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Sir Eduardo Paolozzi CBE RA (1924-2005) Construction
Plaster of Paris 6 x 4 x 2 cm Paolozzi’s fascination with anatomy, machine parts, and the idiom of classical statuary is evident in his modernist sculptural forms. 'Construction' is an intriguing piece, characterised by clean lines and strong forms. The work seems to feature a round hand hammer surrounded by two other tools. Paolozzi could be alluding to the materials needed to create such sculptures, highlighting the industry behind the art form. Sir Eduardo Luigi Paolozzi CBE RA was a Scottish artist, known for his sculpture and graphic works. He is widely considered to be one of the pioneers of pop art. Paolozzi studied at the Edinburgh College of Art in 1943, briefly at Saint Martin's School of Art in 1944, and then at the Slade School of Fine Art at University College London from 1944 to 1947, after which he worked in Paris. While in Paris from 1947 to 1949, Paolozzi became acquainted with Alberto Giacometti, Jean Arp, Constantin Brâncuși, Georges Braque and Fernand Léger. This period became an important influence for his later work. For example, the influence of Giacometti and many of the original Surrealists he met in Paris can be felt in the group of lost-wax sculptures made by Paolozzi in the mid-1950s. Their surfaces, studded with found objects and machine parts, were to gain him recognition. He taught sculpture and ceramics at several institutions, including the Hochschule für bildende Künste Hamburg (1960–62), University of California, Berkeley (in 1968) and at the Royal College of Art. Paolozzi had a long association with Germany, having worked in Berlin from 1974 as part of the Berlin Artist Programme of the German Academic Exchange Programme. He was a professor at the Fachhochschule in Cologne from 1977 to 1981, and later taught sculpture at the Akademie der Bildenden Künste in Munich. Paolozzi was fond of Munich and many of his works and concept plans were developed in a studio he kept there, including the mosaics of the Tottenham Court Road Station in London. He took a stab at industrial design in the 1970s with a 500-piece run of the upscale Suomi tableware by Timo Sarpaneva that Paolozzi decorated for the German Rosenthal porcelain maker's Studio Linie. Condition: Generally very good, occasional inclusions etc., as expected. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Vivan Bewick British light tanks
Gouache 17 x 25 cm This striking gouache depicts two British light tanks in formation. Bewick captures the details of these vehicles seemingly with ease, using contrasts between lighter and darker colours to create a sense of depth. In this unique composition, he also exploits gouache as a medium, exploiting its opaqueness as he depicts the tanks whipping up the sand beneath them. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals. While fulfilling his military duties in the Royal Artillery during the Second World War, Bewick maintained his artistic pursuits. He contributed to the wall-newspaper "Swillbin," a tradition from the First World War, and designed army Christmas cards. Additionally, he illustrated technical manuals and conducted art classes and exhibitions, with critiques by James Bateman R.A. After the war, Bewick continued his artistic education and career, spending five years at St. Martin’s School of Art and London University. He also engaged in part-time teaching of adults in art clubs, societies, and colleges and exhibited at the Royal Academy, the Paris Salon, the Royal Institute of Painters in Watercolours, and the Royal Society of British Artists. Condition: Generally very good, slight age toning, mounted to board. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Vivian Bewick Night must fall, original vintage book cover
Gouache 24 x 16 cm Signed to reverse This vibrant work was originally a book cover design for the play 'Night Must Fall' by Emlyn Williams. This psychological thriller follows the story of a charming yet mysterious young man named Dan, who takes a job as a caregiver for Mrs. Bramson, an irritable and wealthy elderly woman living in a secluded English countryside home. Despite his charisma, Dan harbours a dark secret, as he is revealed to be a murderer. This striking composition features Bewick's characteristically masterful use of silhouette to create an effect of suspense and tension, in-keeping with the themes of the play. The bright colours against dark gouache make this piece stand out and notably distinguish it as a beautiful work within Bewick's extensive oeuvre. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals. -
Vivian Bewick Allegory of St Michael slaying the Dragon
Gouache 22 x 13 cm Signed to reverse along with the Golden Hinde, probably for publication in Swillbin or similar. This gouache depicts a striking allegory of St Michael slaying the dragon. In this configuration a valiant soldier stands in for St Michael as he stakes a spear through the heart of Hitler, and therefore fascism. Bold lines, colour and strong forms tell a story, bringing this work to life and distinguishing it from Bewick's other pieces. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals. While fulfilling his military duties in the Royal Artillery during the Second World War, Bewick maintained his artistic pursuits. He contributed to the wall-newspaper "Swillbin," a tradition from the First World War, and designed army Christmas cards. Additionally, he illustrated technical manuals and conducted art classes and exhibitions, with critiques by James Bateman R.A. After the war, Bewick continued his artistic education and career, spending five years at St. Martin’s School of Art and London University. He also engaged in part-time teaching of adults in art clubs, societies, and colleges and exhibited at the Royal Academy, the Paris Salon, the Royal Institute of Painters in Watercolours, and the Royal Society of British Artists. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Vivan Bewick British Valentine Tank
