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Francis Philip Barraud RA (1834-1901)
Corpus Christi College, Oxford
Watercolour 23 x 33cm Signed lower right. Barraud came from a family of painters. William and Henry were brothers, born in 1810 and 1811 respectively, the former a painter of equine subjects and hounds, the latter a landscape painter, and unusually the two of them made a habit of painting joint commissions. Francis, born in 1824, was a noted topographical artist, being well known for his views of Oxford in particular. Here he handles the old stonework of the College very capably, impressionistic flowers enhancing the scene. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Clifford and Rosemary Ellis
It Is Better To Return Early
Lithographic poster 102 x 61 cm Printed by Waterlow & Sons Ltd for London Transport. This original vintage poster was designed for London Transport and encourages shoppers to head home earlier in the day to avoid congestion on the London Underground and buses. The well-heeled customers in the poster sport smart 1930s shoes, and jostle against their purchases (a Father Christmas puppet and red-berried holly leaves mark the design as published in time for Christmas). The pinstripe-suited gentleman's newspaper serves as the background for the first line of the poster's text, which is slanted in the synthetic cubist style (synthetic cubists were keen to explore collage in their work, often employing collage, especially of newsprint). London Transport was the forerunner of London Underground. During the 1930s London Transport commissioned over forty posters a year from well-known artists such as Laura Knight, CRW Nevinson, Edward Wadsworth, Eric Ravilious, Paul Nash, Graham Sutherland, and Edward McKnight Kauffer – a bold policy that did much to popularise avant-garde artistic styles that stemmed from Cubism, Futurism and Abstraction. Condition: very good, backed to linen. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by Clifford and Rosemary Ellis. -
Paul Ayshford Methuen, 4th Baron Methuen of Corsham (1886 -1974)
Jesus College, Cambridge
Ink and pastel Signed and dated 30 May 1949; in artist’s original oak frame. 41x26cm (16.1×10.2 inches) For biographical details and other works by the artist click here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Paul Nash (1889 - 1946)
Come Out to Live (1936)
Original vintage poster 101 x 63 cm A copy of this poster is held by the London Transport Museum. Published by the Baynard Press. Nash's poster encourages us to buy a season ticket in order to travel more cheaply by train. A modernist suburb is juxtaposed with a monochrome photograph of the Royal Exchange in the heart of the City of London, suggesting that by travelling in from suburbia we can "come out to live". Paul Nash was a modernist, surrealist British artist. He is known for his modernist landscapes and work as a war artist. He studied at the Slate School of Art and soon focused his work on landscapes, especially those containing ruins; he went on to produce some of the most recognisable artworks of the First World War, mostly depicting war-torn landscapes. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage posters. -
Sir Edward Brantwood Maufe KBE RA FRIBA (1882-1974)
Heraldic Design for a carpet for the Senior Common Room, St John’s College Oxford
Watercolour and ink Signed and inscribed Provenance: The estate of Bernard Bumpus If you are interested email info@manningfineart.co.uk or call us on 07929 749056. 37x46cm (14.5×18.1 inches) Maufe designed buildings for his old Oxford College, St John’s, over an extended period, starting with two memorial slabs in 1923, and was made honorary fellow in 1943. His most major works were the Rawlinson Building extension (1933) and Dolphin Quad (1947). This design relates to the 1936 remodelling of the smoking room of the Senior Common Room. Click here for biographical details and other works by the artist. -
F F Hoyland Balliol College, Oxford (1880) Watercolour 44 x 66 cm Signed lower left and dated. An impressive watercolour of Balliol College. Scholars, sporting gowns and mortarboards, gather in the quad. Hoyland's stylistic precision transforms this watercolour into a beautifully executed depiction of the College's architecture. -
Ronald T Horley (active 1930s - 1940s)
The Gateway to Cornwall
Charcoal heightened with white 76 x 53 cm Signed and inscribed lower right 'Architect's Office, 83 Marlborough Place NW8 Marylebone'. The Great Western Railway commissioned a series of posters promoting train travel around the UK. This charcoal drawing of the Royal Albert Bridge at Saltash is the artist's original design for a poster encouraging rail travel to Devon and Cornwall. The bridge is known fondly as the 'Gateway to Cornwall'. The Royal Albert Bridge was designed by Isambard Kingdom Brunel. Surveying started in 1848 and construction commenced in 1854. The first main span was positioned in 1857 and the completed bridge was opened by Prince Albert on 2 May 1859. Condition: generally very good; a few isolated spots to bottom left corner. Click here for other original vintage travel posters and designs. -
Richard Beer (1928 - 2017)
Lecce Cathedral, Puglia
