Frederick Landseer Griggs, R.A., R.E.

Netherton Chapel

1935

1931. Pencil, ink and watercolor. 9 1/4 x 15 (framed 18 1/2 x 24 1/2). Signed and dated in pencil. Housed in a silk mat and an elegant carved gold leaf frame. Twelve of the artist'...

Alington in Wiltshire (The First Swallow). 1927. Etching. Garton 2.iv. 6 3/4 x 8 7/8 (sheet 10 1/2 x 13 1/2). Final state published by in an editon of 12 by Garton & Cooke in 1982 (Nicolson published an edition of 40 in 1927). In states iii and iv, the swallow of the title was removed. In state iv, the sky was re-etched and the cross-hatching was slightly finer. Signed in pencil. Garton writes, page 11: "The design was based on the Anglican chapel-of-ease is the farmyard of Bulisge at Allinston near Chippenham....The print was originally entitled The First Swallow, but the swallow was burnished out before the 1927 edition....Fifty years later new work was effected in the worn-out areas of the sky and distance to produce prints which, in his opinion, were better than those of the original edition." Robin Tanner was an English artist, etcher, and printmaker. He followed the visionary tradition of Samuel Palmer and English neo-romanticism. His etchings began following night-school classes at Goldsmiths College, London. He had been inspired by the major Samuel Palmer retrospective exhibition organized by Martin Hardie...

Cudham, Kent. 1924. Etching. Tassi 15; Cooke 20. 3 1/8 x 4 (sheet 4 3/8 x 6 7/16). Edition of 42, including some artist's proofs. Published by the Twenty-One Gallery in London. Slight paper loss in the top left-hand corner. A rich impression with plate tone, printed by the artist on antique laid paper...

The Workshop (Stirling). 1905. Etching and drypoint. Rinder 369 state .ii/iv.Image: 8 3/16 x 12 (sheet 8 5/16 x 12). No published edition. A rich impression with drypoint burr printe...

Early 20th century English oil painting of a chapel by Frank Moss Bennett English, 1918 Canvas: Height 35cm, width 25cm Frame: Height 57cm, width 47cm, depth 6cm This atmospheric oil on canvas by noted English painter Frank Moss Bennett (1874–1952) captures the quiet beauty of the Martyn Chapel within St Mary’s Church, Puddletown, Dorset. Known for his affinity for architectural subjects and historical scenes, Bennett presents here a masterful interpretation of medieval ecclesiastical design. Executed in November 1918, the painting demonstrates Bennett’s refined technique and keen eye for architectural accuracy. His skill in manipulating colour and light is evident throughout the work, particularly in the vivid portrayal of the chapel’s stained-glass window. Multicoloured light dances across the aged stonework, adding warmth and depth to the sacred interior. St Mary’s Church, originally built during the Norman period, retains many 12th century features alongside elements from later restorations. Bennett was deeply inspired by Dorset’s heritage buildings and natural scenery, and this location featured frequently in his body of work. The canvas is presented in a richly carved giltwood frame. It is signed and dated ‘FMB / Nov 1918’ at the lower right and inscribed on the reverse with the title ‘The Martyn Chapel, St. Mary’s, Puddletown’. An artist’s biography is also affixed to the back. This fine example of early 20th century British painting...

Church is a modern artwork realized by Giovanni Stradone in the mid-20th century Black and white etching Hand signed and numbered on the lower margin Edition of 19/70 Includes frame

Church View is an original print, realized by the French artist Robert Naly in 1967. The artwork represents a black and white view of a big church. Hand-signed and dated on the low...

A pastel drawing of Bury Church in Sussex, shown from the grounds in springtime. A small path is seen leading through a meadow towards the church. It is well presented in a wash line...