If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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James Basire & Henry Emlyn Plan and Elevation of the Rood Loft in St George's Chapel at Windsor Engraving 47 x 55 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing by Henry Emlyn. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts the plan and elevation of the rood loft in St George's Chapel in Windsor. The strong lines and striking shapes stand out in this work, with the two cross sections of each column leaving a particularly strong impression. Condition: Generally very good. -
James Basire & John Carter Architectural Fragment of St Albans Cathedral
Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, in 1810 the society commissioned a series of engravings of St Albans Cathedral by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts an architectural fragment of St Albans Cathedral, focussing on the tiered windows that line the nave. Condition: Generally very good.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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James Basire & John Carter Architectural Fragment of St Albans Cathedral
Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, in 1810 the society commissioned a series of engravings of St Albans Cathedral by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts an architectural fragment of St Albans Cathedral, focussing on the tiered windows that line the nave. Condition: Generally very good.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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James Basire & John Carter Stalls in Tiltey Church Essex & Stalls in the Choir of Rochester Cathedral
Engraving 50 x 32 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing by John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts the stalls in Tiltey Church Essex and Rochester Cathedral. Each set of stalls has its own set of distinguishing features. Although the stalls in Tiltey Church are comparatively pared back with their bare bricks and simple stone masonry, these nooks are not simply stalls but are in fact a three-levelled sedilia with a piscina, as was typical in medieval churches. The sedilia in Rochester Cathedral is, in contrast, extremely ornate, figuring as a fine example of Gothic architecture, specifically from the Decorated period (c. 1250–1350). Condition: Generally very good.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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James Basire & Robert Blemmell Schnebbelie Wainflete School, Lincolnshire
Engraving 50 x 32 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing by Robert Schnebbelie. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts a north-westerly view of a school in Wainflete, Lincolnshire. It is likely that the building pictured illustrates the Magdalen College School, opened in 1484 by William Patten of Wainlete as a feeder school for Magdalen College, which he founded in 1458. The engraving showcases the lovely red-brick building and the effigies of his father Richard Patten, presumably designed to feature in the school. Condition: Generally very good.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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James Basire & Robert Blemmell Schnebbelie Monument of King Edward IV in St George's Chapel at Windsor
Engraving 50 x 32 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing by Henry Emlyn. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts the ornate monument of King Edward IV in St George's Chapel at Windsor. Condition: Generally very good.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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James Basire, after James Johnson and John Carter Fonts in Suffolk
Engraving 50 x 32 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on drawings by James Johnson and John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts fonts in Suffolk. The first illustration, originally executed by James Johnson, represents the ornate font in Ufford Church, complete with a uniquely suspended font cover. The second illustration, originally drawn by John Carter depicts a similarly ornate font in St Gregory's Church Sudbury. Condition: Generally very good.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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James Basire & Robert Blemmell Schnebbelie The Chancel of Chatham Church, Kent
Engraving 48 x 33 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing the English painter and illustrator Robert Blemmell Schnebbelie. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts the Chancel of Chatham Church, Kent, 'as it appeared the 13th March 1788.' Across three figures, Schnebbelie depicts the dismantling of the church, illustrating the ornate finds uncovered by the workers and their pickaxes. Condition: Generally very good.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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James Basire & Robert Blemmell Schnebbelie The Holy Sepulchre at Heckington in Lincoln
Engraving 45 x 30 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of architectural engravings in 1810 by James Basire, this one based on a drawing the English painter and illustrator Robert Blemmell Schnebbelie. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts the Holy Sepulchre at Heckington in the County of Lincoln. It illustrates the remarkable Easter Sepulchre at St Andrew's Church, Heckington. This carved structure features striking Gothic tracery, religious figures, and scenes related to Christ’s resurrection, all captured excellently by Basire's precision in engraving. Condition: Generally very good.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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James Basire & John Carter Architectural details of St Albans Cathedral
Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Alban's Cathedral in 1810 by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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James Basire & John Carter St Albans Cathedral
Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral in 1810 by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This striking engraving depicts a cross section of the cathedral, allowing the viewer to appreciate both the architectural details of the exterior and glimpse usually hidden areas of the building including the inside of the bell tower. Condition: Generally very good, repaired tear to the bottom right hand cornerIf you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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Michael Angelo Rooker (1746–1801) St John's College, Oxford
Watercolour 25 x 40 cm Depicting a lovely view over the gardens of St John's College, Oxford, this watercolour may have been produced for the 1783 edition of the Oxford Almanack. This almanack ran between 1674 and 2019 and traditionally included engravings and information about Oxford University. Michael Angelo Rooker (1746–1801) was an English painter, engraver, and illustrator, best known for his topographical landscapes and architectural scenes. His works often depicted picturesque views of British towns, universities, and ruins, executed with meticulous detail and atmospheric effects. He was particularly well-regarded for his ability to blend topographical accuracy with artistic beauty, making his works valuable both as historical records and as fine art. This watercolour exemplifies beautifully his fine attention to detail, atmosphere and architectural perspective, as he expertly depicts the façade of the college, while also capturing the long shadows cast by the trees on this seemingly warm summer's day. Condition: Generally very good.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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George Pyne (1800 - 1884) Brasenose College Quadrangle Watercolour 16 x 22 cm Signed and dated to lower right A well-executed watercolour of the quadrangle at Brasenose College, Oxford. Pyne expertly depicts the main gate with the Radcliffe Camera behind and the spire of the University Church of St Mary shrouded in a light mist. He also intriguingly captures the smaller details of the scene: a scholar in academic dress wandering around the periphery of the quad, the shadows and relief of a statue which no longer stands in the Old Court, the reflections in the old single-glazed windows. In doing so, he captures the unique charm of Brasenose College on this sunny day in the late 19th Century. George Pyne was related to two founders of the Society of Painters in Watercolours – William Henry Pyne was his father, and John Varley his father-in-law. Pyne trained as an architectural draughtsman and lived in Oxford from the 1850s until his death in 1884, specialising in views of the city and its colleges. His Oxford pictures are both architecturally-minded and romantically creative, often combining intensely detailed depictions of college buildings with imagined pedestrian scenes. Pyne was also noted for his views of Cambridge and Eton, and for his drawing manuals ‘A Rudimentary and Practical Treatise on Perspective for Beginners’ (1848) and ‘Practical Rules on Drawing for the Operative Builder, and Young Student in Architecture’ (1854); the latter texts offer an insight into his method of depicting architecture and its surroundings. Condition: Generally very good, a couple of spots to the sky.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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David Garland Keble College Chapel
Watercolour 28 x 38 cm This richly coloured watercolour was painted by David Garland for the 1971 edition of the 'Oxford Almanack.' This almanac was published annually by the Oxford University Press for the University of Oxford from 1674 to 2019. These almanacs traditionally included engravings and information about Oxford University, including the Heads of Colleges and a university calendar. This painting was a warm and colourful contribution to the edition, capturing the distinctively striated red bricks of Keble College. Condition: Generally very good.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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Sidney Cardew RSMA (1931-2017) High Holborn
Watercolour 30 x 18 cm Sidney Cardew (1931–2017) was a British artist celebrated for his evocative watercolour paintings, particularly those depicting marine and coastal scenes. Born in London, Cardew developed an early passion for drawing and painting during his school years. After completing his national service in the Royal Air Force, he pursued a career as a senior design engineer with the Ford Motor Company. In his early thirties, Cardew began to paint earnestly, initially focusing on oil painting before transitioning to watercolours, attracted by their immediacy and fluidity. Cardew's artistic approach was deeply influenced by renowned artists such as Edward Seago, John Singer Sargent, William Russell Flint, Ted Wesson, and Jack Merriott. He often painted en plein air, employing minimal preliminary drawing and emphasizing wet-into-wet techniques to capture the transient qualities of light and atmosphere. In 1990, after attending sessions with the Wapping Group of Artists as a guest, Cardew was elected as a full member. Two years later, in 1992, he became a member of the Royal Society of Marine Artists (RSMA). Throughout his career, he exhibited with prestigious institutions such as the Royal Institute of Painters in Water Colours (RI) and the Royal Society of British Artists (RBA), and his works are held in various provincial galleries. As well as producing many maritime paintings, as a member of the Wapping Group of Artists Cardew frequently depicted scenes along the River Thames and its surroundings and was adept at capturing the essence of London's architecture and street life. This painting of High Holborn is a particularly fine example of Cardew's cityscapes, featuring splashes of colour, moving cars and a strong architectural focus. Condition: generally very good.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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J. C. Buckler (1793-1894) Queen's College in the High Street Oxford
