Conservative politician, and Master of Foxhounds. Verney was the son of Colonel Henry Verney, 18th Baron Willoughby de Broke and Geraldine Smith-Barry, and was educated at Eton College and New College, Oxford. The historian George Dangerfield described Verney as "a genial and sporting young peer, whose face bore a pleasing resemblance to the horse. ... He had quite a gift for writing, thought clearly, and was not more than two hundred years behind his time." He wrote a book on foxhunting called "Hunting the Fox", which was published in 1921 and remains an acclaimed text on the sport today. Verney represented Rugby, Warwickshire, as an MP from 1895–1900. In 1902 he succeeded his father as 19th Baron Willoughby de Broke. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Edward Bawden (1903 - 1989)
Aesop's Fables: Peacock and Magpie (1970)
Linocut print 63 x 75 cm Signed, numbered 11/50, and titled in pencil. A delightful print illustrating Aesop's fable of the Peacock and Magpie. In the fable, the birds are searching for a king, and the Peacock puts himself forward. The birds are about to make him king because of his charming plumage, but a Magpie asks the Peacock how he might defend the birds from predators. The Peacock has no answer. Aesop's moral is that those in power must be suited to the task, and not just vain pretenders. The artist's use of vibrant colour brings the tale to life. 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; small stain to extremity that will be hidden under mount. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
H. Fluiss
Charles Payne, Huntsman to the Pytchley Hounds on Redtape with the hound Trueman (1862)
Watercolour with body colour 36 x 43 cm A mid-nineteenth century watercolour depicting Charles Payne (1884–1967), huntsman to the Pytchley. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Stanton Ward CBE (1917 - 2007)
St John's College, Cambridge
Watercolour 30 x 47 cm John Stanton Ward CBE was an English portrait artist, landscape painter and illustrator. This view of St John's highlights the dreamlike quality of the college and its city. Ward depicts Cambridge on a winter afternoon; the trees are bare, and the afternoon sun sets gently over the city's lawns and high spires. Condition: very good. -
G. Cooper
Oriel College, Oxford
Watercolour 27 x 35 cm A view of Oriel's Second Quad, featuring the Wyatt Building on the left. Designed in the Neoclassical style by James Wyatt, it was built between 1788 and 1796 when the College's library doubled in size thanks to a generous gift by Edward, Baron Leigh, formerly High Steward of the university and an alumnus of Oriel. The building has rusticated arches on the ground floor and a row of Ionic columns above, dividing the façade into seven bays. Cooper's watercolour focuses on the architectural merit of the building, highlighting the sandy tone of Oxford's famous Headington stone. Two figures in academic dress take part in a spirited discussion just outside the building. Condition: generally very good. -
Bernard Cecil Gotch (1876-1964)
Clarendon Building and Sheldonian Theatre, Oxford
Watercolour 27 x 39 cm Signed lower right. Gotch's wintry view of the Clarendon and the Sheldonian captures both the most illustrious architecture of the University of Oxford, and the building works taking place to build a new library. Gotch paints his scene from a viewpoint just in front of Wadham College; the Radcliffe Camera and the spire of the University Church of St Mary the Virgin are visible behind the Sheldonian's roof. The building site visible across from Wadham is the site where the New Bodleian now stands. Bernard Cecil Gotch was a Winchester born artist who is best known for his atmospheric watercolours of Britain's towns and cities (most notably Oxford). He moved to Oxford in 1927, painting many watercolours of the interiors and exteriors of Oxford’s many buildings. His works concentrate on the grand exteriors and interiors of the University's colleges, and he exhibited frequently - including an exhibition every term at Oriel College. His first notable commission was for the publisher Methuen, illustrating 'A Shepherd’s Life' by W H Hudson. Whilst in London he was invited to illustrate a book on the Public Schools of England (which was sadly never completed). He exhibited watercolours at the Fine Art Society and Lincolns Inn, and also exhibited at the Royal Academy. In 1952 Gotch was given an Honorary MA by the University of Oxford, and, after his death in 1963, a memorial was held for him at Oriel. Condition: very good; original oak frame. -
Walter Hoyle (1922-2000)
St Catharine's College, Cambridge (1956-66)
Linocut 59 x 39 cm Signed lower right; inscribed and numbered 35/75 in pencil. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Yard and the Fry Art Gallery. Condition: very good. -
Robert Tavener (1920 - 2004)
Lansdown Parade, Cheltenham
Watercolour and pen 38 x 46 cm Signed lower right. The thin watercolour wash of the lawns and the fine ink pen expression of the college's architecture create a contrast between the natural and the man-made in this picture by Tavener. He painted several views of the city of Cheltenham and its architectural landmarks, including of Cheltenham College (this picture is available here). Condition: generally very good. -
Darton and Harvey (publisher)
Map of London, Southwark, and parts adjacent (1800)
Engraving 42 x 56 cm Condition: generally very good; backed to linen with some evidence of use. -
Robert Tavener (1920 - 2004)
Cheltenham College
Watercolour and pen 28 x 35 cm Signed lower right. What is particularly interesting about this picture is the contrast between the rugged watercolour wash of the lawn and the fine pen expression of the college's architecture. Tavener painted several views of the city of Cheltenham and its architectural landmarks; Cheltenham College is a public school just outside the city, and Tavener expertly elicits its mid-nineteenth century architectural style here. -
Bernard Cecil Gotch (1876-1964)
Worcester College, Oxford
Watercolour 26 x 38 cm Signed lower right. Gotch's watercolour highlights the verdant lawns and leafy foliage of one of Oxford's greenest and most beautiful colleges. Bernard Cecil Gotch was a Winchester born artist who is best known for his atmospheric watercolours of Britain's towns and cities (most notably Oxford). He moved to Oxford in 1927, painting many watercolours of the interiors and exteriors of Oxford’s many buildings. His works concentrate on the grand exteriors and interiors of the University's colleges, and he exhibited frequently - including an exhibition every term at Oriel College. His first notable commission was for the publisher Methuen, illustrating 'A Shepherd’s Life' by W H Hudson. Whilst in London he was invited to illustrate a book on the Public Schools of England (which was sadly never completed). He exhibited watercolours at the Fine Art Society and Lincolns Inn, and also exhibited at the Royal Academy. In 1952 Gotch was given an Honorary MA by the University of Oxford, and, after his death in 1963, a memorial was held for him at Oriel. Provenance: detailed on label to reverse. Condition: generally very good, painted on 'rough' paper; signed and titled to label. -
'Eton College, a scholar on the steps' (early 20th century)
Oil on canvas 62 x 49 One of our favourite paintings. A lone scholar descends the Chapel steps, a human focal point in an oil painting primarily concerned with the College's fine architecture. A blur of green and red sprouts at the bottom of the wall - flowers. In a handsome period hardwood frame. Condition: very good. -
Ray Turrefield (active late 20th century)
Hitcham Building, Pembroke College, Cambridge (1978)
Print 18 x 25 cm Signed and dated lower right. A print of Pembroke College, Cambridge's Hitcham Building. Built in 1659, the Hitcham Building marks the first instance in Pembroke of the Classical Style, which was soon to find full expression in Wren’s Chapel. The building was intended for the Master’s use and was originally connected to the former Master’s Lodge. Both the poet Thomas Gray and the Prime Minister William Pitt lived in the building during their times at Pembroke. Condition: very good. -
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. -
John Piper (1903-1992)
St James the Less, Westminster
Screenprint 65 x 49 cm From the 'Retrospect of Churches' series, numbered 24/70. Generally very good. Signed in pencil. 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. A Retrospect of Churches was issued as a suite of 24 original colour lithographs in colour, in an edition of 70 copies (70 numbered copies plus five artist's proofs). This poignant and dramatic representation of St James the Less is an evocative depiction of this part of London in the evening: wet pavements reflect the bright lights of the buildings, and the church is a warm, moody reddish-purple against the deep black of a dark night. Condition: Generally very good. -
J. Lewis (fl. 1801-1808)
Eton College from the River
Oil on canvas 41 x 62 cm Signed lower left. While not a prolific artist, Lewis was noted for his views of the Thames - this view of Eton College is remarkable for its depiction of the river and wider environs of the school, as well as its architecture. Two snowy swans and boater-clad boys complete the view from the other sides of the Thames. Condition: very good. -
Charles "Snaffles" Johnson Payne (1884-1967)
The Huntsman: "The 'oss loves the 'ound but I loves both"
