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Sidney Sussex College, Cambridge, engraving by David Loggan

£1,950

David Loggan (1634 - 1692) Sidney Sussex College, Cambridge
Engraving 33 x 45 cm An eighteenth-century view of Queens' College, Cambridge, engraved by David Loggan, the noted engraver, draughtsman, and painter. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (c. 1708). The contemporary artist Andrew Ingamells (b.1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of Sidney Sussex, please click here.

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Queens’ College, Cambridge, engraving by David Loggan

£1,950

David Loggan (1634 - 1692) Queens' College, Cambridge
Engraving 33 x 45 cm An eighteenth-century view of Queens' College, Cambridge, engraved by David Loggan, the noted engraver, draughtsman, and painter. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (c. 1708). The contemporary artist Andrew Ingamells (b.1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of Queens' College, please click here.

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Sidney Sussex, Cambridge, engraving by David Loggan

£1,950

David Loggan (1634 - 1692) Sidney Sussex College, Cambridge
Engraving 33 x 45 cm An eighteenth-century view of Sidney Sussex, Cambridge, engraved by David Loggan, the noted engraver, draughtsman, and painter. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (c. 1708). The contemporary artist Andrew Ingamells (b.1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of Sidney Sussex, please click here.

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Watching Over the Fire, pencil drawing by Hillary Hennes

£350

Hillary Hennes (1919-1993) Watching Over the Fire
Pencil drawing 43 x 28 cm Hillary Hennes was a British artist and illustrator. Her father was a curator at the South London Art Gallery and she was consequently initiated into the art world from a young age. After attending the Blackheath High School, Hennes (then Miller) studied at the Blackheath School of Art and then spent a further three years at the Royal College of Art. After graduating, Miller taught at the South East Sussex Technical College and in 1946 married the artist Hubert Hennes. Between 1948 and 1967 Miller frequently exhibited paintings at the Royal Academy in London and also illustrated a number of books on gardening and natural history, such as The Living World and Boff's Book of Gardening. This pencil drawing depicts a woman resting by the fireplace. Her legs are crossed and she is slumped gently to the side. Hennes excellently captures the light of the room: the mirror in the background reflects a sunny day and the woman is basked in light, though it is unclear if this from the gentle glow of a fire or the sun rays peaking through the window. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£850

R.A.E Little Christ's College Chapel, Cambridge, 1842
Watercolour 20 x 26 cm Charming watercolour depicting a view of Christ's College Chapel in the mid nineteenth century. In this painting, Little pays special attention to the watercolours and the light and shadows that fill the chapel. Thanks to this care, the scene is imbued with an uplifting ambiance. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of Christ's College, Cambridge, please click here.

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Girton College, Cambridge, watercolour by Joy Fox

£600

Joy Fox (née Hollings) Girton College
Watercolour 24 x 17 cm Signed to bottom right. Little is known about Joy Fox. It seems that she studied at Girton College, Cambridge between 1939 and 1942. This charming watercolour depicting the main gate at the college featured in Douglas de Lacey's book 'Girton's War: the Village 1939-1945.' The work included memories of rationing and the various strategies employed to keep warm and to find clothes for coming up to Girton. There are also descriptions of lectures, college rules, entertainments and war work. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of Girton College, please click here.

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Pencil design for stained glass window by Jane Gray

£350

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

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Naess Sovereign, lithograph by Laurence Dunn

£200

Laurence Dunn (1910 - 2006) Naess Sovereign
Pencil drawing 29 x 43 cm A vibrantly coloured lithograph depicting the Naess Sovereign at sea. The Naess Sovereign was originally built in 1961 by Mitsubishi Zosen, Nagasaki. When delivered, she was the third largest vessel in the world, and the largest vessel under British flag. In 1963, she was then followed by her sister vessel: the Naess Champion. Both ships were owned by the Naess group, one of the largest private shipping countries in the world. They were subsequently sold to Burmah Oil and the Sovereign was eventually laid up in 1975 and broken up in 1977. Laurence Dunn was a well-known British marine artist and writer known for his depictions of ships. He grew up in Devon, where he practised drawing passing ships, and went on to study at the Central School of Art. He then worked for shipbuilding firm John I. Thornycroft & Company Limited, where he contributed to the design of the Royal Yacht. During the Second World War, Dunn worked in naval intelligence. In the early 1960s, he created many line drawings of Atlantic ocean liners. Upon his death in 2006, the World Ship Society published the following obituary: DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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HMS Hermes, lithograph by Laurence Dunn