Oil on canvas 122 x 85 cm Provenance: the artist's studio. A momentous depiction of Lecce Cathedral in all its glory. This oil painting is a fantastic example of Beer's focus on architecture, the central and recurring theme of his pictorial idiom. Born in London in 1928, just too late to serve in the Second World War, Richard Beer studied between 1945 - 1950 at the Slade School. Subsequently, a French Government scholarship allowed him to spend time in Paris at Atelier 17, working under Stanley William Hayter (1901 - 1988), one of the most significant print makers of the 20th Century – having spent the War in New York, advising as a camofleur, Hayter only returned to Paris in 1950. Subsequently Beer studied at the École des Beaux Arts, Paris. Working for John Cranko, choreographer for the Royal Ballet, Beer designed the sets and costumes for his The Lady and the Fool at Covent Garden, subsequently working for him following his move in 1961 to Stuttgart Ballet. Additionally he produced book illustrations and designed book jackets. Beer later taught print-making at the Chelsea School of Art, where he was a popular teacher. Probably his greatest work was a collaboration with John Betjeman to produce a portfolio of prints of ten Wren Churches in the City for Editions Alecto, copies of which are in The Government Art Collection. That collection contains a total of 54 prints by Beer, and the Tate Gallery’s collection holds seven. His Oxford series was also produced for Editions Alecto as was a series of predominantly architectural views in Southern Europe. Most of his prints are of architectural subjects. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by Richard Beer. -
William Matthison
Balliol College Oxford
Watercolour 26 x 44 cm Signed lower right 'W Matthison'. Matthison was born near Birmingham and attended King Edward’s School in the city. He learned drawing at the Birmingham Central School of Art and then became a pupil of Birmingham artist Edward Watson. He became a professional artist in 1875 and moved to Oxfordshire a few years after; this was where he had the opportunity to produce many of the Oxford views for which he is known today. In 1902 he moved to Park Town in Oxford and was commissioned by Robert Peel to paint more than seventy views of the University of Oxford, which were subsequently made into postcards. Priced at seven for a shilling, they were only available from E Cross of Pembroke Street (a long-since closed business). Raphael Tuck & Sons also commissioned him to produce postcard scenes of Cambridge. Matthison’s views of Oxford were later printed in Fifty Watercolour Drawings of Oxford, published in 1912 by Alden & Co. Click here for other works by the artist. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Sir Hugh Casson CH, KCVO, PRA, RDI (1910-1999) St John’s College, Oxford, Canterbury Quad Signed, inscribed with title and dated ‘1988’ (on a label attached to the backboard) Pencil, pen, ink and watercolour 10.5 x 27cm (4 1/8 x 10 5/8in). Painted for inclusion in Hugh Casson’s Oxford (Phaidon Press Ltd, 1988). Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Macdonald (Max) Gill (1884-1947) Wonderground Map of London (c. 1924, after 1914 original edition)
Lithographic poster 75x94cm In the present work, in the top left-hand corner it reads 'On to Wembley' making reference to the British Empire Exhibition of 1924. Gill's original 1914 poster was hugely popular and reprinted with updates to feature topical events. Born in Brighton, Max Gill was the second son in a family of thirteen children; his elder brother was Eric Gill, the typographer and sculptor. Both Gills exhibited significant talent at a young age. Max Gill’s first map was made for a school map-drawing project following which he entered maps into competitions in boys’ magazines. In 1903 he moved to London as assistant to the ecclesiastical architects Sir Charles Nicholson and Hubert Corlette. By 1908 he had started his own architectural practice, but in 1909 Sir Edwin Lutyens commissioned Gill to paint a “wind dial” map for Nashdom, a large house in Buckinghamshire. The wind dial was set over the fireplace and attached to a weather vane on the roof, allowing the occupant to know the direction of the wind from the comfort of the house. He produced seven further wind dials including for Lutyens’s Lindisfarne Castle and for the Allhusen Room at Trinity College, Cambridge. Although he continued to practice as an architect, Frank Pick commissioned him to create seven pictorial maps for the Underground, the first being the famous 1913 ‘Wonderground Map of London Town.’ In 1917 he joined the Imperial War Graves Commission’s headstone design committee, designing the typeface and regimental badges. Gill’s memorials for the fallen in the First World War include for Balliol and Worcester Colleges and Christ Church in Oxford. During the 1920s and 30s Gill undertook many commercial commissions for advertising materials. The Empire Marketing Board and Shell-Mex as well as further maps for the Underground. He designed in 1922 the first diagrammatic map of the Underground which provided the foundation for Beck’s more famous map. By the 1930s his major works were murals. Those of the Arctic and Antarctic on the ceilings of the Scott Polar Research Institute in Cambridge are beautiful, but the most impressive is the map of the North Atlantic in the first-class dining room of the Queen Mary (maiden voyage: 1936, now moored at Long Beach, California). During the Second World War he created a series of propaganda posters for the Ministry of Information. -