Lithograph 47 x 43 cm Signed in pencil with Snaffles' bit blindstamp, in original 1/2" frame. 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: very good. Small chip to bottom centre of frame. -
Cecil Aldin (1870 - 1935)
The Master
Lithograph 48 x 40 cm A jolly lithograph of an MFH and his hounds. Cecil Charles Windsor Aldin was a British artist and illustrator best known for his paintings and sketches of animals, sports, and rural life. Aldin executed village scenes and rural buildings in chalk, pencil, and also wash sketching. He was an enthusiastic sportsman and a Master of Fox Hounds, and many of his pictures illustrated hunting. Aldin's early influences included Randolph Caldecott and John Leech. Condition: generally very good, a few marks to margins, one or two marks to frame. -
Julian Trevelyan (1910-1988) Islam Etching 35 x 48 cm (sheet size 55 x 68 cm) Nephew of the historian G M Trevelyan, Julian Trevelyan was educated at Bedales and then at Trinity College, Cambridge, where he read English. After moving to Paris, Trevelyan studied engraving at Stanley William Hayter’s school, working alongside artists such as Max Ernst, Joan Miro and Pablo Picasso. He married the potter Ursula Darwin in 1934, and in 1935 they moved to Hammersmith, buying Durham Wharf beside the River Thames which was Trevelyan’s studio – and home – for the rest of his life. His wartime service was – like so many artists – as a camoufleur. A Royal Engineer from 1940-43, he served in North Africa and Palestine, forcing the German Afrika Korps to use resources against a dummy army whilst real tanks were disguised as more harmless equipment. In the desert, nothing could be hidden - but it could be disguised. Following the dissolution of his marriage in 1950, he married the painter Mary Fedden. Teaching at Chelsea School of Art, Trevelyan eventually became head of the Etching Department and his pupils included David Hockney and Peter Ackroyd. Condition: mounted to board. -
Albert Walter Moore (1874 – 1965)
Design for 30 Fenchurch Street (1915)
Pencil and watercolour on paper 38.1 x 62 cm Signed and inscribed ‘Albert W Moore FRIBA Architect, 112 Fenchurch St, March 1915’. Provenance: Sotheby’s lot 166, 25 June 1981. A design for a fine building on the Plantation House site (the site was cleared in 2005 for a new building, '30 Fenchurch Street'). The architectural drawing is rendered carefully in pencil, with blue, yellow, and brown washes adding colour and depth to the picture. Moore was articled to George Hubbard, and the two became partners in 1898. He studied at the West London School of Art and was a member of the Architectural Association. Condition: very good; some losses to frame. -
Norman Clayton Hadlow Nisbet ARIBA
Design for Fairfield House, Droxford, Hampshire (c. 1910)
Watercolour and pencil 33 x 51 cm Signed and extensively inscribed. Exhibited at the Royal Academy, 1910. A fine design for an Edwardian country house in England by Norman Nisbet ARIBA, an architect who at the time was practising at 45 Jewry Street, Winchester. The house still stands today, although it is subject to proposals for extension and conversion to a hotel. Condition: very good. -
Peter Collins ARCA (1923-2001)
Still Life of a Fruit Bowl (c. 1960s)
Oil on canvas 40 x 51 cm Signed lower right. A stylish mid-century still life with fruit. Collins's first job was at an advertising agency, in the commercial studio. World War II interrupted his career and he joined the Royal Artillery (of the British Army), teaching painting and drawing in the Education Corps - whilst simultaneously teaching at St Martin's School of Art, part time. Following the war, Collins studied at the Royal College of Art, winning a scholarship. He then worked as a commercial artist, producing some well-known posters for clients including British Railways and British European Airways. He was the Art Director at Odhams Press and spent time designing for both ICI and Shell. With his wife Georgette, he created the 'Bacombe Galleries' in Sussex, converting a group of buildings into a gallery space. In 1975 they developed the Stanley Studios in Chelsea, which were scheduled for redevelopment, into a combined artists' studio and residence. Moving into the Stanley Studios allowed the Collinses to immerse themselves in Chelsea's art scene, and they proceeded to fill the studios with art, antiques, scupture, and other curios. Provenance: the artist's studio sale 2017, lot 2050. Condition: very good. -
Angela Stones (1914 - 1995)
Still Life with Fruit and Bottle
Oil on board 39 x 49 cm A stylish mid-century still life. Stones was educated at the Chelsea School of Art, and was a member of an artistic dynasty. Her mother Dorothy Bradshaw (1893-1983) studied under Jack Merriott – the artist famous for his British Rail posters, and her son, Christopher Assheton-Stones (1947-1999), was arguably the foremost pastel artist of his time. Provenance: the family of the artist. Condition: Generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Gideon Yates
View on The Thames with Staines Bridge
25 x 48 cm Watercolour Charmingly signed lower left, on the side of the stone c.1830 Little is known of the life of Yates. Even his date of death is disputed with some sources putting it at 1837. What is known is that he spent most of his working life in London, producing many detailed views of The Thames such as this one. His style is very distinctive, and this large and impressive view of London Bridge is a typical view. He is thought to have lived in Lancaster in 1811, and to have travelled widely throughout Britain and the Continent. His works are in public collections including the Victoria and Albert Museum. UK Government Art Collection item 6701 is another view of The Thames by Yates. Click here for other paintings by Yates. 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. -
David Loggan (1634-1692) University of Cambridge Frontispiece and Dedication for Cantabrigia Illustrata (1690) Engraving 38 x 55 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (c. 1708). The contemporary artist Andrew Ingamells (b.1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. -
Samuel Howitt (1765-1822) after Thomas Williamson (1758-1817)
Exhibition of a Battle between a Buffalo & a Tiger' from Oriental Field Sports (1819)
Hand-coloured aquatint 35 x 47 cm Captain Thomas Williamson served in a British regiment in Bengal, India. He was known as a keen sportsman and, after returning to England, his notable interest in contemporary Indian sports attracted the attention of the publisher Edward Orme. Orme was a British engraver, painter and publisher of illustrated books, and in 1805 he commissioned Williamson to produce a work focused on Oriental sports and animals. The book took two years to complete, with the painter Samuel Howitt commissioned to produce watercolours based on original sketches by Williamson, most of which he had created while in India. The book in which the aquatint plates after Howitt were published was called Oriental Field Sports, which describes itself as 'being a complete, detailed, and accurate description of the wild sports of the East and exhibiting, in a novel and interesting manner, the natural history of the elephant, the rhinoceros, the tiger, and other undomesticated animals'. -
E. T. Talbot
St John's College, Cambridge, showing the First Court and Chapel
Watercolour 30 x 25 cm A richly-coloured watercolour painting of the First Court of St John's. First Court was built in 1511-20 to the south of the old Hospital of St John the Evangelist, and was designed to contain living quarters, chapel, library, hall, and kitchens. The version of First Court which Talbot paints looks markedly different to the college today - the chapel on the far left of the picture was demolished after the new chapel was completed in 1869. -
Gwyneth Johnstone (1915 - 2010)
The Railway Bridge
Mixed media 64 x 83 cm Signed lower left in paint, and monogrammed lower left in pencil. Provenance: the estate of the artist. Johnstone explores the possibilities of abstraction in this semi-delirious depiction of a railway bridge. Painted in tones of burnt umber, orange, grey, and black, the picture is populated by warped railings, bending trees, and staring onlookers, all of which centre around a railway line and bridge. Tanya Harrod described Johnstone's painting style a 'a hallucinogenic, haunting pastoral', and that is immensely evident in this picture. Johnstone was an English painter who worked mostly in oils and often depicted poignant modern landscapes. Her parents were the musician Nora Brownsford and the artist Augustus John. She studied at the Slade School of Fine Art, where she established lifelong friendships with fellow artists Mary Fedden and Virginia Parsons. After the Slade, Johnstone was taught academicised cubism by the painter André Lhote at the Académie de la Grande Chaumière in Paris. For a brief period in the early 1950s she took life classes with the surrealist artist Cecil Collins at the Central School of Arts and Crafts. -
Sarah Orange (19th century)
The Kitchen Bridge, St John's College, Cambridge (c. 1830)
Watercolour 14 x 20 cm Provenance: Bene't Gallery, Cambridge. This 19th century watercolour depicts the Kitchen Bridge at John's. A scholar in gown and mortarboard stands alone in the bridge's centre, gazing meditatively into the glassy water below. -
Sydney Vale F. R. S. A. (1916 - 1991)
A warship passing under Tower Bridge