£200

Laurence Dunn (1910 - 2006) HMS Hermes
Pencil drawing 20 x 38 cm A vibrantly coloured lithograph depicting the HMS Hermes with illustrations of uniforms on the HMS Hermes to the reverse. As per Dunn's notes, this lithograph was produced for the builders and admiralty following the ship's reconstruction. HMS Hermes (R12) was a Centaur-class aircraft carrier of the British Royal Navy, commissioned in 1959. It served in multiple roles over its career, including as a strike carrier, commando carrier, and anti-submarine warfare carrier. It was originally commissioned in 1959 and was designed as a as a strike carrier for fixed-wing aircraft. During the 1980s it served as the flagship of the British task force against Argentina, playing a crucial role in air defence and amphibious operations. It was eventually sold to India in 1987 and was recommissioned as INS Viraat, before being taken out of service in 2017. Laurence Dunn was a well-known British marine artist and writer known for his depictions of ships. He grew up in Devon, where he practised drawing passing ships, and went on to study at the Central School of Art. He then worked for shipbuilding firm John I. Thornycroft & Company Limited, where he contributed to the design of the Royal Yacht. During the Second World War, Dunn worked in naval intelligence. In the early 1960s, he created many line drawings of Atlantic ocean liners. Upon his death in 2006, the World Ship Society published the following obituary: DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Container Ship, pencil drawing by Laurence Dunn

£200

Laurence Dunn (1910 - 2006) Container Ship
Pencil drawing 41 x 21 cm Laurence Dunn was a well-known British marine artist and writer known for his depictions of ships. He grew up in Devon, where he practised drawing passing ships, and went on to study at the Central School of Art. He then worked for shipbuilding firm John I. Thornycroft & Company Limited, where he contributed to the design of the Royal Yacht. During the Second World War, Dunn worked in naval intelligence. In the early 1960s, he created many line drawings of Atlantic ocean liners. Upon his death in 2006, the World Ship Society published the following obituary: DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home.

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Merton Tower, Oxford, etching by Mabel Oliver Rae

£195

Mabel Oliver Rae (1868-1956) Tom Tower, Oxford c.1920 Etching 12 x 9 cm Signed in pencil below. Mabel Oliver Rae was born in Cambridge, Cambridgeshire, and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works with the pseudonym 'M.Oliver Rae', a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. This particular etching depicts a lovely view of Merton Tower, Oxford. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

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Tom Tower, Oxford, etching by Mabel Oliver Rae

£175

Mabel Oliver Rae (1868-1956) Tom Tower, Oxford c.1920 Etching 12 x 9 cm Signed in pencil below. Mabel Oliver Rae was born in Cambridge, Cambridgeshire, and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works with the pseudonym 'M.Oliver Rae', a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. This particular etching depicts a lovely view of Tom Tower, Oxford. Condition: Generally very good, small tear to bottom right and slight age toning to paper.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of Christ Church, Oxford, click here.

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Abstract Landscape, watercolour by Colin Fifield

£500

Colin Fifield (1940-2022) Abstract landscape
Watercolour 26 x 36 cm Colin Fifield was a British artist specialising in painting and pottery. He trained at the Camberwell School of Arts and Crafts before specialising in painting and etching at the Slade School of Art. Over the course of his long career, Fifield displayed a variety of interests, ranging from landscape paintings in oils, watercolours and acrylics to pen and ink drawings. Many of his paintings take inspiration from the landscapes of Kent in South East England, featuring the bucolic pastures and fields. This painting is characteristic of Fifield's artistic output. He playfully depicts a rural landscape scene, incorporating wavy shapes and bright colours. In doing so, he brings the painting to life. The waves through the long crops and grasses evoke the wind breezing through them. The hazy clouds in the sky seem to be moving, and a man-- simplistic in form--walks down the country-lane, appreciating the tranquility of the moment.

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Rufford Old Hall- Door Details, pencil drawing by M R A Hollis

£400

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

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Rufford Old Hall, pencil drawing by M R A Hollis

£400

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

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

£400

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

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The Bluecoat School, pencil drawing by M R A Hollis

£400

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

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Clare Bridge, watercolour by Mark McCrum

£250

Mark McCrum Clare Bridge
Watercolour 29 x 39 cm Signed and dated to lower right Mark McCrum, born in Cambridge, England, is a distinguished author and artist known for his diverse body of work spanning travel writing, ghostwriting, crime fiction, and landscape painting. An accomplished landscape painter, McCrum specialises in watercolours, often painting en plein air to capture the immediacy of the scene. His works feature landscapes from Cambridge and regions such as North Norfolk, Scotland's Outer Hebrides, and the West of Ireland. He has held multiple solo exhibitions, showcasing his evocative portrayals of natural settings. This lovely watercolour depicts Clare bridge in Cambridge, with the still water of the Cam reflecting the arches of the bridge. Although unfinished, the greenery of the trees gestures outwards and it is not hard to imagine the serene scene surrounding the bridge. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of Clare College, please click here.