Gouache 6 x 9 cm Signed to the reverse. This striking miniature gouache depicts a British Valentine tank rolling through the desolate no man's land with two other tanks rolling in the background. Bewick produced this gouache as for the 'tank-recognition' series in Swill-bin. Swill-bin was a wall-newspaper produced by soldiers; it originated in the First World War and was revived once again during the Second World War. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals. While fulfilling his military duties in the Royal Artillery during the Second World War, Bewick maintained his artistic pursuits. He contributed to the wall-newspaper "Swillbin," a tradition from the First World War, and designed army Christmas cards. Additionally, he illustrated technical manuals and conducted art classes and exhibitions, with critiques by James Bateman R.A. After the war, Bewick continued his artistic education and career, spending five years at St. Martin’s School of Art and London University. He also engaged in part-time teaching of adults in art clubs, societies, and colleges and exhibited at the Royal Academy, the Paris Salon, the Royal Institute of Painters in Watercolours, and the Royal Society of British Artists. Condition: Generally very good, save small brown mark top left. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Vivan Bewick German Panzerkampfwagen III
Gouache 6 x 9 cm Signed to the reverse. This striking miniature gouache depicts a Soviet T-34/76 powering through a mountainous snowscape. The T-34/76 had a truly long lasting impact on the battlefield, with an impressive balance of firepower, armour protection and mobility. Bewick produced this gouache as for the 'tank-recognition' series in Swill-bin. Swill-bin was a wall-newspaper produced by soldiers; it originated in the First World War and was revived once again during the Second World War. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals. While fulfilling his military duties in the Royal Artillery during the Second World War, Bewick maintained his artistic pursuits. He contributed to the wall-newspaper "Swillbin," a tradition from the First World War, and designed army Christmas cards. Additionally, he illustrated technical manuals and conducted art classes and exhibitions, with critiques by James Bateman R.A. After the war, Bewick continued his artistic education and career, spending five years at St. Martin’s School of Art and London University. He also engaged in part-time teaching of adults in art clubs, societies, and colleges and exhibited at the Royal Academy, the Paris Salon, the Royal Institute of Painters in Watercolours, and the Royal Society of British Artists. Condition: Generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Vivan Bewick German Panzerkampfwagen III
Gouache 6 x 9 cm Signed to the reverse. This striking miniature gouache depicts a German Panzerkampfwagen III, commonly known as the Panzer III, rolling through a desert landscape. Bewick produced this gouache as for the 'tank-recognition' series in Swill-bin. Swill-bin was a wall-newspaper produced by soldiers; it originated in the First World War and was revived once again during the Second World War. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals. While fulfilling his military duties in the Royal Artillery during the Second World War, Bewick maintained his artistic pursuits. He contributed to the wall-newspaper "Swillbin," a tradition from the First World War, and designed army Christmas cards. Additionally, he illustrated technical manuals and conducted art classes and exhibitions, with critiques by James Bateman R.A. After the war, Bewick continued his artistic education and career, spending five years at St. Martin’s School of Art and London University. He also engaged in part-time teaching of adults in art clubs, societies, and colleges and exhibited at the Royal Academy, the Paris Salon, the Royal Institute of Painters in Watercolours, and the Royal Society of British Artists. Condition: Generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Vivan Bewick British Valentine Tank
Gouache 6 x 9 cm Signed to the reverse. This striking miniature gouache depicts a British Valentine tank rolling through the no man's land at night. Bewick produced this gouache as for the 'tank-recognition' series in Swill-bin. Swill-bin was a wall-newspaper produced by soldiers; it originated in the First World War and was revived once again during the Second World War. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals. While fulfilling his military duties in the Royal Artillery during the Second World War, Bewick maintained his artistic pursuits. He contributed to the wall-newspaper "Swillbin," a tradition from the First World War, and designed army Christmas cards. Additionally, he illustrated technical manuals and conducted art classes and exhibitions, with critiques by James Bateman R.A. After the war, Bewick continued his artistic education and career, spending five years at St. Martin’s School of Art and London University. He also engaged in part-time teaching of adults in art clubs, societies, and colleges and exhibited at the Royal Academy, the Paris Salon, the Royal Institute of Painters in Watercolours, and the Royal Society of British Artists. Condition: Generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Vivan Bewick British Matilda Tank