Watercolour 35 x 50 cm Born in 1916, Sydney Vale was a Fellow of the Royal Society of Arts and a member of the prestigious Wapping Group of Artists from 1972 to 1991, which was formed primarily to record life in London's Docklands. Within this group, Vale and his contemporaries specialised in portraying the charm and romance of the River Thames from source to estuary. -
Violet Hilda Drummond (British, 1911-2000)
Westminster Abbey
Watercolour 33 x 43 cm Signed lower right. Here, the artist paints a sprightly view of Westminster Abbey, which rises from a sea of nondescript pedestrians. The mostly monochrome palette, gently highlighted with splashes of a muted red, and white details, communicates the character of the city. Drummond's father, a Scots Guard, was killed at Ypres in 1914. Drummond and her two sisters were brought up by her mother and educated in Eastbourne and at Le Chateau Vitry-sur-Seine, a Parisian finishing school. After Paris, Drummond attended St Martin’s School of Art. Later in life, she began writing children’s picture books – the most notable being Miss Anna Truly (1945) and her Little Laura series (1960 onwards). She also produced cartoons for the BBC. 'Mrs Easter and the Stork' – published in 1957 by Faber & Faber – was awarded the Kate Greenway Medal. Drummond later took to painting watercolours of London street scenes which have remained popular ever since. Provenance: the Arthur Andersen art collection. -
Violet Hilda Drummond (British, 1911-2000)
St Paul's Cathedral
Watercolour 33 x 43 cm Signed upper right (visible in the photograph showing the framed painting). Provenance: the Arthur Andersen art collection. Here, the artist paints a sprightly view of St Paul's, which rises from a sea of nondescript traffic and pedestrians. The mostly monochrome palette, gently highlighted with a yellow wash and white details, communicates the character of the city. Drummond's father, a Scots Guard, was killed at Ypres in 1914. Drummond and her two sisters were brought up by her mother and educated in Eastbourne and at Le Chateau Vitry-sur-Seine, a Parisian finishing school. After Paris, Drummond attended St Martin’s School of Art. Later in life, she began writing children’s picture books – the most notable being Miss Anna Truly (1945) and her Little Laura series (1960 onwards). She also produced cartoons for the BBC. 'Mrs Easter and the Stork' – published in 1957 by Faber & Faber – was awarded the Kate Greenway Medal. Drummond later took to painting watercolours of London street scenes which have remained popular ever since. -
Frank Algernon Stewart (1877-1945) The Heythrop at Stow on the Wold Lithograph 24 x 63cm Signed in pencil. Framed. A typical hunting print by Stewart, showing one of the country's leading packs. Condition: Slight, even, loss of colour, as expected. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Anonymous, c.1850
'The handsome Ritualistic Priest, arrayed in purple and fine linen irresistible with the "Devout Women"' Caricature
Pen, ink and watercolour 20 x 24 cm By repute this item was found in the rooms of John Keble (1792-1866) at the Hermitage Hotel in Eastbourne after his death in 1866, together with another caricature watercolour of the 'Cotton-ia Worcester-ienisis' which we also have for sale. Condition: Generally very good, slight toning to paper. -
Anonymous
Rags Every bit of rag still urgently required
WW2 British Home Front Poster 75x49cm Lithograph in four colours If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Nora Davison (1881-1930)
Eton College (c.1920)
31 x 26 cm Watercolour Signed, lower left Nora Davison was a well-known figure around Eton, being responsible for many watercolours. An acclaimed painter of coastal scenes and landscapes she exhibited at inter alia, the Fine Art Society, Walker Art Gallery Liverpool, the New Gallery, Royal Academy, Royal Society of British Artists and Society of Woman Artists. Condition: Generally good - slight loss of colour, mounted to board. -
F F Hoyland Balliol College, Oxford (1880) Watercolour 44 x 66 cm Signed lower left and dated. An impressive watercolour of Balliol College. Scholars, sporting gowns and mortarboards, gather in the quad. Hoyland's stylistic precision transforms this watercolour into a beautifully executed depiction of the College's architecture. -
Norman Adams RA (1927-2005)
The Sound of Scarp and Vision of Bernadette (c.1980) (Double sided)
24 x 26 cm Watercolour Norman Adams RA, former professor of painting at the Royal Academy, felt strongly that, "art [without religion] would be a pretty empty vocation." Despite not going to church, nor identifying with any specific belief system, the artist's paintings of the natural world, often dramatic in nature, betray a strong spiritual intensity. On one side of this watercolour Adams has painted a monumental wave crash, captioned 'Southwest Wind - Very Rough Sea The Sea of Scarp.' On the other, is a softer, lilac abstraction entitled 'Vision of Bernadette', a reference to Saint Bernadette's famous visions of Mary at the Lourdes grotto. He studied at Harrow School of Art (1940-46) and then the Royal College of Art (1948-51). His first solo show was at Gimpel Fils in 1952, and his last at the Fine Art Society in 2004. His works included many murals and stage designs. There are many of his major works in the national collection, including the Tate, Leeds Museums, The Whitworth, the Royal College of Art, Bristol Museums, Leicester Museums, The Royal Academy and the Hepworth, Wakefield. -
Charles March Gere R.A. R.W.S. (1869 - 1957) King's College from the Backs Watercolour 36 x 69 cm Monogrammed lower left. An atmospheric watercolour of one of Cambridge's most exalted sights: King's College chapel from the Backs, together with Clare College. Charles March Gere R.A. R.W.S. was an English painter, illustrator of books, and stained glass and embroidery designer associated with the Arts and Crafts movement. -
'Bisto for all Meat Dishes'
Original vintage poster 55 x 202 cm This original vintage poster is an excellent opportunity to acquire a piece of British advertising history. Bisto is an instantly recognisable brand today, and has been throughout the 20th century; the catchphrase on the poster here, "Bisto for all meat dishes" was used in the 1950s. The first Bisto product, in 1908, was a meat-flavoured gravy powder which rapidly became a bestseller in the UK. It was added to gravies to thicken them and give a richer taste and aroma. Invented by Messrs Roberts & Patterson, it was named "Bisto" because it "Browns, Seasons and Thickens in One". As of 2005, Bisto Gravy Granules had a British market share of over 70%. Nearly all British grocery outlets stock a Bisto product. -
Ethel Louise Rawlins (1880 – 1940)
A Garden Below the South Downs
Oil on canvas51 x 61 cmSigned lower right.Rawlins was a painter who studied at the Slade School of Fine Art and in Newlyn, Cornwall. She settled in Sussex in the early 1920s, and often painted the rolling hills of the Sussex landscape. Here, blue hills and a grey sky serve as the background for an extensive garden complete with stone urns, flowers, and slanting shadows created by the late afternoon sun. -
Franz Herbelot (French, active 1940s-1950s) Paris: La Rue de Chevalier de la Barre la nuit Lithograph 28 x 22 cm A fantastic lithograph by Herbelot which brilliantly captures the spirit of mid-century Paris. Little is known of Herbelot's life, but he is most notable for his views of Paris. The Rue de Chevalier de la Barre is a street in Montmartre named after the Knight de la Barre, François-Jean Lefebvre de la Barre, who died in 1766. Here, we see the street as it was in the 20th century, brimming with ladies and gentlemen dressed à la mode, bathed in the warm light of thriving bistros and hotels. -
Cuthbert "CB" Bradley for Vanity Fair Magazine 'A Judge': The Rev Cecil Legard
11 July 1901 Lithograph 21 x 37 cm CB's cartoon depicts The Rev Cecil Legard (1843-1918), the Rector of Cottesbrooke and heir to the baronetcy. As well as a clergyman, Legard was a noted sportsman and hound expert; he was a steeplechase rider, and also edited the Foxhound Kennel Stud Book. CB depicts him judging hounds, excellently outfitted; as the biography on the reverse of the mounted lithograph notes, he might be 'the best judge of a foxhound in England'. A copy of the cartoon is held by the Kingston Lacy Estate in Dorset. Cuthbert Bradley was also a sporting man - he famously authored 'Fox-Hunting from Shire to Shire with Many Noted Packs' and worked as a sporting journalist for The Field. As well as illustrating for Vanity Fair, he painted polo and foxhunting scenes, and other pictures of equestrian interest. The majority of his Vanity Fair cartoons are of hunting men. The Vanity Fair magazine of 1868 to 1914 was subtitled 'A Weekly Show of Political, Social and Literary Wares'. Founded by Thomas Gibson Bowles, who aimed to expose the contemporary vanities of Victorian society, it featured regular full-page, colour lithographs of famous (or infamous) contemporary figures. It is for these caricatures that the original Vanity Fair is best known today. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. -
Cuthbert "CB" Bradley for Vanity Fair Magazine 'Otho': Otho Paget