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

£250

Rosemary Anne Sisson (1923-2017) 'The Splendid Outcast', stage designs
20 x 28 cm Watercolour (set of three) Cesar Borgia has ambitious plans and one of them is to take over the Kingdom of Naples...What follows in 'the Splendid Outcast' is a sordid love story. Marriages slip into affairs, affairs turn into assassinations, lust transforms to greed... Sisson wrote this play in 1960. The stage designs that followed in 1961 are vibrant, marked with the warm tones one might expect in a play set in Renaissance period Italy. Although a writer by craft, Sisson also proves herself adept with a brush and palette, executing playful mise-en-abimes as she incorporates miniature works of art into her stage designs. The abundance of windows and light in these watercolours also gestures to a world beyond her play, quite literally breathing a breath of fresh air and life into these works. Rosemary Anne Sisson was born in 1923 in Middlesex to the well-known Shakespeare scholar Charles Jasper Sisson, Lord Northcliffe. She developed a reputation as an acclaimed writer and playwright and was subsequently described by playwright Simon Farquhar in 2014 as being "one of television's finest period storytellers."

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

£295

James Basire & Robert Blemmel Schnebbelie The Holy Sepulchre at Northwold in the county of Norfolk
Engraving 45 x 60 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing by the English painter and illustrator Robert Blemmel Schnebbelie. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This particular edition depicts the Holy Sepulchre at Northwold in Norfolk. This sepulchre probably dated to the late 15th century and was used for the Deposition and Resurrection rituals on Good Friday and Easter Sunday-- an in depth commentary on such sepulchre in Norfolk was written by Veronica Sekules for the University of Missouri. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£1,200

James Basire & John Carter Architectural View of Exeter Cathedral
Engraving 61 x 95 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, based on drawing by the English architect and draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This particular edition depicts a side-view of Exeter Cathedral. Basire's creation of contrasts between light and dark creates a strong sense of architectural perspective as the arms of the transept protrude away from the nave. Basire's strong command of the medium also allows him to expertly capture the fine details of the stained glass windows, presenting a lovely view over this majestic building. Condition: Generally very good, slight spotting to the central fold.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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St Albans Cathedral, 1810, engraving by James Basire

£1,200

James Basire & John Carter Floor plan of St Albans Cathedral
Engraving 61 x 95 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire, based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This particular edition depicts a cross section of St Alban's Cathedral, offering a unique insight into both the architectural features of the building and its finer masonry and design details. Condition: Generally very good, slight spotting to the central fold.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£800

James Basire & John Carter Floor Plan of St Albans Cathedral
Engraving 61 x 95 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire, based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This particular edition depicts the architectural floor plan of St Albans Cathedral. The cruciform architecture is striking, as portrayed from an aerial view. Basire and Carter also expertly preserve the finer details of this beautiful cathedral in these plans, depicting the details of the floor tiling and the masonry of the columns. This attention both to the architecture and the details produces a unique overall view of the cathedral. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£295

James Basire & William Turner Davey A Chimney Piece in the Bishop's Palace at Exeter
Engraving 45 x 60 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing by the English artist and engraver William Turner Davey. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts an ornate chimney piece in the Bishop's Palace at Exeter. It features a number of crests and Basire's masterful engraving technique expertly captures the fine masonry of the piece. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£295

James Basire & John Carter Architectural Fragments of St Albans Cathedral
Engraving 60 x 44 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire, based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£295

James Basire & John Carter Architectural Fragments of St Albans Cathedral
Engraving 60 x 44 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire, based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£295

James Basire & John Carter Architectural Fragments of St Albans Cathedral
Engraving 60 x 44 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire, based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£295

James Basire & John Carter Architectural Fragments of St Albans Cathedral
Engraving 60 x 44 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire, based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£295

James Basire & John Carter The Abbey Church of St Albans
Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising St Albans Cathedral as one of England's most significant medieval structures, the society commissioned a series of engravings by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£295

James Basire & John Carter Architectural Details of St Albans Cathedral
Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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St Albans Cathedral, 1810 engraving by James Basire