Gouache 6 x 9 cm Signed to the reverse. This striking miniature gouache depicts a British Matilda tank rolling through the bleak no man's land. Bewick produced this gouache as for the 'tank-recognition' series in Swill-bin. Swill-bin was a wall-newspaper produced by soldiers; it originated in the First World War and was revived once again during the Second World War. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals. While fulfilling his military duties in the Royal Artillery during the Second World War, Bewick maintained his artistic pursuits. He contributed to the wall-newspaper "Swillbin," a tradition from the First World War, and designed army Christmas cards. Additionally, he illustrated technical manuals and conducted art classes and exhibitions, with critiques by James Bateman R.A. After the war, Bewick continued his artistic education and career, spending five years at St. Martin’s School of Art and London University. He also engaged in part-time teaching of adults in art clubs, societies, and colleges and exhibited at the Royal Academy, the Paris Salon, the Royal Institute of Painters in Watercolours, and the Royal Society of British Artists. Condition: Generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Vivan Bewick Anti-aircraft battery in action
Gouache 28 x 20 cm Signed and dated in bottom left hand corner. This striking gouache depicts an anti-aircraft battery in action: shots are being fired, smoke is billowing, the night sky is illuminated by the flashes of artillery. Through his skilful creation of silhouettes, Bewick fosters an undeniable feeling of suspense, as is characteristic of his wartime work. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals. While fulfilling his military duties in the Royal Artillery during the Second World War, Bewick maintained his artistic pursuits. He contributed to the wall-newspaper "Swillbin," a tradition from the First World War, and designed army Christmas cards. Additionally, he illustrated technical manuals and conducted art classes and exhibitions, with critiques by James Bateman R.A. After the war, Bewick continued his artistic education and career, spending five years at St. Martin’s School of Art and London University. He also engaged in part-time teaching of adults in art clubs, societies, and colleges and exhibited at the Royal Academy, the Paris Salon, the Royal Institute of Painters in Watercolours, and the Royal Society of British Artists. Condition: Generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Vivan Bewick Anti-tank gun in action
Gouache 24 x 32 cm Signed and dated to lower right. This striking gouache depicts, according to the artist, 'an anti-tank gun, with Australian crew, on the road to Damascus with a Vichy tank burning in the background.' The low-level angle and side profile of the soldiers creates a sense of drama, with the rimmed hat of the standing soldier recalling the Wild West, lending a certain heroic quality to this piece. With the heavy billowing smoke and the men poised to shoot, Bewick masterfully captures a moment of wartime suspense. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals. While fulfilling his military duties in the Royal Artillery during the Second World War, Bewick maintained his artistic pursuits. He contributed to the wall-newspaper "Swillbin," a tradition from the First World War, and designed army Christmas cards. Additionally, he illustrated technical manuals and conducted art classes and exhibitions, with critiques by James Bateman R.A. After the war, Bewick continued his artistic education and career, spending five years at St. Martin’s School of Art and London University. He also engaged in part-time teaching of adults in art clubs, societies, and colleges and exhibited at the Royal Academy, the Paris Salon, the Royal Institute of Painters in Watercolours, and the Royal Society of British Artists. Condition: Generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Vivian Bewick Montezumas Daughter, original vintage book cover
Wash and gouache 34 x 28 cm This work was originally a book cover design for the historical adventure novel 'Montezumas Daughter' by the Victorian writer Sir Henry Rider Haggard. The cover depicts two men, presumably including the protagonist Harry Thurston, engaged in a duel. As one of the subjects falls across the cover, his hand reaching helplessly outwards, Bewick alludes to the tragic themes explored in this intriguing novel exploring colonialism and the Spanish Inquisition. On the reverse of this cover, Bewick personally wrote the medium and his address at Buckhurst Hall, rendering it a unique addition to any collection. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals. -
Vivian Bewick Leopold von Habsburg, original vintage book cover
India ink and body colour 30 x 26 cm This work was originally a book cover design for the biography on Leopold Habsburg by the esteemed British author and biographer C.E. Vulliamy (1886–1971). It showcases the title of the work in a bold font with the Habsburg crest resplendent in gold in the background. Bewick personally wrote the medium and his address at Buckhurst Hall on the reverse of this cover, rendering it a unique piece for any collection. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals. Condition: Generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Vivan Bewick Searchlight Battery Pencil and gouache 22 x 13 cm Signed and dated to lower left. This striking multimedia composition depicts two operators working as part of a searchlight battery, a specialised unit tasked with operating the powerful searchlights in the air defence systems of the Second World War. His use of clean horizontal and perpendicular lines gives a certain depth to this unique work. In addition to this, the contrast between Bewick's use of dark gouache and the white of the flash lights creates a strong impression of illumination, making this piece stand out in any room. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals. While fulfilling his military duties in the Royal Artillery during the Second World War, Bewick maintained his artistic pursuits. He contributed to the wall-newspaper "Swillbin," a tradition from the First World War, and designed army Christmas cards. Additionally, he illustrated technical manuals and conducted art classes and exhibitions, with critiques by James Bateman R.A. After the war, Bewick continued his artistic education and career, spending five years at St. Martin’s School of Art and London University. He also engaged in part-time teaching of adults in art clubs, societies, and colleges and exhibited at the Royal Academy, the Paris Salon, the Royal Institute of Painters in Watercolours, and the Royal Society of British Artists. Condition: Generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Out of stock
Les champs de neige de Val d'Isère Original vintage skiing poster
Lithograph 60 x 40 cm Vintage travel poster for the popular Val d'Isère ski resort. Includes an illustration of a group of skiers looking over the peaks of the snowy alps. Originally produced for the French tourist board. 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 travel posters. -
Join the School Saving Bank Vintage poster, lithograph
36 x 25 cm Printed 1967, numbered 4/67 The post-war period in the United States saw the growth of the school savings bank movement, in which children were encouraged to save money by opening and regularly depositing into savings bank accounts through the school. This poster was presumably designed to be hung in classrooms across the country. Showcasing a colourful minimalist design, this poster features a circle with the slogan 'Join the School Saving Bank' in a configuration that recalls the face of a coin, -
Charles E. Brown Lancaster bomber, G for George
Silver gelatine photograph 21 x 14 cm This striking black and white photograph by Charles E. Brown showcases the magnificent Lancaster bomber, G for George W4783. Unlike many of Brown's other photographs of aeroplanes mid-air, G for George is parked. The viewer is treated to a unique view through the cockpit, with the steering wheel and aircraft controls clearly in view. In general, Lancaster bombers were used as British heavy bombers in the Second World War. G for George is, however, of particular note as the second most prolific operational bomber; most operational Lancasters were shot down after 20 sorties whereas G for George survived 90 before being retired. It is now preserved at the Australian War Memorial in Canberra. Charles E. Brown (1896-1982) was a British commercial aviation photography whose career spanned both World Wars. He worked primarily for British newspapers, the aviation industry and as a freelance commercial photographer with official accreditation as a war correspondent. He retired as an aviation photographer in 1964 and the Royal Airforce Museum has preserved his aviation archive of 30,000 images since 1978. -
John Chaplain
Venetian View of Santa Maria della Salute
Etching and aquatint 14 x 18 cm Signed in bottom left and right hand corners. View of Santa Maria della Salute from Riva degli Schiavani with the statue of King Emmanuel II, created c.1920. Condition: Generally very good, some age toning but only to margins. -
Sir Albert Richardson PRA Panoramic view across Durham
Monochrome Wash 22 x 33 cm A unique monochrome wash composition depicting a panoramic view across the Durham skyline. Richardson painted this view of Durham Cathedral, potentially from where Milburngate Bridge now stands. Rolling hills and church spires populate the foreground, while the magnificent cathedral looms over the rest of the city. Sir Albert Richardson (1880-1964) was a leading architect, teacher and architectural historian in the 20th century. In Durham, he is best known for his involvement in the designs of Durham University's buildings and for his work on the Durham Castle and Cathedral area. Richardson's contributions were part of a broader movement of restoring and enhancing historical buildings, while also integrating new designs that respected the local architectural style. He was notably part of a wider team of architects and restorers who worked to maintain the cathedral's status as a UNESCO World Heritage site. Condition: Generally very good, some age toning and a little faint spotting to paper, painted on rough Whatman. -
Sir Albert Richardson PRA View of Durham Cathedral from Palace Green
Watercolour with pen and gouache 21 x 25 cm A unique multimedia composition depicting the magnificent Durham Cathedral from Palace Green. Richardson's use of gouache produces splashes of colour, introducing the luscious greenery of this World Heritage Site into this work, bringing the composition to life. Sir Albert Richardson (1880-1964) was a leading architect, teacher and architectural historian in the 20th century. In Durham, he is best known for his involvement in the designs of Durham University's buildings and for his work on the Durham Castle and Cathedral area. Richardson's contributions were part of a broader movement of restoring and enhancing historical buildings, while also integrating new designs that respected the local architectural style. He was notably part of a wider team of architects and restorers who worked to maintain the cathedral's status as a UNESCO World Heritage site. Condition: Generally very good, painted on blue paper, slight age toning. -
Jack Coggins Aircraft Insignia