30 January 1902 Lithograph 21 x 37 cm CB's cartoon depicts John Otho Paget, noted beagler and author of 'Beagles and Beagling'. Cuthbert Bradley was also a sporting man - he famously authored 'Fox-Hunting from Shire to Shire with Many Noted Packs' and worked as a sporting journalist for The Field. As well as illustrating for Vanity Fair, he painted polo and foxhunting scenes, and other pictures of equestrian interest. The majority of his Vanity Fair cartoons are of hunting men. The Vanity Fair magazine of 1868 to 1914 was subtitled 'A Weekly Show of Political, Social and Literary Wares'. Founded by Thomas Gibson Bowles, who aimed to expose the contemporary vanities of Victorian society, it featured regular full-page, colour lithographs of famous (or infamous) contemporary figures. It is for these caricatures that the original Vanity Fair is best known today. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. -
Sir Leslie "Spy" Ward for Vanity Fair Magazine 'The Huntsman': Thomas Firr
1 November 1884 Lithograph 21 x 37 cm Depicting Thomas Firr, Huntsman of the Quorn, on the day of the season's opening meet. The illustrated volume 'Tom Firr of the Quorn: Huntsman Extraordinary' details Firr's days with the hunt, and considers him 'the greatest huntsman in England'. He was huntsman to the Quorn for 27 years from 1872 to 1899. The Quorn Hunt has a claim to be the oldest hunt in the country, having been founded in 1696 by Mr Thomas Boothby of Tooley Park, Leicestershire. Tooley Park lies about eight miles southwest of Leicester, just to the north of the Hinckley road. The hunt takes its name from the village of Quorn, where the hounds were kennelled from 1753 to 1904. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. Mounted to board, some age toning. -
Roland "Ao" / "Armadillo" L'Estrange for Vanity Fair Magazine 'Berks and Bucks': Sir Robert Rodney Wilmot
5 November 1903 Lithograph 21 x 37 cm Depicting Sir Robert Rodney Wilmot, in red hunting clothes and whip, of the Berks & Bucks Draghounds at their opening meet. Wilmot was educated at Eton and Oxford, and his hobbies famously included croquet. The Vanity Fair magazine of 1868 to 1914 was subtitled 'A Weekly Show of Political, Social and Literary Wares'. Founded by Thomas Gibson Bowles, who aimed to expose the contemporary vanities of Victorian society, it featured regular full-page, colour lithographs of famous (or infamous) contemporary figures. It is for these caricatures that the original Vanity Fair is best known today. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. Mounted to board, some age toning. -
C.A. Hay
Llangollen Bridge, Wales (early 19th century)
Pen, ink and monochrome watercolour 8 x 12 cm Llangollen Bridge is built across the River Dee at the North end of the high street of Llangollen in the county of Denbigshire in Wales. The Bridge is listed as one of the seven wonders of Wales and is Grade I listed. There has been a bridge across the Dee at Llangollen since at least 1284. Some historians believe that the bridge was constructed in the 1540s; there is evidence of sepulchral slabs within the bridge's masonry, indicating that it was rebuilt following the dissolution of Henry VIII's dissolution of the monasteries. We also have in stock an en-suite watercolour of the nearby Valle Crucis abbey, from which some of the bridge's stone might have been taken. Condition: Generally very good. Signed lower right. -
C.A. Hay
Valle Crucis Abbey, Wales (early 19th century)
Pen, ink and monochrome watercolour 8 x 12 cm Valle Crucis is a Cistercian abbey located in Llantysilio in Denbighshire, Wales. The abbey was built in 1201 by Madog ap Gruffydd Maelor, Prince of Powys Fadog. In 1537, at the height of Henry VIII's Dissolution of the Monasteries, Valle Crucis was dissolved and fell into disrepair. The abbey is now a ruin, though large parts of the original structure still survive. We also have in stock an en-suite watercolour of the nearby Llangollen Bridge; it is likely that some of the abbey's stone was used to build the bridge after the abbey had been dissolved. Condition: Generally very good. Signed lower right. -
Benjamin Cole (1697-1783)
South Prospect of Somerset House (c. 1753)
Engraving 24 x 37 cm Stow's Survey of London, a ward-by-ward topographical and historical tour of the City of London giving an account of buildings, social conditions and customs, was first published in 1598. Cole's architectural view of Somerset House illustrates the clean neoclassical proportions for which it is known. Condition: Trimmed by the binder's knife within plate marks; some offsetting from facing page; occasional soft creases; generally good. -
Benjamin Cole (1697-1783)
Southwark Cathedral (c. 1753)
Engraving 24 x 33 cm Stow's Survey of London, a ward-by-ward topographical and historical tour of the City of London giving an account of buildings, social conditions and customs, was first published in 1598. This view of Southwark Cathedral, labelled here as 'the South Prospect of the Church of St Saviour in Southwark', offers a charming perspective of the building's architecture and churchyard. Condition: Generally very good; slight offsetting from facing page and old library stamp to reverse. -
Charles Pulsford ARSA (1912-1989)
Abstract Landscape
Watercolour with wax resist 55 x 31 cm Provenance: the artist; the residual stock of William Hardie. Pulsford was born in Staffordshire to Scottish parents. His family returned to Dunfermline when he was a child, and he subsequently attended Edinburgh College of Art (ECA) between 1933 and 1937. He, along with other prominent Scottish artists, embraced modernism and abstraction following the end of the war. Alan Davie, William Turnbull, William Gear and Eduardo Paolozzi are the key artists of the group with which he was association, and the National Galleries of Scotland regard Pulsford as the 'fifth man' of the group. Between 1952 and 1960 he taught at ECA and then at Canterbury College of Art. Condition: Generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Charles Pulsford ARSA (1912-1989)
'Monochrome Landscape'
Watercolour with ink 39 x 43 cm Initialled lower left Provenance: the artist; the residual stock of William Hardie. Pulsford was born in Staffordshire to Scottish parents. His family returned to Dunfermline when he was a child, and he subsequently attended Edinburgh College of Art (ECA) between 1933 and 1937. He, along with other prominent Scottish artists, embraced modernism and abstraction following the end of the war. Alan Davie, William Turnbull, William Gear and Eduardo Paolozzi are the key artists of the group with which he was association, and the National Galleries of Scotland regard Pulsford as the 'fifth man' of the group. Between 1952 and 1960 he taught at ECA and then at Canterbury College of Art. Condition: Good. Paper slightly toned, a little spotting. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Robert Murdoch Wright (1889-1962)
Magdalen Tower, Magdalen College, Oxford (1910)
Oil on board 35 x 26 cm Signed and dated 1910 Murdoch Wright is best known for his scenes of Egypt, where he travelled and painted widely, see for example this pair sold at Christies. Here he captures Edwardian Oxford with elegantly dressed ladies crossing Magdalen Bridge. Condition: very good; recently cleaned and revarnished. -
Mabel Oliver Rae
Chapel Court, Sidney Sussex College, Cambridge
Etching, circa 1920 12 x 17 cm Hand-signed in pencil lower left, and titled in pencil lower right. Signed "MR" in plate. Mabel Oliver Rae was born in Cambridge, Cambridgeshire, and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works with the pseudonym 'M.Oliver Rae', a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. Condition: Generally very good. -
Mabel Oliver Rae
Chapel Tower of St John's College, Cambridge
Etching, circa 1920 19 x 7 cm Hand-signed in pencil lower left, and titled in pencil lower right. Signed "MR" in plate. Mabel Oliver Rae was born in Cambridge, Cambridgeshire, and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works with the pseudonym 'M.Oliver Rae', a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. Condition: Generally very good. -
Out of stock
Mabel Oliver Rae
Selwyn College, Cambridge
Etching, circa 1920 19 x 29 cm Hand-signed in pencil lower left, and titled in pencil lower right. Initialled 'MR' in plate. Mabel Oliver Rae was born in Cambridge, Cambridgeshire, and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works with the pseudonym 'M.Oliver Rae', a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. Condition: Good. Even age toning, a little spotting, generally good. -
Hugh Casson (1910 - 1999)
Oriel College, Oxford
27 x 39 cm Watercolour We are lucky to be able to offer here the original watercolour from which Casson’s print of the College was produced. We also (elsewhere on the site) offer the print from his ever-popular Oxford and Cambridge series. Sir Hugh Casson was educated at Eastbourne College; St John’s College, Cambridge; and the Bartlett School of Architecture. Trained in the 1930s in the early modernist style, he taught at the Cambridge School of Architecture. After employment as a camoufleur during World War 2 by the Air Ministry, in 1948 he was appointed as director of architecture for the Festival of Britain. A close friend of the Royal Family, he undertook designs for the 1953 coronation, designed the interior of the Royal Yacht Britannia (“The overall idea was to give the impression of a country house at sea”), and taught the Prince of Wales to paint in watercolours. Amongst his architectural achievements are the Elephant House at London Zoo, the 1978 redevelopment of Bristol Docks, the Raised Faculty Building for The University of Cambridge, and a building for the Royal College of Art. He published a number of illustrated books, of which Casson’s Oxford and Casson’s Cambridge are probably the best known. A limited edition series of prints was produced from the paintings. Condition: excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Hugh Casson (1910 - 1999)