Watercolour 29 x 36 cm Signed to lower right. John Chessell Buckler (1793–1894) was a British architect and artist, renowned for his contributions to Gothic Revival architecture and his detailed architectural drawings. Throughout his career, Buckler did a lot of work in Oxford. He carried out repairs and additions to St Mary's Church, and Oriel, Brasenose, Magdalen, and Jesus colleges. During this period, he was also an extremely prolific artist, creating works characterised by his fastidious attention to detail and strong sense of architectural perspective. Between 1797 and 1830 he created no less than 625 Indian ink and 19 watercolour drawings, many of which are now housed in the Bodeleian libraries. As one of only 19 watercolour paintings produced by Buckler, this painting of Queen's College constitutes a rare opportunity to own such a fine example of Buckler's work. It depicts the façade of Queen's College using strong lines, exemplifying Buckler's strong sense of architectural perspective. Scholars, all dressed in academic robes, also wander down the street, breathing life into this architectural drawing. Condition: Generally very good.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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William Steeple Davis (1884-1961) Christ Church College, Oxford
Pastel drawing 31 x 23 cm William Steeple Davis (1884–1961) was an American artist known for his diverse artistic talents, including pastel drawings. While he primarily focused on etchings, hand-coloured prints, and block prints, he also created notable works using pastels. In his later years, particularly during the 1950s, Davis traveled to England, where he produced a series of pastel artworks. These pieces often depicted English landscapes and landmarks, including this drawing of Christ Church College, Oxford. Alongside his talents in painting, print making, photography and the graphic arts, these pastel works highlight Davis's ability to capture the essence of various locales, showcasing his versatility and keen observational skills. -
Queens' College and Mathematical Bridge Watercolour 26 x 35 cm An idyllic depiction of the famous view down the Cam towards mathematical bridge, this watercolour captures the soothing reflections of the medieval architecture of Queens' College and the gentle ripples created as a kayaker floats down the river. Sumptuous greenery and warm tones imbue this lovely watercolour with a calming effect. -
Anonymous Queen's College and the High, Oxford Watercolour 12 x 16 cm Initialled to bottom left This highly-detailed watercolour depicts everyday life in front of Queen's College and on the High in Oxford in the Eighteenth Century. Well-dressed city dwellers wander along the high street while merchants tidy up after a carriage mishap and a dog dashes across the road. The noise of city life is intriguingly captured in this watercolour, harking back to days-gone-by. Condition: Generally very good, mounted to board.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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Anonymous Air Raid Charcoal sketch 34 x 43 cm At first glance, this charcoal sketch seems fairly innocuous, after all it seems to simply depict a series of parked military vehicles at an operational centre. Look more closely, however, and you will notice the fleet of German bombers flying in formation, swooping through the air. Look even closer and you will notice the clusters of lines radiating outwards: bombs are falling, buildings are being hit and dust is clouding the air. The base has been hit no less than four times and the chaos seems to stretch beyond the narrow frames of this sketch as the bombers fly into the horizon. Condition: generally very good.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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Anonymous Camp Northampton Charcoal sketch 34 x 43 cm At first glance, this charcoal sketch seemingly depicts three barns lining a country lane. The scene seems idyllic, trees and farmland forming a rural idyll. The caption of the sketch 'Camp Northampton' reveals it to be, however, a depiction of one of the seven Prisoner of War camps in Northamptonshire. These camps primarily housed German pilots who would work in the adjacent fields to support the farming industry. Some of these camps still stand today, their wooden shells acting as eery reminders of this dark past. Condition: Generally very good.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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Anonymous A Bomber Plane Coming in to Land
Charcoal sketch 34 x 43 cm This charcoal sketch depicts a four-engine bomber coming into land, featuring a further two bombers stationary in a hangar in the background. The circular insignia on the landing plane side distinguishes it as a part of the RAF, although its highly stylised form makes it impossible to identify which of the RAF bomber planes it is. The dynamism of this sketch is particularly striking, as the artist captures the speed of the plane using horizontal lines parallel to the ground. -
Anonymous Naval Battle
Charcoal sketch 34 x 46 cm Indistinctly inscribed to mount This striking charcoal sketch depicts a naval battle during the Second World War. It is a tumultuous scene, as bombs hit the water, making large splashes, planes fly overhead and naval vessels move through the water. The sketched nature of this drawing conveys the dynamism of the scene, everything moving at an accelerated past as the chaos of war unfurls. -
E. T. Talbot Erasmus' Tower, Queens' College Cambridge