Original vintage poster, lithograph 60 x 45 cm Signed in image to bottom right This original vintage World War Two propaganda poster was initially commissioned by the army as an aircraft recognition chart for use in basic army training. It showcases different aircraft insignia identification markings with various types of military planes flying over an ominous grey sky. Among others, this poster illustrates a Fokker, B24, Stirling, Hurricane, Messerschmitt and Mitsubishi, surrounded by a colourful border of aircraft insignia including the British Empire, France, Germany, Japan, Russia and the United States. Jack Coggins (1911- 2006) was a British artist, author, and illustrator who moved to the United States in 1923 and enlisted with the army in 1943. He is known in the United States both for his oil paintings, which focused predominantly on marine subjects and for his books on space travel, which he authored and illustrated. Throughout his career he also provided illustrations for advertisements, magazine covers and articles. During the Second World War, he served as an artist and correspondent for YANK magazine, capturing and conveying wartime scenes from the front lines. For other propaganda posters, click here. -
C.C. Beall Don't be a dope and spread inside dope, loose talk can cost lives
Lithograph 51 x 36 cm 'Closed for the duration...Loose talk can cost lives.' In both the United Kingdom and the United States, there was a constant fear of insider information being overheard by the enemy. As a result, there were several propaganda drives to encourage discretion among the citizens of the countries. This particular poster belongs to an American collection centring around the slogan 'loose talk can cost lives.' Depicting two men conversing over a couple of pints of beer with Hitler hanging over their heads. In this depiction, Hitler has an abnormally large ear, suggesting he hears all, highlighting the dangers of loose talk. C.C. Beall (1892-1970) was an American commercial illustrator and portrait painter. He specialised in watercolour and drawings for magazines and comic books. Too old to be conscripted, Beall contributed to the war effort through his poster designs, in particular for war loan drives. For other propaganda posters, click here. -
Howard Scott Closed for the Duration, Loose Talk Can Cost Lives
Lithograph 51 x 36 cm 'Closed for the duration...Loose talk can cost lives.' In both the United Kingdom and the United States, there was a constant fear of insider information being overheard by the enemy. As a result, there were several propaganda drives to encourage discretion among the citizens of the countries. This particular poster belongs to an American collection centring around the slogan 'loose talk can cost lives.' Depicting a man with his mouth taped together, his lips shut tight and sealed shut, this poster represents an aspirational antithesis of 'loose talk'. Howard Scott (1902-1983) was a billboard designer for many American companies in the mid-twentieth century. He was known for designing billboards with clever one liners and large pictures of friendly, everyday people on them. He was famous for his designs for companies including Heinz Ketchup, Nash Automotive, and Campbell’s Soup. During the Second World War, he joined the navy where he illustrated posters for the U.S. War Information Center, including the poster pictured here. For other propaganda posters, click here. -
Original vintage poster Calling Out of the Whole Army Reserve
Letterpress poster 1939 51 x 48 cm A Royal call to arms... 'His Majesty the King has been graciously pleased to direct by proclamation that the army reserve and the militia (which includes the supplementary reserve) be called out on permanent service.' This poster was originally designed in 1921 following the Treaty Talks between Ireland, seeking independence, and the United Kingdom, led by Winston Churchill. Relations at this time were fraught and it is thought that this poster was shown to delegates as part of the pressure exerted on them to accept Britain's offer of partial independence. Churchill had previously threatened to swamp Ireland with troops and hold a bloody war against the Republicans and this poster was produced to show he was serious. This particular edition was reprinted from the 1921 original in 1939 in preparation for the beginning of the Second World War. -
George Leech Victory Procession Down The Mall, 1946
Lithograph For Macmillan's History Pictures, c. 1960 43 x 54 cm This colourful lithograph depicts a momentous parade down the mall, held as part of the London Victory Celebrations of 1946 following the defeat of Nazi Germany and Japan in the Second World War. The celebrations took place in London on the 8th of June 1946, and consisted mainly of a military parade through the city and a night time fireworks display. The parade itself assembled the Chiefs of Staff, a mechanised column stretching 4 miles long and containing more than 500 military vehicles, and a marching column headed by the flags of the Allied nations which took part in the parade, as shown in this lithograph. In this depiction, King George VI can be seen saluting, alongside his wife, Elizabeth, and their two daughters, the queen-to-be Elizabeth and Margaret. Born in 1894, George Leech was a British painter and etcher. He studied both at the Lambeth and Putney Schools of Art and worked for some years as a magazine editor. Alongside this, he also exhibited widely, including at the Royal Academy of Art. -
Anonymous St Paul's Survives, Night Blitz in London - 1940