St John's College, Oxford
Initalled in pencil 25 x 20 cm From Casson’s ever-popular Oxford and Cambridge series of prints. Sir Hugh Casson was educated at Eastbourne College; St John’s College, Cambridge; and the Bartlett School of Architecture. Trained in the 1930s in the early modernist style, he taught at the Cambridge School of Architecture. After employment as a camoufleur during World War 2 by the Air Ministry, in 1948 he was appointed as director of architecture for the Festival of Britain. A close friend of the Royal Family, he undertook designs for the 1953 coronation, designed the interior of the Royal Yacht Britannia (“The overall idea was to give the impression of a country house at sea”), and taught the Prince of Wales to paint in watercolours. Amongst his architectural achievements are the Elephant House at London Zoo, the 1978 redevelopment of Bristol Docks, the Raised Faculty Building for The University of Cambridge, and a building for the Royal College of Art. He published a number of illustrated books, of which Casson’s Oxford and Casson’s Cambridge are probably the best known. A limited edition series of prints was produced from the paintings. Condition: excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Bryan Ingham (1936-1997)
Erotische Bild (1988)
Oil on board 62 x 11 cm Provenance: Fracis Graham-Dixon gallery. Titled to backboard and dated 1988. Bryan Ingham was born in Yorkshire. For his National Service he joined the RAF, and spent his time in Germany as an airman. After demobilisation, his final report included the statement that "Ingham is an artistic sort of airman." In his spare time he had started painting in oils, and by the time he left the RAF he had completed a large number of paintings. He studied at St Martin's School of Art in London, where he had the tuition of a fine post-war generation of teachers who helped him to hone his draughtsmanship and other skills, and he swiftly showed a capacity for painting that drew the attention of his tutors and peers. On graduating he was offered and accepted a post-graduate place at the Royal College of Art, where in his second year he was awarded a Royal Scholarship and was a contemporary of a number of now better-known names including David Hockney. Ingham applied for and received a Leverhulme travel award to explore the sites of the great Renaissance painters, and spent many happy months engaged in this expedition. He spent time at the English Art school in Rome, where he lived well and busied himself the same studio that Barbara Hepworth had used. At this stage of his career, Ingham consciously rejected the prospect of pursuing a career as an establishment artist, although the RA was open to him, and he went to live in remote cottage in Cornwall. The subsequent years were varied and highly productive, and Ingham's personal artistic voice emerged in his oeuvre in the form of an always-developing dialogue with influences both of landscape and other artists of every age. His preoccupation with etching resulted in several hundred plates, some very large, and the results are as unmistakable as they are varied, but invariably of outstanding quality. He produced a number of sculptures in bronze and in plaster, while his lifelong output of paintings remained small but again of very high quality. He taught etching regularly until about 5 years before his death, latterly at Falmouth Art School, and also at Farnham Art College. During the late eighties he established a relationship with the art dealer Francis Graham-Dixon, who had a London gallery. This meant that his paintings were professionally marketed for the first time, and prices for his work rose steadily in the last ten years of his life, and subsequently. He was able to purchase a cottage in Helston for his parents, who lived there until their deaths. He then moved into a fine set of converted-barn studios with a patch of garden, quietly situated off the High St in Helston, and it was here, on 22 September 1997, that he died, having quietly suffered from cancer for nearly a year. Condition: Generally very good, scrapes to board as intended by artist. Framed. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Henry Cliffe (1919-1983) Monochrome Figures
Etching 9.5 x 16.5 cm Condition: Good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Richard Bankes Harraden (1778–1862)
St John's College, Oxford
Oil on board 24 x 29 cm Richard Bankes Harraden was a printmaker, painter and drawing master. He was active in Cambridge, producing many views of the colleges, and subsequently several Oxford colleges. Harraden was an early and exhibiting member of the Society of British Artists in London, which was established in 1823, and remained a member until 1849. He specialised in depictions of landscape, topography and architecture, and was the son of Richard Harraden (1756-1838) with whom he published plates as 'Harraden & Son'. Condition: A little craquelure and retouching. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Laurence Dunn (1910-2006)
SS New Brooklyn (c.1927)
4 x 17 cm Ink and bodycolour on paper SS New Brooklyn was built in Belfast by Harland & Wolff in 1920 for Elder Dempster & Co, and was known initially as New Romance. In 1954, she was sold to Mageolia Nav SA, Panama and renamed Marianna. She was scrapped in 1959 at La Spezia. She was an 'N' Type fabricated ship with straight frames which was introduced in 1917 to utilise the capacity of bridge building companies which had very little of their normal bridge-building work to do during the war. Dunn's drawings of coastal tramps are early works, likely sketched from the side of the Thames estuary near his home. The World Ship Society published the following obituary for the well-published maritime artist and writer in 2006: DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home. Condition: Generally very good, slight toning to paper. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Laurence Dunn (1910-2006)
SS Pinhel Lisboa (c.1927)
4 x 17 cm Ink and bodycolour on paper Dunn's drawings of coastal tramps are early works, likely sketched from the side of the Thames estuary near his home. The World Ship Society published the following obituary for the well-published maritime artist and writer in 2006: DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home. Condition: Generally very good, slight toning to paper. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Anonymous (19th century) Eton College Courtyard
Lithograph 29 x 38 cm We have a pair of these rather fine 19th century lithographs: see the second one here. Mounted to board. -
Anonymous (19th century) Eton College
Lithograph 29 x 38 cm We have a pair of these rather fine 19th century lithographs; view the other picture here. Condition: Mounted to board. -
Richard Beer (1928-2017) Merton, Oxford (1964-65)
Colour etching and aquatint 45x60cm 68x85.5 including frame, UK shipping only Signed and numbered 44/100 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: Good. -
JAK (Raymond Allen Jackson) 1927-1997
"I think we should let the Germans keep it next time" (1992)
Visitez La Belle France, Fly Air France 51x59cm Pen, ink and monochrome wash with inscriptions in pencil. For the London Evening Standard JAK was one of Britian's best-known political cartoonists, working for the London Evening Standard and the Daily Mail between the 1950s and 1990s. He left school at the age of 14, and after a brief career as a messenger boy studied at Willesden College of Technology, studying art with the aim of becoming an art teacher. Following National Service (in the Territorial Army, teaching conscripts to paint), in 1950 he became a staff artist at Link House Publications, and then at advertising agency J Keymer & Co. Whilst working here he submitted cartoons to Punch and other journals, joining the Evening Standard in 1952 as illustrator, also drawing occasional cartoons. In 1966, following the suicide of 'Vicky' (Victor Weisz), he became policital cartoonist at the Evening Standard. Some of his cartoons were highly controversial. In 1970 he caricatured power workers (then striking to improve their conditions) as stupid, greedy and deaf to reason; the entire Evening Standard staff nearly went on strike in response. In 1982 a cartoon in response to the Northern Ireland situation (he frequently depicted Irish people negatively) caused Ken Livingstone to withdraw all advertising from the Standard. His style was distinctive, drawn in ink on 17" x 21.5" board using a mapping pen and brush. His signature was always in a bottom corner, with blob-like serifs, and the title and other instructions were drawn on the picture in pencil. He also drew cartoons for the Mail on Sunday, Daily Express, and Sunday Express. -
Laurence Dunn (1910-2006)
SS Denmark Maru (c.1927)
4 x 17 cm Ink and bodycolour on paper SS Denmark Maru was built by Kawasaki Shipyard Co in Japan. Until 1935 she was in service on K Line's Hamburg - New York route. Dunn's drawings of coastal tramps are early works, likely sketched from the side of the Thames estuary near his home. The World Ship Society published the following obituary for the well-published maritime artist and writer in 2006: DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home. Condition: Generally very good, slight toning to paper. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Laurence Dunn (1910-2006)