Watercolour 35 x 21 cm Signed, dated and inscribed to the reverse. A richly-coloured watercolour painting of Erasmus' Tower, Queens' College Cambridge. Part of the Old Court of Queens' College, dating back to the 16th century, Erasmus' tower was named after the humanist and scholar Desiderius Erasmus, who lived in the college in the early 16th century. It remains a symbol of the college’s rich academic history and its connections to the Renaissance scholar. Talbot expertly captures the charm of this medieval tower, using careful brushstrokes to depict the voluminous greenery. Condition: Generally very good, mounted to board.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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John Cowey (1786-1833) Christ Church Cathedral, Oxford, 1816, from the Dean's gardens
Engraving 23 x 32 cm Condition: generally very good, slight age toning to paper.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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Mabel Oliver Rae (1868-1956) Christ's College Gate
27 x 19 cm Etching Signed and titled. Mabel Oliver Rae was born in Cambridge and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works as ‘M. Oliver Rae’, a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. This particular etching depicts the Great Gate at Christ's College Cambridge in the early 20th century. People can be seen walking along the pavement and a scholar sporting academic dress is making his way into the college. A car also trundles along the road, acting as a visual marker for the period during which this work was produced. -
Brenda Cripps Oxford Spires
Lithograph 20 x 29 cm Titled, signed and dated to lower right hand corner. This lithograph depicts a view over the Oxford skyline. The Old Tom Tower of Christchurch, the Radcliffe Camera, the Church of St Mary the Virgin, and the Sheldonian Theatre tower over the canopy of luscious trees and stand out against the blue summer sky. Condition: Generally very good.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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Andrew Ingamells (1956 - ) Pembroke College, Cambridge
Etching 45 x 47 cm Publisher's proof, signed to lower right. This meticulously detailed gravure etching by Andrew Ingamells is the first etching or engraving to depict Pembroke College Cambridge from an aerial perspective since David Loggan's celebrated engraving of the 1680s. Ingamells trained at St Albans School of Art and the London College of Printing, subsequently working as a graphic designer and illustrator. Based in London, he began making drawings of the buildings and landscapes of London. Ingamells’ work is in many public collections including those of the Tate Gallery, The National Trust, The Paul Mellon Centre for British Art, and the City of London Guildhall Library. His pictures are also in several private collections, including those of various Oxford and Cambridge colleges, HRH King Charles III, and Shell Oil. The artist is currently part-way through his epic project to record all the colleges of Oxford and Cambridge, a project undertaken in homage to David Loggan. Condition: Generally very good, comes with frame.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of Pembroke College, click here. -
Cyril Kenneth Bird ‘Fougasse’ (1887 - 1965) Concerto da Camera
Ballpoint pen and ink 35 x 24 cm Sold with original catalogue and invoice. "Concerto da Camera. I suppose I'm hopelessly unmusical, but I still sometimes sigh for the days when one could sit peacefully in one's seat and listen to the music, instead of having to spend the entire performance swooping about all over the studio with the TV cameraman." The cartoon "Concerto da Camera" was published in Punch magazine on October 22, 1952. This piece humorously reflects on the experience of attending televised concerts, expressing a nostalgic preference for the days when one could sit peacefully and listen to music without the distractions of television production. It exemplifies Fougasse's signature style, characterised by minimalist line work and insightful commentary on contemporary life, providing a lighthearted yet poignant critique of societal changes. Fougasse was a British cartoonist. He was art editor of Punch between 1937 and 1949, and subsequently editor until 1953. He is best known for his ‘Careless Talk Costs Lives’ series of posters, and the other posters for the Ministry of Information and London Transport. As the Second World War progressed, the Ministry of Information’s poster campaign had become less and less effective. There were posters instructing the population to save old clothes for rags, turn off the lights, save food, dig for victory, watch out for spies, and keep calm and carry on. With this instruction overload, the population had ceased paying attention to the posters. Fougasse noticed this, and offered his services unpaid to the Ministry of Information, with a view to bringing a touch of humour to the posters. His amusing designs with pithy captions, reminiscent of newspaper cartoons, helped to get the Ministry's messages across in a novel way. -
Terry Frost (1915-2003) Stage Design
Wax crayon drawing 21 x 42 cm Sir Terry Frost was a British abstract artist known for his vibrant use of colour, geometric forms, and expressive compositions. His work often explored movement, rhythm, and balance, influenced by his experiences in Cornwall and his interactions with leading modernist artists. Frost's artistic career began at the age of 30. During a period of internment at a prisoner of war camp in Bavaria, Frost was encouraged by the artist Adrian Heath to paint. Immediately after the war he enrolled at the Birmingham College of Art and subsequently spent a year studying at the St Ives School of Painting. Alongside exhibiting in various galleries, including the Leicester Galleries in London's West End, Frost also led a successful academic career, teaching at the University of Leeds and of Reading. He was eventually elected a Royal Academician in 1994 and knighted for his contributions to British art in 1998. This crayon sketch appears to depict a sequence of movements, possibly for a dance or performance piece. The red and black palette gives a sense of contrast and rhythm, emphasising the energy of the composition. Frost may have produced it for the Aldeburgh Festival, a renowned music and arts festival founded by composer Benjamin Britten, Peter Pears, and Eric Crozier in 1948. His abstract and dynamic use of colour and form, as exemplified by this striking work, would have complemented the festival’s innovative approach to opera and music. Condition: generally very good, comes framed. -