David Loggan (1634-1692)
Christ Church, Oxford (1675)
Engraving 42 x 84 cm Loggan's view of Christ Church from the 'Oxonia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells (born 1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: very good; later hand coloured. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Christ Church. -
Clifford and Rosemary Ellis
Travels in Time on your Doorstep
Lithographic poster for London Transport (1937) 101 x 63.5 cm Printed by Curwen Press Provenance: the family of the artist, by descent. Condition: A- backed to linen, pin holes to corners. Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Clifford and Rosemary Ellis
You can be sure of Shell
Chanter's Folly and Dry Dock, Appledore
Lithographic poster for Shell Mex BP (1937) 30x44" Provenance: the family of the artist, by descent. Condition: A/A- backed to linen. Click here for biographical details and other works by the artist. Shell produced a large series of posters in the 1920s and 30s to encourage motorists to use their products in that early and golden age of motoring. They often commission artists not known for their commercial art, so their posters very often featured large and dramatic views of the British countryside and landmarks, inspiring motorists to travel further afield. Here the Ellises have taken a well-known landmark and applied avant-garde artistic techniques so stylising the view, turning, e.g. the clouds into an array of angular v-shaped blocks. Thomas Burnard Chanter (1797-1874) was owner of a fleet of sailing vessels and erected a signal tower ('Chanter's Folly') to give him advance notice of his vessels' arrival. It was demolished in 1952. The dry dock - Richmond dry dock - was built in 1853 and designed to hold two 'large' ships. It exists today and is Grade II listed. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Clifford and Rosemary Ellis
Shop Early (1935)
Lithographic poster for London Transport 101 x 63.5 cm Printed by Waterlow & Sons Ltd For the artist’s biographical details and for other works by the artist available for sale please click here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Edward Bawden (1903 - 1989)
Aesop's Fables: Peacock and Magpie (1970)
Linocut print 63 x 75 cm Signed, numbered 11/50, and titled in pencil. A delightful print illustrating Aesop's fable of the Peacock and Magpie. In the fable, the birds are searching for a king, and the Peacock puts himself forward. The birds are about to make him king because of his charming plumage, but a Magpie asks the Peacock how he might defend the birds from predators. The Peacock has no answer. Aesop's moral is that those in power must be suited to the task, and not just vain pretenders. The artist's use of vibrant colour brings the tale to life. Edward Bawden was an English painter, illustrator and graphic artist, known for his prints, book covers, posters, and garden metalwork furniture. Bawden taught at the Royal College of Art, where he had been a student, worked as a commercial artist, and served as a war artist in World War II. He illustrated several books and painted various public murals, and his work and career are often associated with that of his contemporary, Eric Ravilious. Condition: generally very good; small stain to extremity that will be hidden under mount. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Fred Taylor (1875 - 1963)
Magdalen Tower from Magdalen Bridge
Watercolour 25 x 37 cm Signed lower left. Fred Taylor captures the indomitable features of Magdalen Tower. The spire rises into a pale sky as undergraduates stream past the entrance to the Porter's Lodge. An old-fashioned car drives up the High.This watercolour of Magdalen was a design for the front cover of a guidebook about Oxford.Fred Taylor was a London-born painter and poster designer. He studied at the Académie Julian in Paris, and Goldsmiths’ in London, later travelling to Italy on a scholarship to study art. He produced many poster designs for railway and shipping firms and was an official camoufleur during the Second World War. He exhibited at the Royal Academy.Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Magdalen College, Oxford. -
Cyril A. Farey (1888-1954)
National Bank of India, Aden
Watercolour 44x60cm (frame) 17.5×33.5cm (6.8×13.1 inches) Biographical details and other works by Cyril Farey can be found here. In 1839 Aden was taken by the East India Company as a recoaling point between India and the UK. Aden came under the control of the Government of Bombay. In 1937, recognising the geographical distinction between India and Aden it ceased to be a part of British India and became a Crown Colony with its own Governor. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
Christ Church, Oxford (1675)
Engraving 42 x 84 cm Loggan's view of Christ Church from the 'Oxonia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells (born 1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Christ Church.