SS Zrinski (c.1925)
4 x 17 cm Ink and bodycolour on paper Zrinski was built by the Northumberland Shipbuilding Co Ltd. Following a period in Norwegian ownership it was transferred to Yugoslavian ownership in 1927. In 1940 it was acquired by the Crest Shipping Co Ltd, and sunk by German U-Boat U-140 on 8 December 1940 - as SS Ashcrest. Dunn's drawings of coastal tramps are early works, likely sketched from the side of the Thames estuary near his home. The World Ship Society published the following obituary for the well-published maritime artist and writer in 2006: DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home. Condition: Generally very good, slight toning to paper. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Charles Pulsford ARSA (1912-1989)
Abstract Stained Glass Design
Gouache 40 x 25 cm Provenance: the artist, the residual stock of William Hardie Gallery. This mesmerising depiction of an abstract figure is likely a design for a stained glass window panel. Pulsford was born in Staffordshire to Scottish parents. His family returned to Dunfermline when he was a child, and he subsequently attended Edinburgh College of Art (ECA) between 1933 and 1937. He, along with other prominent Scottish artists, embraced modernism and abstraction following the end of the war. Alan Davie, William Turnbull, William Gear and Eduardo Paolozzi are the key artists of the group with which he was association, and the National Galleries of Scotland regard Pulsford as the 'fifth man' of the group. Between 1952 and 1960 he taught at ECA and then at Canterbury College of Art. Condition: Generally very good. If you are interested, email info@manningfineart.co.uk or call us on 07929 749056. -
Claude Muncaster Moor above Llangollen
Oil on canvas 36 x 51 cm Condition: Excellent, recently cleaned and revarnished. Signed lower right. Click here for biographical details and other works by the artist. If you are interested, email info@manningfineart.co.uk or call us on 07929 749056. -
Charles Pulsford ARSA (1912-1989)
Abstract Harbour
Watercolour 36 x 46 cm Signed lower right. Pulsford was born in Staffordshire to Scottish parents. His family returned to Dunfermline when he was a child, and he subsequently attended Edinburgh College of Art (ECA) between 1933 and 1937. He, along with other prominent Scottish artists, embraced modernism and abstraction following the end of the war. Alan Davie, William Turnbull, William Gear and Eduardo Paolozzi are the key artists of the group with which he was association, and the National Galleries of Scotland regard Pulsford as the 'fifth man' of the group. Between 1952 and 1960 he taught at ECA and then at Canterbury College of Art. Provenance: the artist, the residual stock of William Hardie Gallery. Condition: Generally very good, in fine hand-finished frame. If you are interested, email info@manningfineart.co.uk or call us on 07929 749056. -
Out of stock
Sir Eduardo Paolozzi CBE RA (1924-2005)
'Foot of a Statue'
Plaster 9 x 19 x 13 cm Paolozzi’s fascination with anatomy, machine parts, and the idiom of classical statuary is evident in his modernist sculptural forms. Foot of a Statue suggests the foot of an ancient Colossus - severed from the rest of the body, it becomes a symbol of fragmentation, of a civilisation’s decline. Sir Eduardo Luigi Paolozzi CBE RA was a Scottish artist, known for his sculpture and graphic works. He is widely considered to be one of the pioneers of pop art. Paolozzi studied at the Edinburgh College of Art in 1943, briefly at Saint Martin's School of Art in 1944, and then at the Slade School of Fine Art at University College London from 1944 to 1947, after which he worked in Paris. While in Paris from 1947 to 1949, Paolozzi became acquainted with Alberto Giacometti, Jean Arp, Constantin Brâncuși, Georges Braque and Fernand Léger. This period became an important influence for his later work. For example, the influence of Giacometti and many of the original Surrealists he met in Paris can be felt in the group of lost-wax sculptures made by Paolozzi in the mid-1950s. Their surfaces, studded with found objects and machine parts, were to gain him recognition. He taught sculpture and ceramics at several institutions, including the Hochschule für bildende Künste Hamburg (1960–62), University of California, Berkeley (in 1968) and at the Royal College of Art. Paolozzi had a long association with Germany, having worked in Berlin from 1974 as part of the Berlin Artist Programme of the German Academic Exchange Programme. He was a professor at the Fachhochschule in Cologne from 1977 to 1981, and later taught sculpture at the Akademie der Bildenden Künste in Munich. Paolozzi was fond of Munich and many of his works and concept plans were developed in a studio he kept there, including the mosaics of the Tottenham Court Road Station in London. He took a stab at industrial design in the 1970s with a 500-piece run of the upscale Suomi tableware by Timo Sarpaneva that Paolozzi decorated for the German Rosenthal porcelain maker's Studio Linie. Condition: Generally very good, occasional inclusions etc., as expected. If you'd ike to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Sir Eduardo Paolozzi CBE RA (1924-2005)
Amphitheatre
Plaster 27 x 22 x 4 cm (max) Paolozzi’s fascination with anatomy, machine parts, and the idiom of classical statuary is evident in his modernist sculptural forms. Amphitheatre blends neoclassicism with 20th-century brutalism, betraying a fascination with the materiality of public architecture. Sir Eduardo Luigi Paolozzi CBE RA was a Scottish artist, known for his sculpture and graphic works. He is widely considered to be one of the pioneers of pop art. Paolozzi studied at the Edinburgh College of Art in 1943, briefly at Saint Martin's School of Art in 1944, and then at the Slade School of Fine Art at University College London from 1944 to 1947, after which he worked in Paris. While in Paris from 1947 to 1949, Paolozzi became acquainted with Alberto Giacometti, Jean Arp, Constantin Brâncuși, Georges Braque and Fernand Léger. This period became an important influence for his later work. For example, the influence of Giacometti and many of the original Surrealists he met in Paris can be felt in the group of lost-wax sculptures made by Paolozzi in the mid-1950s. Their surfaces, studded with found objects and machine parts, were to gain him recognition. He taught sculpture and ceramics at several institutions, including the Hochschule für bildende Künste Hamburg (1960–62), University of California, Berkeley (in 1968) and at the Royal College of Art. Paolozzi had a long association with Germany, having worked in Berlin from 1974 as part of the Berlin Artist Programme of the German Academic Exchange Programme. He was a professor at the Fachhochschule in Cologne from 1977 to 1981, and later taught sculpture at the Akademie der Bildenden Künste in Munich. Paolozzi was fond of Munich and many of his works and concept plans were developed in a studio he kept there, including the mosaics of the Tottenham Court Road Station in London. He took a stab at industrial design in the 1970s with a 500-piece run of the upscale Suomi tableware by Timo Sarpaneva that Paolozzi decorated for the German Rosenthal porcelain maker's Studio Linie. Condition: Generally very good, occasional inclusions etc., as expected. If you'd ike to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
James Basire
James Basire engraving of Bishop's Palace Exeter
Engraving 50 x 33 cm (to plate mark) Published by the Society of Antiquaries 23rd April 1796. A member of the Society of Antiquaries, Basire specialised in architectural prints. He was appointed as engraver to the society, much of his finest works being found in their Vestuta Monumenta. Basire's father Isaac was a cartographer, and both his son and grandson were called James and also worked for the society. William Blake was apprenticed to Basire for seven years. If you are interested, email info@manningfineart.co.ukor call us on 07929 749056. -
George Pyne (1800-1884) Panoramic View of Oxford (1849)
Watercolour 18.5x28cm Pyne was the elder son of William Henry Pyne, the publisher artist behind the monumental History of the Royal Residences, and son-in-law of John Varley – two founders of the Society of Painters in Watercolours. Living in Oxford from the 1850s until his death, he brought the hand of an architectural draughtsman to his views of Oxford, the works for which he is best known, but with an artist’s ability to represent the romance of old stone. His views of Cambridge and Eton also contribute to his valuable and historical record of the period. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Very good. Signed l/right 'G Pyne 1849'. -
Clifford Charman (1910-1993)
Brewery and Ruined Castle, Cockermouth
Oil on canvas 38 x 55 cm Signed and dated lower left. Provenance: The Artist's Studio Sale, Bonhams, London (18 March 1993); Peter Constant Fine Art. Born in Bexleyheath in Kent, Charman studied at Regent Street Polytechnic just before, and just after, the Second World War. He exhibited widely, including at the Royal Academy, the RBA, Chelsea Arts Society, and abroad. Elected in 1954 to the ROI, he also won the James Bourlet Prize in 1982. His work is in collections including that of the Guildhall. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. Signed lower left. -