David Gentleman Radcliffe Camera
Lithograph 53 x 64 cm Signed and numbered 41/200. Born on the 11th March 1930, David Gentleman is a British artist, illustrator, and designer known for his distinctive watercolours, engravings, and graphic work. He originally studied art and painting at the Royal College of Art under Edward Bawden and John Nash and has since produced work at scales ranging from platform-length murals for Charing Cross Underground Station in London to postage stamps and logos. His work is generally characterised by precise line drawings, detailed engravings, and delicate watercolour paintings, often depicting landscapes, architecture, and urban scenes. He notably distinguishes his work through his skilful ability to blend traditional techniques with modern sensibilities, rendering his work highly recognisable. He has left a lasting legacy on British graphic design and illustration and his work is now represented in the Tate Britain, the British Museum, the Victoria and Albert Museum, the Imperial War Museum and the Fitzwilliam Museum, Cambridge. Condition: Generally very good.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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Out of stock
Hugh Casson (1910 - 1999) St John's College, Cambridge
Lithograph 29 x 37 cm Signed and numbered 427/500, both in pencil. Sir Hugh Casson was educated at Eastbourne College; St John’s College, Cambridge; and the Bartlett School of Architecture. Trained in the 1930s in the early modernist style, he taught at the Cambridge School of Architecture. After employment as a camoufleur during World War 2 by the Air Ministry, in 1948 he was appointed as director of architecture for the Festival of Britain. A close friend of the Royal Family, he undertook designs for the 1953 coronation, designed the interior of the Royal Yacht Britannia (“The overall idea was to give the impression of a country house at sea”), and taught the young Charles III to paint in watercolours. Amongst his architectural achievements are the Elephant House at London Zoo, the 1978 redevelopment of Bristol Docks, the Raised Faculty Building for The University of Cambridge, and a building for the Royal College of Art. He published a number of illustrated books, of which Casson’s Oxford and Casson’s Cambridge are probably the best known. A limited edition series of prints was produced from the paintings. This lithograph depicts a view over Kitchen Bridge in St John's College. As is typical in many of his works, Casson expertly captures the architecture of this Cambridge college, while also portraying the everyday comings-and-goings of college life. In this case, a punt floats past a group of students basking in the sun and another group crosses over the bridge, perhaps on their way to get their lunch from the cafe. Condition: Generally very good.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of St John's College, click here. -
Rev. William Henry Barnard (Co. Donegal or Co. Derry 1767-1818 London) The Radcliffe Camera from the Great Quadrangle of All Souls College, Oxford
Pen and brown ink and watercolour, on paper 30 x 44 cm Signed with initials 'H.B.' (lower right) Rev William Henry Barnard was an extremely well-connected artist and clergyman -being first cousin of Prime Minister George Canning, grandson of William Barnard, Bishop of Derry, and nephew of Thomas Barnard, Dean of Derry and Bishop of Limerick. He graduated from Pembroke College, Oxford in 1797. During his time at university he studied drawing with John Baptist Malchair (1731 – 1812) and produced numerous drawings and watercolours, often depicting humble Oxford street scenes using a black monochrome wash. He is now represented in a number of important collections. TATE acquired twelve of his paintings in 1996 and a drawing by Barnard of Windsor Castle was purchased for the Royal Collection in 1947. This watercolour depicts a view of the Radcliffe Camera from the great quadrangle of All Souls College, Oxford. It demonstrates a strong sense of architectural perspective as Barnard expertly captures the angles and masonry of the baroque architecture. In keeping with Barnard's tendency to capture humble Oxford street scenes, this loftier rendering of this Oxford landmark still presents gardeners and academics alongside each other. He thereby adeptly depicts everyday life in this Oxford college in the early Eighteenth Century. Provenance: The Collection of the Late John Appleby: A Channel Island. Condition: Generally very good, comes framed.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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Julian Trevelyan (1910-1988) Notre Dame