Lithograph For Macmillan's History Pictures, c. 1960 42 x 54 cm This striking lithograph depicts St Paul's Cathedral in London peaking through the swathes of smoke engulfing the city after a night of bombing during the blitz. The sky is illuminated by floodlights and flames, but the cathedral itself seems to provide its own light source, standing out against the destruction surrounding it. Although the source of this lithograph is unknown, it was likely produced after Herbert Mason's photograph 'St Paul's Survives', taken during the night air raid of the 29th-30th of December 1940, the night of the 'Second Great Fire of London.' The photograph has become a symbol of British resilience and courage, and is considered one of the iconic images of the Blitz. It became "instantly famous", and turned the Cathedral into "a symbol of togetherness, survival and suffering". During the Second World War, Winston Churchill declared that St Paul's must be protected at all costs to preserve morale. As a result, a team of 300 volunteers came together under the name of 'the St Paul's Watch' and, armed with sandbags and hoses, worked to extinguish the incendiaries raining down on the cathedral. -
Gloria Jarvis A Fateful Debate in the House of Commons, led by Winston Churchill (1940)
Lithograph 42 x 54 cm Gloria Jarvis (1925-2014) was a painter born in Acton, West London. She studied at St. Martin's School of Art, 1942-50 where her tutors included James Bateman and James Guthrie. She also attended the University of Florence, 1960-61 for a course of the History of Art and during the period 1950-63 she taught history of costume design at London’s Regent Street Polytechnic. She has also exhibited at the RA, NEAC, NS and at Leicester Galleries. This particular design features Winston Churchill standing up and giving a speech to the other politicians in the Houses of Parliament. Papers are scattered around the room and the atmosphere seems dark and heavy, alluding to the tense political situation during the Second World War. -
Anonymous 79th Armoured Division, D-Day to the Rhine
Lithograph c. 1945 20 x 62 cm This World War II pictorial map chronicles the 79th Armoured Division, a division of the British Army that was created in the lead-up to the Normandy invasion and commanded by Major General Percy Hobart (1885-1957). The map stretches along the coast of Western Europe, from Brest to Dusseldorf, extending north across the English Channel to show the southern coast of England. Various battles are loactaed with the badge of the division, including D-Day. The title cartouche includes information about some of the equipment used by the division, such as the so-called Crocodiles (a tank with a flamethrower), Kangaroos (an armoured personnel carrier with a self-propelled gun), and Buffaloes (a tracked amphibious landing vehicle). Beneath the cartouche are illustrations of British soldiers throughout history and a table at the bottom right indicates the strength of the division before crossing the Rhine. Other examples of this map were originally published in 'The Story of the 79th Division', a history of the unit published after the war. -
Mackinley
Back up the Fighting Forces
Lithograph 38 x 26 cm Propaganda poster produced for H.M. Stationery Office by J. Weiner LTD. STATIONERY OFFICE BY J. WEINER LTD. This poster dates to 1940, the early days of engagement by the United States in the Second World War. It played a part in a larger effort to encourage support for the war effort, particularly focusing on providing aid, resources, and supplies to the military forces. Propaganda posters like this were used to rally citizens to contribute to the war in various ways, including buying war bonds, working in factories, and volunteering for service. This particular poster depicts three servicemen: one member of the airforce, one marine and one naval soldier, together representing the different branches of the US military effort. Condition: Generally very good, small pinholes to each corner. For other examples of propaganda posters, click here. -
Winston Churchill 'I avow my hope and faith...'
Lithograph 61 x 46 cm 'I avow my hope and faith, sure and inviolate, that in the days to come the British and American peoples will, for their own safety and the good of all, walk together in majesty, in justice and in peace.' Winston Churchill uttered these words during an address, 'before a Joint Session of Congress,' on the 26th of December, 1941. To put this piece into context, in the days after the Japanese attack on Pearl Harbour, the United States formally entered the Second World War, marking the end of Britain's solitary stand against Hitler's Germany, which it had sustained since the fall of France. Churchill immediately decided to travel to the United States, and on December 12, 1941 began the 10-day trip across the Atlantic. Churchill then addressed the U.S. Congress on the 26th and the Canadian Parliament on the 30th. Churchill's speech to Congress was sober, resolved, and eloquently defiant, but of course also featured the sparkle of Churchillian wit, irrepressible even in the dark hours of the war and the speech went down in history. -
Hubert Finney (1905 – 1991) Soldiers Waiting
Charcoal 37 x 55 cm A reclusive figure whose work has remained largely unseen, Finney studied under Eric Gill before winning a scholarship to the Royal College of Art in the early 1920’s. Finney had the good fortune to attend the RCA as part of a golden generation, many of whom went on to become some of Britain’s best loved artists (amongst them Ravilious, Bawden, Hepworth, Moore, Dunbar, Sorrell, and Piper). After a travelling scholarship to Rome, in 1929, Finney returned to become a teacher at Chelsea School of Art – working alongside Henry Moore who was in charge of the Sculpture Department and Graham Sutherland, the Department of Design. It was during the Second World War, when Finney was working for the Light Rescue Service of the Civil Defence that this charcoal piece was created. Depicting a bomb site during the blitz, Finney's skilful blend of charcoal, coloured pencil and pastel creates pops of colour and conveys the smoky atmosphere of London in the 1940s. -