£700

James Basire & John Carter St Albans Cathedral
Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This particular engraving is especially striking, as Carter expertly creates contrasts between light and dark, giving his work a strong sense of depth and conveying the impressive stature of St Albans Cathedral. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£295

James Basire & John Carter Architectural Fragments of St Albans Cathedral
Engraving 44 x 62 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good, some spotting to the corners.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£295

James Basire & John Carter Specimens of the Architecture and Ornaments of the Abbey Church at St Albans
Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good, some spotting to the corners.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£295

James Basire & Henry Emlyn Plan and Elevation of the Rood Loft in St George's Chapel at Windsor Engraving 47 x 55 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing by Henry Emlyn. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts the plan and elevation of the rood loft in St George's Chapel in Windsor. The strong lines and striking shapes stand out in this work, with the two cross sections of each column leaving a particularly strong impression. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£295

James Basire & John Carter Architectural Fragment of St Albans Cathedral
Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, in 1810 the society commissioned a series of engravings of St Albans Cathedral by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts an architectural fragment of St Albans Cathedral, focussing on the tiered windows that line the nave. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£295

James Basire & John Carter Architectural Fragment of St Albans Cathedral
Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, in 1810 the society commissioned a series of engravings of St Albans Cathedral by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts an architectural fragment of St Albans Cathedral, focussing on the tiered windows that line the nave. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£295

James Basire & John Carter Stalls in Tiltey Church Essex & Stalls in the Choir of Rochester Cathedral
Engraving 50 x 32 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing by John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts the stalls in Tiltey Church Essex and Rochester Cathedral. Each set of stalls has its own set of distinguishing features. Although the stalls in Tiltey Church are comparatively pared back with their bare bricks and simple stone masonry, these nooks are not simply stalls but are in fact a three-levelled sedilia with a piscina, as was typical in medieval churches. The sedilia in Rochester Cathedral is, in contrast, extremely ornate, figuring as a fine example of Gothic architecture, specifically from the Decorated period (c. 1250–1350). Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Wainflete School, Lincolnshire, 1790, engraving by James Basire

£295

James Basire & Robert Blemmell Schnebbelie Wainflete School, Lincolnshire
Engraving 50 x 32 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing by Robert Schnebbelie. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts a north-westerly view of a school in Wainflete, Lincolnshire. It is likely that the building pictured illustrates the Magdalen College School, opened in 1484 by William Patten of Wainlete as a feeder school for Magdalen College, which he founded in 1458. The engraving showcases the lovely red-brick building and the effigies of his father Richard Patten, presumably designed to feature in the school. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£295

James Basire & Robert Blemmell Schnebbelie Monument of King Edward IV in St George's Chapel at Windsor
Engraving 50 x 32 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing by Henry Emlyn. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts the ornate monument of King Edward IV in St George's Chapel at Windsor. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Fonts in Suffolk, 1792, engraving by James Basire

£295

James Basire, after James Johnson and John Carter Fonts in Suffolk
Engraving 50 x 32 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on drawings by James Johnson and John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts fonts in Suffolk. The first illustration, originally executed by James Johnson, represents the ornate font in Ufford Church, complete with a uniquely suspended font cover. The second illustration, originally drawn by John Carter depicts a similarly ornate font in St Gregory's Church Sudbury. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£295

James Basire & Robert Blemmell Schnebbelie The Chancel of Chatham Church, Kent
Engraving 48 x 33 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing the English painter and illustrator Robert Blemmell Schnebbelie. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts the Chancel of Chatham Church, Kent, 'as it appeared the 13th March 1788.' Across three figures, Schnebbelie depicts the dismantling of the church, illustrating the ornate finds uncovered by the workers and their pickaxes. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£295

James Basire & Robert Blemmell Schnebbelie The Holy Sepulchre at Heckington in Lincoln
Engraving 45 x 30 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of architectural engravings in 1810 by James Basire, this one based on a drawing the English painter and illustrator Robert Blemmell Schnebbelie. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts the Holy Sepulchre at Heckington in the County of Lincoln. It illustrates the remarkable Easter Sepulchre at St Andrew's Church, Heckington. This carved structure features striking Gothic tracery, religious figures, and scenes related to Christ’s resurrection, all captured excellently by Basire's precision in engraving. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£295

James Basire & John Carter Architectural details of St Albans Cathedral
Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Alban's Cathedral in 1810 by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£795

James Basire & John Carter St Albans Cathedral
Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral in 1810 by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This striking engraving depicts a cross section of the cathedral, allowing the viewer to appreciate both the architectural details of the exterior and glimpse usually hidden areas of the building including the inside of the bell tower. Condition: Generally very good, repaired tear to the bottom right hand corner
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£2,750