Etching and aquatint, stamped signature, numbered 42/50 35 x 48 cm Nephew of the historian G M Trevelyan, he was educated at Bedales and Trinity College, Cambridge, reading English. Moving to Paris and becoming an artist, studying engraving at Stanley William Hayter’s school he worked alongside artists such as Max Ernst, Joan Miro and Pablo Picasso. Marrying the potter Ursula Darwin in 1934, in 1935 they moved to Hammersmith, buying Durham Wharf beside the River Thames which was Trevelyan’s studio – and home – for the rest of his life. His wartime service was – like so many artists – as a camofleur. A Royal Engineer from 1940-43, he served in North Africa and Palestine, forcing the German Afrika Korps to use resources against a dummy army whilst real tanks were disguised as more harmless equipment. In the desert nothing could be hidden, but it could be disguised. On one occasion however the German Luftwaffe flattened a real installation, leaving only a – dummy – railhead the camofleurs had built. The following day they returned and dropped a wooden bomb on the railhead making it clear they had seen through the disguise. Following the dissolution of his marriage in 1950 he married the painter Mary Fedden. Teaching at Chelsea School of Art Trevelyan eventually became head of the Etching Department and his pupils included David Hockney and Peter Ackroyd. This particular edition depicts a view of the rear of the Notre Dame de Paris. Three fishermen line the promenade and the Square de l'Ile de France protrudes into the Seine, this combined with the curved river bank gives almost a sense of three dimensionality to the etching, as is characteristic of Trevelyan's playful manipulations of perspective. -
Jane Carpanini Old Court, Selwyn College
Lithograph 30 x 42 cm Born in Bedfordshire, Jane Carpanini studied at Brighton College of Art and the University of Reading. Since the start of her career she has been known for meticulous architectural paintings. Wales has been a favourite subject and she has paintings in the collections of the National Library of Wales and National Museum of Wales. Her renowned series of views of Oxford and Cambridge Colleges were published by Contemporary Watercolours and have since featured regularly in the Oxford and Cambridge Today magazines. Throughout her career, Carpanini has exhibited widely and her work is held by many public and private collections both in the UK and abroad. She was a regular exhibitor with the major Societies and was the first woman officer of the Royal Watercolour Society, serving as the Honorary Treasurer and also as Vice-President. In 2003 she was also nominated for the Presidency of the RWS becoming the first ever female candidate for the post. This lithograph depicts a sunny day over the Old Court at Selwyn College, featuring the Chapel, Master's Lodge and the Hall, recognisable by its distinctive stairs. A few students or academics wander round the periphery, perhaps enjoying this summery Cambridge scene. Condition: generally very good, can come framed.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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Jane Carpanini Selwyn College
Lithograph 30 x 42 cm Born in Bedfordshire, Jane Carpanini studied at Brighton College of Art and the University of Reading. Since the start of her career she has been known for meticulous architectural paintings. Wales has been a favourite subject and she has paintings in the collections of the National Library of Wales and National Museum of Wales. Her renowned series of views of Oxford and Cambridge Colleges were published by Contemporary Watercolours and have since featured regularly in the Oxford and Cambridge Today magazines. Throughout her career, Carpanini has exhibited widely and her work is held by many public and private collections both in the UK and abroad. She was a regular exhibitor with the major Societies and was the first woman officer of the Royal Watercolour Society, serving as the Honorary Treasurer and also as Vice-President. In 2003 she was also nominated for the Presidency of the RWS becoming the first ever female candidate for the post. This lithograph depicts the comings-and-goings of the main entrance at Selwyn College, Cambridge. A student cycles along Grange Road, keeping pace with their walking friend, perhaps on their way to lectures at the nearby Sidgwick Site; another student is wheeling their bike towards the nearby bicycle parking. The weather is sunny and the trees are covered in leaves. This is a lovely representation of everyday life at the university and Selwyn College. Condition: Generally very good, can come with frame.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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Out of stock
Keith Vaughan Male Nude
Ballpoint pen sketch 17 x 13 cm Born in 1912, Keith Vaughan was a British painter known for his modernist and semi-abstract depictions of the male figure. He was self-taught as an artist but during his time as a conscientious objector in the Second World War, he befriended the painters Graham Sutherland and John Minton. Through these contacts, he formed part of the neo-romantic circle of the immediate post-war period. Over time, Vaughan's idiosyncratic style evolved away from the group as he focussed on male nudes and groups, often rendered in a geometric yet lyrical manner. Vaughan was openly gay at a time when homosexuality was criminalised in Britain. As a result, his work often reflected themes of isolation and desire, capturing both the physical and emotional aspects of human existence. He continues to be celebrated today and his works are held in several major galleries, inlcuding the National Galleries of Scotland, the National Portrait Gallery, the Tate and the Victoria and Albert Museum. This sketch depicting a male nude was taken from Vaughan's 'Ischia Cheese & Grill' sketchbook. Together the drawings in the sketchbook record Vaughan's experimentalism with landscape, abstraction and notably his commitment to the human form. This collection was sold as part of Peter Adam's estate; Adam was not just a close friend of Vaughan but his executor, biographer and the curator of multiple exhibitions of his work after he died in 1977. This sketch represents the unique opportunity to own a small piece of Keith Vaughan's oeuvre as he continues to grow in popularity. Condition: generally very good.UpdateIf you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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Keith Vaughan Side Profiles