Hubert Finney (1905 – 1991) Blitz Site with St Paul's Cathedral
Charcoal, coloured pencil and pastel 35 x 52 cm A reclusive figure whose work has remained largely unseen, Finney studied under Eric Gill before winning a scholarship to the Royal College of Art in the early 1920’s. Finney had the good fortune to attend the RCA as part of a golden generation, many of whom went on to become some of Britain’s best loved artists (amongst them Ravilious, Bawden, Hepworth, Moore, Dunbar, Sorrell, and Piper). After a travelling scholarship to Rome, in 1929, Finney returned to become a teacher at Chelsea School of Art – working alongside Henry Moore who was in charge of the Sculpture Department and Graham Sutherland, the Department of Design. It was during the Second World War, when Finney was working for the Light Rescue Service of the Civil Defence that this charcoal piece was created. Depicting a bomb site during the blitz, Finney's skilful blend of charcoal, coloured pencil and pastel creates pops of colour and conveys the smoky atmosphere of London in the 1940s. -
Out of stock
Hugh Casson (1910 - 1999) The Gatehouse, Girton College
Lithograph 31 x 26 cm Signed and numbered 263/500, both in pencil. Casson's warm-hued view of Girton, with students strolling under the the neo-Tudor gatehouse. 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. For other views of Girton College, click here. -
Louis Osman (1914 - 1996)
Oxford skyline with proposed tower for St Edmund Hall
Reproduction plus hand colouring, signed and dated. 31 x 98 cm Provenance: artist's studio sale Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. This architectural sketch depicts the Oxford skyline with his proposed brutalist tower at St Edmund Hall. 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 the artist. -
Louis Osman (1914 - 1996)
Oxford Skyline
Pencil on tracing paper 31 x 98 cm Provenance: artist's studio sale Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. This architectural sketch depicts the Oxford skyline with his proposed brutalist tower at St Edmund Hall. 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 the artist. -
Louis Osman (1914 - 1996)
Proposal for 2 Hungershall Park, Tunbridge Wells
Pencil on tracing paper 59 x 102 cm Provenance: artist's studio sale Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. These architectural sketches show Osman's proposal for No.2 Hungershall Park, Tunbridge Wells. Condition: Generally very good, some old tape stains and handling wear to edges If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
Louis Osman (1914 - 1996)
Proposal for Aubrey Walk
Pencil on tracing paper 71 x 200 cm Provenance: artist's studio sale Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. These architectural sketches show Osman's proposal for Aubrey Walk, including a striking brutalist column and tower. Condition: Generally very good, some old tape stains and handling wear to edges If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
Louis Osman (1914 - 1996)
Proposal for Roborough Village, Devon
One pencil on tracing paper, other two reproductions with hand colouring 50 x 88 cm Provenance: artist's studio sale Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. These architectural sketches show Osman's ambitious plans for Roborough Village in Devon, dating from 1965. Cited as 'a huge, visionary scheme for Lord Roborough's model village striding across Dartmoor', in Osman's obituary, this series of drawings highlights different facets of Osman's vision. The first, with its neat colours, focusses on the placement of businesses and estate offices, while the third focusses on the geographical contours of the landscape and the logistics of his idea. Condition: Generally very good; the odd handling marks etc. and a tiny tear to pencil drawing approx 3mm long If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
Louis Osman (1914 - 1996)
Proposal for St Edmund Hall, Oxford
Reproduction, plus hand colouring 58 x 78 cm Provenance: artist's studio sale Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. These architectural sketches show Osman's plans for St Edmund Hall, Oxford. Condition: good, with occasional handling marks. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
Louis Osman
Lumley Castle - sketch IV
Pen, ink, pencil and coloured wash 62 x 48 cm Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. These architectural sketches showcase Osman's ideas for the refit of Lumley Castle. Located in the North-East of England, Lumley Castle was originally built in 1389 and today is a four star hotel and wedding venue that belongs to the Earl of Scarborough. Thomas Lumley was an eighteenth century soldier and statesman, and the third Earl of Scarborough. Condition: Very good; on a rich dark-green paper which has not really shown up in the photographs, nor have the extensive pencil sketches Provenance: From the artist's estate. Click here for other works by Louis Osman. -
Louis Osman
Lumley Castle - sketch III
Pen, ink, pencil and coloured wash 62 x 48 cm Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. These architectural sketches showcase Osman's ideas for the refit of Lumley Castle. Located in the North-East of England, Lumley Castle was originally built in 1389 and today is a four star hotel and wedding venue that belongs to the Earl of Scarborough. Thomas Lumley was an eighteenth century soldier and statesman, and the third Earl of Scarborough. Condition: Very good; on a rich dark-green paper which has not really shown up in the photographs, nor have the extensive pencil sketches Provenance: From the artist's estate. Click here for other works by Louis Osman. -