Clifford Charman (1910-1993)
Landscape with Farmhouses
Oil on canvas 38 x 55 cm Provenance: the artist's studio sale, Bonhams, London 1993. Born in Bexleyheath in Kent, Charman studied at Regent Street Polytechnic just before, and just after, the Second World War. He exhibited widely, including at the Royal Academy, the RBA, Chelsea Arts Society, and abroad. Elected in 1954 to the ROI, he also won the James Bourlet Prize in 1982. His work is in collections including that of the Guildhall. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. -
Clifford Charman (1910-1993)
Temple Church, London, after Bombing
Oil on canvas 39 x 49 cm Provenance: The Artist's Studio Sale, Bonhams, London (18 March 1993); Peter Constant Fine Art. Born in Bexleyheath in Kent, Charman studied at Regent Street Polytechnic just before, and just after, the Second World War. He exhibited widely, including at the Royal Academy, the RBA, Chelsea Arts Society, and abroad. Elected in 1954 to the ROI, he also won the James Bourlet Prize in 1982. His work is in collections including that of the Guildhall. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. -
Per Arnoldi (born 1941)
Copenhagen: Jazz Center of Europe (1972)
Lithographic poster 99 x 61 cm Per Arnoldi was born in Copenhagen in 1941. He is a Danish designer and artist most famous for his prolific commercial poster art. Arnoldi is a lifelong fan of jazz, and, as well as having created many jazz-related posters, he hosts monthly jazz radio shows and occasionally tours with a jazz trio. This bold and dynamic poster is typical of Arnoldi's jazz designs. He notably uses block primary colours and simple, often silhouetted, compositions. The Tourist Association of Copenhagen commissioned the poster in order to encourage tourists to visit the city and its musical haunts. The saxophonist silhouetted in the image is thought to be a representation of Stan Getz, the American jazz saxophonist who died in 1991. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent. -
Arne Ungermann (1902-1981)
'Den Permanente', "The Permanente Exhibition" (1956)
Lithographic poster 84 x 61 cm The Danish artist Arne Ungermann designed this poster in 1956 to celebrate the 25th anniversary of Den Permanente in Copenhagen. Den Permanente, or the Permanent Exhibition, celebrated Danish art, craft, and design, and operated between the 1930s and 1980s. The Danish silversmith Kay Bojesen came up with the idea for the exhibition, which also served as a shop where customers could buy Danish art and crafts. Bojesen's idea became a reality when Christian Grauballe, director of the iconic Danish design company Holmegaard, invested in it in 1931. Den Permanente became an icon of Danish 20th century design, selling furniture, glassware, lighting, ceramics, jewellery, and textiles. Bojesen is most famous for his wooden monkey design, which Ungermann features in his poster. The motif of the mermaid emerging from the sea could be a motif drawn from Hans Christian Andersen, but made modern - she breaks the surface of the ocean in order to marvel at the treasure trove of man-made objects exhibited at Den Permanente. The notable Little Mermaid statue on Copenhagen's promenade, installed in 1913, is also inspired by Andersen's fairy tale. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent. -
Bryan Ingham (1936-1997)
Upright Jug (1993-95)
Pencil and oil on board 64 x 19 cm Provenance: Bohun Galleries, Paintings in Hospitals. Signed, titled and dated 1993-95 (on backboard). Bryan Ingham was born in Yorkshire. For his National Service he joined the RAF, and spent his time in Germany as an airman. After demobilisation, his final report included the statement that "Ingham is an artistic sort of airman." In his spare time he had started painting in oils, and by the time he left the RAF he had completed a large number of paintings. He studied at St Martin's School of Art in London, where he had the tuition of a fine post-war generation of teachers who helped him to hone his draughtsmanship and other skills, and he swiftly showed a capacity for painting that drew the attention of his tutors and peers. On graduating he was offered and accepted a post-graduate place at the Royal College of Art, where in his second year he was awarded a Royal Scholarship and was a contemporary of a number of now better-known names including David Hockney. Ingham applied for and received a Leverhulme travel award to explore the sites of the great Renaissance painters, and spent many happy months engaged in this expedition. He spent time at the English Art school in Rome, where he lived well and busied himself the same studio that Barbara Hepworth had used. At this stage of his career, Ingham consciously rejected the prospect of pursuing a career as an establishment artist, although the RA was open to him, and he went to live in remote cottage in Cornwall. The subsequent years were varied and highly productive, and Ingham's personal artistic voice emerged in his oeuvre in the form of an always-developing dialogue with influences both of landscape and other artists of every age. His preoccupation with etching resulted in several hundred plates, some very large, and the results are as unmistakable as they are varied, but invariably of outstanding quality. He produced a number of sculptures in bronze and in plaster, while his lifelong output of paintings remained small but again of very high quality. He taught etching regularly until about 5 years before his death, latterly at Falmouth Art School, and also at Farnham Art College. During the late eighties he established a relationship with the art dealer Francis Graham-Dixon, who had a London gallery. This meant that his paintings were professionally marketed for the first time, and prices for his work rose steadily in the last ten years of his life, and subsequently. He was able to purchase a cottage in Helston for his parents, who lived there until their deaths. He then moved into a fine set of converted-barn studios with a patch of garden, quietly situated off the High St in Helston, and it was here, on 22 September 1997, that he died, having quietly suffered from cancer for nearly a year. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally excellent; framed. -
Danish Society of Arts and Crafts
'Vort Hjem', "Our Home" poster (c. 1950)
Lithographic poster 80.5 x 57 cm A poster advertising the 'Vort Hjem Nordisk Udstilling' - the "Our Home: Nordic Exhibition". The exhibition explored Nordic interior design and was commissioned by the Danish Society of Arts and Crafts. The poster presents a domestic scene of a woman arranging flowers; we see her through the glass panels of an ajar door, which invites us into the typically Danish interior. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent. -
John Piper (1903-1992)
Reims Cathedral (c. 1960)
Ink, watercolour and gouache 21x35cm Inscribed 'Reims' lower left and signed 'John Piper' lower right. Piper loved all things France, and all things Cathedral; in this work, he brings the cathedral of Reims, where France's monarchs were crowned, to life. Piper also produced an aquatint of Reims which was published in 1972. For other works by the artist and biographical details, click here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally excellent; framed. -
John Piper (1903-1992)
Study for the Piper Building mural
Gouache 14.5x11.5cm Provenance: P Manzareli (who built the fibreglass murals for Piper), gift from the artist; Milne & Moller Fine Art; Katharine House Gallery; private collection, Scotland. This study is a fascinating part of London's architectural history. The Piper Building is a mid-century architectural icon in Fulham. Built in the 1950s as 'Watson House', it was a laboratory complex for the North Thames Gas Board and has an innovative concrete structure. Piper was commissioned to produce the murals surrounding the building. The Gas Board moved out in the mid 1980s. Scheduled for demolition in the 1990s, the building was instead converted into seventy apartments and renamed the Piper Building. With double-height ceilings, the apartments were sold as shells, and purchasers were free to commission their own architects and builders. Condition: Generally excellent; framed. For other works by the artist and biographical details, click here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
John Aldridge RA (1905 - 1983)
Still Life Painted at El Porche, Deja, Majorca 1932
Oil on Board 74 x 62 cm Signed ‘John Aldridge’ lower right and titled to reverse. Aldridge read Greats at Corpus Christi College, Oxford, and then moved to London in 1928 and taught himself to paint. From 1931 to 1933 he exhibited with the Seven and Five Society at the Leicester Galleries and in 1934 he exhibited at the Venice Biennale. At this time he began his life-long association with the poet Robert Graves and the poets and artists who centred themselves on him in the village of Deia in Majorca. In 1933 he moved to Place House in Great Bardfield with his cats. He became a friend of his neighbour Edward Bawden, and the two collaborated during the 1930s on Bardfield wallpapers, distributed by Cole & Sons. During the War, Aldridge served in the Intelligence Corps, interpreting aerial photographs. Following the war he returned to Great Bardfield and painted scenes of the Essex countryside, and also of Majorca. By this period, his early association with the avant garde of British art had been lost; today, his rural scenes are very popular but arguably lack the complexity of his earlier works, such as this contemplative still life. His art is in major public collections such as the Tate, the British Council, the National Portrait Gallery, the Royal Academy and the Victoria and Albert Museum. The Fry Art Gallery in Saffron Walden, which specialises in East Anglian pictures, has a significant holding of his work. Condition: generally very good. Distressed frame with occasional loss, and hardboard substrate bowed. -