Ballpoint pen sketch 17 x 13 cm Born in 1912, Keith Vaughan was a British painter known for his modernist and semi-abstract depictions of the male figure. He was self-taught as an artist but during his time as a conscientious objector in the Second World War, he befriended the painters Graham Sutherland and John Minton. Through these contacts, he formed part of the neo-romantic circle of the immediate post-war period. Over time, Vaughan's idiosyncratic style evolved away from the group as he focussed on male nudes and groups, often rendered in a geometric yet lyrical manner. Vaughan was openly gay at a time when homosexuality was criminalised in Britain. As a result, his work often reflected themes of isolation and desire, capturing both the physical and emotional aspects of human existence. He continues to be celebrated today and his works are held in several major galleries, inlcuding the National Galleries of Scotland, the National Portrait Gallery, the Tate and the Victoria and Albert Museum. This sketch was taken from Vaughan's 'Ischia Cheese & Grill' sketchbook. It depicts two sculptures in side profile and an antelope skull. This intriguing combination of sculpture and skulls is suggestive of an ancient civilisation, perhaps indicating that he produced this sketch during a jaunt through a natural history museum while on his travels. Together the drawings in the sketchbook record Vaughan's experimentalism with landscape, abstraction and notably his commitment to the human form. This collection was sold as part of Peter Adam's estate; Adam was not just a close friend of Vaughan but his executor, biographer and the curator of multiple exhibitions of his work after he died in 1977. This sketch represents the unique opportunity to own a small piece of Keith Vaughan's oeuvre as he continues to grow in popularity. Condition: generally very good.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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Keith Vaughan Male Nudes II
Ballpoint pen sketch 17 x 13 cm Born in 1912, Keith Vaughan was a British painter known for his modernist and semi-abstract depictions of the male figure. He was self-taught as an artist but during his time as a conscientious objector in the Second World War, he befriended the painters Graham Sutherland and John Minton. Through these contacts, he formed part of the neo-romantic circle of the immediate post-war period. Over time, Vaughan's idiosyncratic style evolved away from the group as he focussed on male nudes and groups, often rendered in a geometric yet lyrical manner. Vaughan was openly gay at a time when homosexuality was criminalised in Britain. As a result, his work often reflected themes of isolation and desire, capturing both the physical and emotional aspects of human existence. He continues to be celebrated today and his works are held in several major galleries, inlcuding the National Galleries of Scotland, the National Portrait Gallery, the Tate and the Victoria and Albert Museum. This sketch was taken from Vaughan's 'Ischia Cheese & Grill' sketchbook. It depicts a number of male nudes, each drawn with a sculptural quality, seemingly modelled from busts in an art gallery; interestingly it also seems to be a reiteration of another of his sketches of male nudes, drawn from a more distanced perspective, allowing the viewer to better take in the surrounding busts and sculptures. Together the drawings in the sketchbook record Vaughan's experimentalism with landscape, abstraction and notably his commitment to the human form. This collection was sold as part of Peter Adam's estate; Adam was not just a close friend of Vaughan but his executor, biographer and the curator of multiple exhibitions of his work after he died in 1977. This sketch represents the unique opportunity to own a small piece of Keith Vaughan's oeuvre as he continues to grow in popularity. -
Keith Vaughan Male nudes
Ballpoint pen sketch 17 x 13 cm Born in 1912, Keith Vaughan was a British painter known for his modernist and semi-abstract depictions of the male figure. He was self-taught as an artist but during his time as a conscientious objector in the Second World War, he befriended the painters Graham Sutherland and John Minton. Through these contacts, he formed part of the neo-romantic circle of the immediate post-war period. Over time, Vaughan's idiosyncratic style evolved away from the group as he focussed on male nudes and groups, often rendered in a geometric yet lyrical manner. Vaughan was openly gay at a time when homosexuality was criminalised in Britain. As a result, his work often reflected themes of isolation and desire, capturing both the physical and emotional aspects of human existence. He continues to be celebrated today and his works are held in several major galleries, inlcuding the National Galleries of Scotland, the National Portrait Gallery, the Tate and the Victoria and Albert Museum. This sketch was taken from Vaughan's 'Ischia Cheese & Grill' sketchbook. It depicts a number of male nudes, each drawn with a sculptural quality as if modelled from busts in an art gallery. Together the drawings record Vaughan's experimentalism with landscape, abstraction and notably his commitment to the human form. This sketchbook was sold as part of Peter Adam's estate; Adam was not just a close friend of Vaughan but his executor, biographer and the curator of multiple exhibitions of his work after he died in 1977. This sketch represents the unique opportunity to own a small piece of Keith Vaughan's oeuvre as he continues to grow in popularity. Condition: Generally very good. -
Keith Vaughan Gentleman in Black-Tie