Louis Osman
Lumley Castle - sketch II
Pen, ink, pencil and coloured wash 44 x 45 cm Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. These architectural sketches showcase Osman's ideas for the refit of Lumley Castle. Located in the North-East of England, Lumley Castle was originally built in 1389 and today is a four star hotel and wedding venue that belongs to the Earl of Scarborough. Thomas Lumley was an eighteenth century soldier and statesman, and the third Earl of Scarborough. Condition: Full sheet 68 x 48; owing to staining at top, 44 x 45 cm; generally good Provenance: From the artist's estate. Click here for other works by Louis Osman. -
Louis Osman
Lumley Castle - sketch I
Pen, ink, pencil and coloured wash 63 x 48 cm Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. These architectural sketches showcase Osman's ideas for the refit of Lumley Castle. Located in the North-East of England, Lumley Castle was originally built in 1389 and today is a four star hotel and wedding venue that belongs to the Earl of Scarborough. Thomas Lumley was an eighteenth century soldier and statesman, and the third Earl of Scarborough. Condition: Very good, slight toning to paper Provenance: From the artist's estate. Click here for other works by Louis Osman. -
Julian Trevelyan (1910 - 1988)
Trafalgar Square
Etching & Aquatint 35 x 48 cm Numbered 27/75 lower left and signed lower right, both in pencil. Nephew of the historian G M Trevelyan, Julian Trevelyan was educated at Bedales and then at Trinity College, Cambridge, where he read English. After moving to Paris, Trevelyan studied engraving at Stanley William Hayter’s school, working alongside artists such as Max Ernst, Joan Miro and Pablo Picasso. He married the potter Ursula Darwin in 1934, and in 1935 they moved to Hammersmith, buying Durham Wharf beside the River Thames which was Trevelyan’s studio – and home – for the rest of his life. His wartime service was – like so many artists – as a camoufleur. A Royal Engineer from 1940-43, he served in North Africa and Palestine, forcing the German Afrika Korps to use resources against a dummy army whilst real tanks were disguised as more harmless equipment. In the desert, nothing could be hidden - but it could be disguised. Following the dissolution of his marriage in 1950, he married the painter Mary Fedden. Teaching at Chelsea School of Art, Trevelyan eventually became head of the Etching Department and his pupils included David Hockney and Peter Ackroyd. This particular edition shows a vibrant print of a classic view of Trafalgar Square, notably including Nelson's Column and the iconic fountains. 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 Julian Trevelyan. -
Julian Trevelyan (1910 - 1988)
Tower Bridge
Etching & Aquatint 47 x 34 cm Numbered 47/75 lower left and signed lower right, both in pencil. Nephew of the historian G M Trevelyan, Julian Trevelyan was educated at Bedales and then at Trinity College, Cambridge, where he read English. After moving to Paris, Trevelyan studied engraving at Stanley William Hayter’s school, working alongside artists such as Max Ernst, Joan Miro and Pablo Picasso. He married the potter Ursula Darwin in 1934, and in 1935 they moved to Hammersmith, buying Durham Wharf beside the River Thames which was Trevelyan’s studio – and home – for the rest of his life. His wartime service was – like so many artists – as a camoufleur. A Royal Engineer from 1940-43, he served in North Africa and Palestine, forcing the German Afrika Korps to use resources against a dummy army whilst real tanks were disguised as more harmless equipment. In the desert, nothing could be hidden - but it could be disguised. Following the dissolution of his marriage in 1950, he married the painter Mary Fedden. Teaching at Chelsea School of Art, Trevelyan eventually became head of the Etching Department and his pupils included David Hockney and Peter Ackroyd. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by Julian Trevelyan. -
George Pyne
A Cricket Match at Jesus College, Cambridge
Watercolour 21 x 32 cm A well-executed watercolour of a cricket match at Jesus College Cambridge, featuring a view over the college grounds and Cambridge in the background. 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, available in a nice gilt frame. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. For other views of Jesus College, click here. -
Tom Carr (1909-1999)
Braes of Derwent Hunt
Pencil drawing 25 x 22 cm Thomas Carr OBE was an Irish artist. He was associated with the Euston Road School in the 1930s and had a long career as a painter of domestic scenes and landscapes. He studied at the Slade School of Art before moving to Italy to spend a year in Settignano, near Florence. Upon his return to London, Carr established himself as a painter and was exhibited at various well-known galleries of the time, including Zwemmer Gallery and Storran Gallery. Carr enjoyed success throughout his career and despite having settled in Newcastle, County Down in 1939, he regularly exhibited at the Royal Academy and was a member of the Royal Ulster Academy, the New English Art Club, the Royal Watercolour Society. Carr was awarded the MBE in 1974 and received an OBE in 1993 for his services to art in Northern Ireland. This pencil drawing is likely a study for one of his paintings of the Braes of Derwent Hunt, and therefore occupies a unique place in his oeuvre, showing the artistic processes behind his work.