Michael Angelo Rooker (1746–1801) St John's College, Oxford
Watercolour 25 x 40 cm Depicting a lovely view over the gardens of St John's College, Oxford, this watercolour may have been produced for the 1783 edition of the Oxford Almanack. This almanack ran between 1674 and 2019 and traditionally included engravings and information about Oxford University. Michael Angelo Rooker (1746–1801) was an English painter, engraver, and illustrator, best known for his topographical landscapes and architectural scenes. His works often depicted picturesque views of British towns, universities, and ruins, executed with meticulous detail and atmospheric effects. He was particularly well-regarded for his ability to blend topographical accuracy with artistic beauty, making his works valuable both as historical records and as fine art. This watercolour exemplifies beautifully his fine attention to detail, atmosphere and architectural perspective, as he expertly depicts the façade of the college, while also capturing the long shadows cast by the trees on this seemingly warm summer's day. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Brasenose College Quadrangle, watercolour by George Pyne

£2,500

George Pyne (1800 - 1884) Brasenose College Quadrangle Watercolour 16 x 22 cm Signed and dated to lower right A well-executed watercolour of the quadrangle at Brasenose College, Oxford. Pyne expertly depicts the main gate with the Radcliffe Camera behind and the spire of the University Church of St Mary shrouded in a light mist. He also intriguingly captures the smaller details of the scene: a scholar in academic dress wandering around the periphery of the quad, the shadows and relief of a statue which no longer stands in the Old Court, the reflections in the old single-glazed windows. In doing so, he captures the unique charm of Brasenose College on this sunny day in the late 19th Century. George Pyne was related to two founders of the Society of Painters in Watercolours – William Henry Pyne was his father, and John Varley his father-in-law. Pyne trained as an architectural draughtsman and lived in Oxford from the 1850s until his death in 1884, specialising in views of the city and its colleges. His Oxford pictures are both architecturally-minded and romantically creative, often combining intensely detailed depictions of college buildings with imagined pedestrian scenes. Pyne was also noted for his views of Cambridge and Eton, and for his drawing manuals ‘A Rudimentary and Practical Treatise on Perspective for Beginners’ (1848) and ‘Practical Rules on Drawing for the Operative Builder, and Young Student in Architecture’ (1854); the latter texts offer an insight into his method of depicting architecture and its surroundings. Condition: Generally very good, a couple of spots to the sky.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Keble College Chapel, watercolour by David Garland

£2,500

David Garland Keble College Chapel
Watercolour 28 x 38 cm This richly coloured watercolour was painted by David Garland for the 1971 edition of the 'Oxford Almanack.' This almanac was published annually by the Oxford University Press for the University of Oxford from 1674 to 2019. These almanacs traditionally included engravings and information about Oxford University, including the Heads of Colleges and a university calendar. This painting was a warm and colourful contribution to the edition, capturing the distinctively striated red bricks of Keble College. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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High Holborn, watercolour by Sidney Cardew

£250

Sidney Cardew RSMA (1931-2017) High Holborn
Watercolour 30 x 18 cm Sidney Cardew (1931–2017) was a British artist celebrated for his evocative watercolour paintings, particularly those depicting marine and coastal scenes. Born in London, Cardew developed an early passion for drawing and painting during his school years. After completing his national service in the Royal Air Force, he pursued a career as a senior design engineer with the Ford Motor Company. In his early thirties, Cardew began to paint earnestly, initially focusing on oil painting before transitioning to watercolours, attracted by their immediacy and fluidity. Cardew's artistic approach was deeply influenced by renowned artists such as Edward Seago, John Singer Sargent, William Russell Flint, Ted Wesson, and Jack Merriott. He often painted en plein air, employing minimal preliminary drawing and emphasizing wet-into-wet techniques to capture the transient qualities of light and atmosphere. In 1990, after attending sessions with the Wapping Group of Artists as a guest, Cardew was elected as a full member. Two years later, in 1992, he became a member of the Royal Society of Marine Artists (RSMA). Throughout his career, he exhibited with prestigious institutions such as the Royal Institute of Painters in Water Colours (RI) and the Royal Society of British Artists (RBA), and his works are held in various provincial galleries. As well as producing many maritime paintings, as a member of the Wapping Group of Artists Cardew frequently depicted scenes along the River Thames and its surroundings and was adept at capturing the essence of London's architecture and street life. This painting of High Holborn is a particularly fine example of Cardew's cityscapes, featuring splashes of colour, moving cars and a strong architectural focus. Condition: generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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