Ballpoint pen sketch 17 x 13 cm Born in 1912, Keith Vaughan was a British painter known for his modernist and semi-abstract depictions of the male figure. He was self-taught as an artist but during his time as a conscientious objector in the Second World War, he befriended the painters Graham Sutherland and John Minton. Through these contacts, he formed part of the neo-romantic circle of the immediate post-war period. Over time, Vaughan's idiosyncratic style evolved away from the group as he focussed on male nudes and groups, often rendered in a geometric yet lyrical manner. Vaughan was openly gay at a time when homosexuality was criminalised in Britain. As a result, his work often reflected themes of isolation and desire, capturing both the physical and emotional aspects of human existence. He continues to be celebrated today and his works are held in several major galleries, inlcuding the National Galleries of Scotland, the National Portrait Gallery, the Tate and the Victoria and Albert Museum. This sketch of a gentleman in black-tie was taken from Vaughan's 'Ischia Cheese & Grill' sketchbook. Together the drawings record Vaughan's experimentalism with landscape, abstraction and notably his commitment to the human form. This sketchbook was sold as part of Peter Adam's estate; Adam was not just a close friend of Vaughan but his executor, biographer and the curator of multiple exhibitions of his work after he died in 1977. This sketch represents the unique opportunity to own a small piece of Keith Vaughan's oeuvre as he continues to grow in popularity. -
George Bissill (1896-1973) Forest Landscape
Watercolour 9 x 18 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This watercolour forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This petite watercolour depicts a forestscape with a light clearing surrounded by dark trees and fields in the distance. Although the piece has a sketchy quality, produced by his layering of pencil and watercolour, multiple figures and a horse are discernible at the centre of the composition, perhaps passersby wandering through the forest trail. Condition: generally very good.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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George Bissill (1896-1973) View through the village
Watercolour 26 x 31 cm Initialled to bottom right Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This watercolour forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. Condition: generally very good.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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George Bissill (1896-1973) View through the village
Watercolour 26 x 21 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This watercolour forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. In this watercolour, Bissill paints a view through a village. Houses line a small road leading to a clearing where three horses are frolicking. Bissill combines watercolour and pencil in this multimedia composition, using pencil to detail the minimalistic horses, for example. This painting offers therefore a unique insight into Bissill's working processes as he frantically sketches and paints life around him. Condition: generally very good.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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George Bissill (1896-1973) Rolling hills in the countryside
Watercolour 20 x 28 cm Signed to bottom right Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This watercolour forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. In this watercolour, one colour blends beautifully into the next, as the green rolling hills of the foreground shift into the dark blue fields of the background. What is particularly striking about this painting, however, is Bissill's brushwork. Each individual stroke of the tumultuous sky is distinguishable from the next. This suggests Bissill's high speed of working as he attempts to capture the atmosphere of this countryside scene, perhaps as he works in the manner of the French impressionists. Condition: generally very good.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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George Bissill (1896-1973) View over the bridge
Watercolour 18 x 22 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This watercolour forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. In this watercolour, one colour blends beautifully into another, be it in the browns and purples of the foreground, or the greens and yellows of the fields in the background. Bissill demonstrates an expert command over the medium in his shading of the bridge, capturing the light and sun-rays of this summer's day excellently. Condition: generally very good, slight age toning to paper.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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George Bissill (1896-1973)
Cottage View
Watercolour 20 x 28 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This watercolour forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This watercolour depicts a quaint scene: a traditional thatched cottage with a small country road running by. The scene is dominated by greenery with grass, trees and a lovely English garden. In contrast to the the more flowing use of watercolour in the trees, Bissill uses strong lines, shading and careful detailing to create a sense of architectural perspective, allowing his idyllic cottage to stand out from its surroundings. Condition: generally very good, slight spotting to paper.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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George Bissill (1896-1973) Exploring the Lake District
Watercolour 20 x 28 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This watercolour forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. One of Bissill's most powerful and expertly executed watercolours, this painting depicts a view over the shores of a lake in the Lake District. The sky is overcast, the fells are sparse--painted with muddy tones--, and yet flashes of colour appear on the shoreline as visitors enjoy the offerings of the majestic scenery. The figures seem to be passing their time skimming pebbles, conversing and hiking up the craggy paths of the fells, with their presence lending a lightness to the dramatic scenery. Condition: generally very good.If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.