Terry Frost (1915-2003)
'Untitled Landscape'
Oil on canvas, laid on board 22 x 81.5cm Exhibited London, Coram Gallery, Terry Frost: Works on Paper and Small Paintings, 23 September-29 October 1994 Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Laurence Dunn (1910-2006)
Port of London Authority 'PLA' Monstrosity Boat Drawing (c.1950s)
17 x 22.5 cm Signed Pencil drawing of PLA ship before industrial plant, inscribed 'PLA Monstrosity.' Dunn was a well known marine artist and writer. The World Ship Society published the following obituary for Dunn. DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home. -
Laurence Dunn (1910-2006)
Drawing of the 'Easton' Canadian laker steamer (c.1950s)
21 x 12.5 cm Pencil Extensively inscribed. Sketch of the ship of the "Easton" in harbour. Dunn has included notes about its colour, presumably for a future painting. Dunn was a well known marine artist and writer. The World Ship Society published the following obituary for Dunn. DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home. -
Builders YOU Are Hitting Back Original WW2 Poster (c.1940)
'Builders - YOU Are Hitting Back' Original WW2 Poster (c.1940) 76 x 50.5 cm Lithograph and letterpress (on paper) Printed by Lowe and Brydone Printers Ltd, London NW10. Published by HM Stationery Office. Because: You are building bases for the Flying Boats which guard the convoys You are building the Factories which makes the guns, tanks, planes & shells You are building the Airfields for the ever increasing number of bombers and fighters - Spitfire You are building the Hostels for your fellow workers to live in You are building the warehouses which store the Nation's Food Supply -
Take Care! Official Secrets Act WW2 Poster (c.1940)
Lithographic poster 18 x 51 cm Printed for the HM Stationary Office by Gothic Press, London. -
James Fittler (1758-1835) after George Robertson (1748-1788)
North West View of Windsor Castle in the County of Berks (1782)
47x58cm London: Published by John Boydell Fittler engraved two views of Windsor by Robertson. Trained at Royal Academy Schools, he was a skilled engraver and etcher and joined the mid-18th century trend for recording the landscape of the British Isles, producing and selling prints to tourists. A copy of this print is in the National Trust's collection at Anglesea Abbey, from Lord Fairhaven's extraordinary collection of views of Windsor Castle. -
Julian Trevelyan (1910-1988)
Gravesend (1969)
Etching and aquatint, signed, titled, and inscribed 'Artist's Proof' in pencil 35x48cm (sheet size 59x77cm) On J Green paper Condition: generally excellent, never previously framed, see image. Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Brendan Neiland (b.1941)
Kings Cross Intercity Poster
Original Vintage Poster - lithograph 102x64cm (40×25 inches) each 1991 Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Brendan Neiland (b.1941)
York Intercity Poster
Original Vintage Poster - lithograph 102x64cm (40×25 inches) each 1991 Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Florence Camm (1874-1960)
Stained Glass Window Design with Red Sailing Ship
Watercolour 6.5x34cm Condition: Some spotting to image; mounted to board - see image. Click for biographical details and other works by Camm. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Tom Roche (b. 1940) Penal Cross
Screenprint 24x19cm Signed in pencil and numbered 11/40 Roche trained at the Irish National College of Art and Design, then studying etching and lithography at Chelsea College of Art. After working as a graphic designer in advertising, he became a full-time painter in 1972 based in Dingle in Co. Kerry. After operating from a gallery in Dingle he returned in the 1980s to Dublin, working as part0time lecturer at the Dun Laoghaire School of Art and Design and as creative director for Emerald City Productions Ltd. He is renowned for his soft, atmospheric paintings of Irisih landscape and interiors as well as for his prints such as this. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Charles Pulsford ARSA (1912 - 1989)
Abstract Figure in Yellow and Blue
Watercolour and ink 56 x 38 cm Signed lower right. An abstract figure in arresting colours. The artist plays with the intersection of round and lateral mark-making to form a human figure, perhaps reminiscent of a crucifixion. Pulsford's skill as an abstract landscape artist is also evident here, with the form suggestive of natural and industrial topography like fields, rivers, railway tracks, and electric pylons. Pulsford was born in Staffordshire to Scottish parents. His family returned to Dunfermline when he was a child, and he subsequently attended Edinburgh College of Art (ECA) between 1933 and 1937. He, along with other prominent Scottish artists, embraced modernism and abstraction following the end of the war. Alan Davie, William Turnbull, William Gear and Eduardo Paolozzi are the key artists of the group with which he was association, and the National Galleries of Scotland regard Pulsford as the 'fifth man' of the group. Between 1952 and 1960 he taught at ECA and then at Canterbury College of Art. Condition: generally very good, old tape stains to extreme margins. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Provenance: the artist, the residual stock of William Hardie. -
David Loggan (1634-1692)
Queen's College, Oxford (1674)
Engraving, 30 x 41cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (c. 1708). The contemporary artist Andrew Ingamells (b.1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: good, crease bottom right hand corner. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634-1692)
Oriel College, Oxford (1674)
Engraving, 40 x 26.7cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (c. 1708). The contemporary artist Andrew Ingamells (b.1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634-1692)
Magdalen College, Oxford (1674)
Engraving, 32 x 42cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (c. 1708). The contemporary artist Andrew Ingamells (b.1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Pieter van der Aa (1659-1733), after Jan Kip (1652/3-1722)
Old St Paul's Cathedral (1707)
Engraving, 14 x 17 cm A view of the nave of Old St Paul's Cathedral, engraved by Pieter van der Aa after Johannes 'Jan' Kip, the Dutch draftsman, engraver and print dealer. 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: Generally very good. -
Pieter van der Aa (1659-1733), after David Loggan (1634-1692)
The Costumes of the University of Cambridge
Engraving, 14 x 36 cm Early 18th century This engraving by van der Aa (based on a prior design by David Loggan) illustrates the various forms of academic dress worn by members of the University of Cambridge. 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. Condition: Generally very good; slight age toning, and spotting to margins. -
Mabel Oliver Rae
Great Court, Trinity College, Cambridge
Etching, circa 1920 20 x 27cm Signed lower left. Mabel Oliver Rae was born in Cambridge, Cambridgeshire, and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works with the pseudonym 'M.Oliver Rae', a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. Condition: Generally very good, slight discolouration to margins - which will not be visible under mount. -
Adrian Heath Abstract Study III (1975)
Acrylic and pencil on paper 22 x 22cm Heath was born in Burma in 1920 and arrived in England aged five. In 1938 he studied art under Stanhope Forbes at Newlyn and later at the Slade School of Art. While serving in WWII, he was captured and placed in a prisoner-of-war camp in Bavaria. Heath attempted to escape from the camp but was recaptured and placed in solitary confinement; this isolation proved crucial to the development of his artistic style, as he spent much of his time there experimenting with abstract forms. When released from confinement, Heath befriended a fellow prisoner of war: Terry Frost. Together they explored the methods of painting which they had developed during their time in the camps, and following the war both became celebrated artists. We have several Terry Frost pieces available too. In 1949 and 1951, Heath returned to Cornwall. He spent time with artists like Ben Nicholson, Victor Pasmore, and Anthony Hill, and became the main link between the emerging St Ives School of artists and the British Constructivist movement back in London. He is further credited with promoting British abstract art through informal exhibitions in his studio on Fitzroy Street, as well as his manifesto-like text entitled 'Abstract Art: Its Origins and Meaning', which was published in 1953. Over time, Heath's paintings of abstract geometry and symmetry became increasingly dynamic and heavily textured, the result of layering paint on paint over the course of several days. This study features a muted colour palette and abstract asymmetric form. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. Signed lower right.
