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Julian Trevelyan (1910 - 1988)
Jesus College, Cambridge
Lithograph 38 x 53 cm Numbered 13/70 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; some age toning to paper. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Jesus College, Cambridge. -
George Frederick Nicholls (1850 - 1935)
Wren Bridge, St John's College, Cambridge
Watercolour 37 x 24 cm Many of Nicholls' paintings are of the Cotswolds and Oxford. He painted the illustrations for a series of county books for A & C Black, including Cornwall (1915) and Cotswolds (1920). 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 St John’s College, Cambridge. -
Tony Broderick (late 20th century)
St John's College, Cambridge Great Gate
Conte 38 x 27 cm Signed and dated in pencil lower left. A Lincoln-based artist known for his pictures of Lincoln and also of Cambridge's colleges. 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 St John’s College, Cambridge. -
Hugh Casson (1910 - 1999)
Caius Court, Gonville and Caius College (1992)
Lithograph 31 x 44 cm Signed and numbered 358/500, both in pencil. Casson's depiction of Gonville and Caius, with sun slanting into the 16th-century Caius Court. Members of the college stroll through the court. 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. 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 Gonville and Caius, Cambridge. -
William Verner Longe (1857-1924)
The University Challenge Whip (1900)
Watercolour 29 x 45 cm Signed and inscribed "Choristor ii just beats Loddon ii". Inscribed 'Cambridge University Meeting, Cottenham, March 1909' to mount. A lively racing scene by William Verner Longe, and English artist noted for his scenes of racing, hunting, and other equestrian activities. He was educated at the Ipswich School of Arts and then the Royal Academy of Fine Arts in Antwerp. Condition: generally good; some spots to mount. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other Cambridge pictures. -
John Speed (1551 or 1552 - 1629)
Map of Cambridgeshire
Engraving with later hand colouring 39 x 53 cm A beautifully coloured map of Cambridgeshire, with an antique description of the county to the reverse. The map, along with many others, was published in Speed's atlas, 'The Theatre of the Empire of Great Britaine', first published in 1611. The map is populated by four figures in academic dress, and bordered on all sides by college crests. John Speed was an English cartographer, chronologer and historian. The son of a citizen and Merchant Taylor in London, he rose from his family occupation to accept the task of drawing together and revising the histories, topographies and maps of the Kingdoms of Great Britain as an exposition of the union of their monarchies in the person of King James I and VI. He accomplished this with remarkable success, with the support and assistance of the leading antiquarian scholars of his generation. He drew upon and improved the shire maps of Christopher Saxton, John Norden and others, being the first to incorporate the hundred-boundaries into them, and he was the surveyor and originator of many of the town or city plans inset within them. His work helped to define early modern concepts of British national identity. His Biblical genealogies were also formally associated with the first edition of the King James Bible. He is among the most famous of English mapmakers. Condition: generally very good; one tiny hole to right side just beyond plate mark. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more Cambridge pictures. -
Hugh Casson (1910 - 1999)
Queens' College, Cambridge
Lithograph 28 x 34 cm Signed and numbered 485/550, both in pencil. Casson's warm-hued view of Queens' College, Cambridge, featuring the famed and beauteous Mathematical Bridge. 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. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Queens' College, Cambridge. -
Out of stock
Hugh Casson (1910 - 1999)
The Gatehouse, Girton College
Lithograph 31 x 26 cm Signed and numbered 161/500, 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. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Girton College, Cambridge. -
David Loggan (1634 - 1692)
Clare College, Cambridge (1690)
Engraving with later hand-colouring 36 x 43 cm Loggan's aerial view of Clare College; the cartouche borne by two cherubs, titular banner, and college crest have been hand-coloured. 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 has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: good; trimmed to platemark and mounted to antique laid paper. Other items pasted to reverse. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Clare College, Cambridge. -
Samuel Sparrow (active 1770 - 1806) after Henry Barker (1774 - 1856)
Downing College, Cambridge (1812)
Engraving 31 x 43 cm A copy of this engraving is held by the British Museum. An early nineteenth-century engraving of Downing College, with building materials in the foreground and elegantly dressed figures, including two scholars, strolling in the College's grounds. The Cambridge University Almanack was an annual almanac published by the Cambridge University Press. It traditionally included engravings or lithographs of the University and information about the upcoming year. Condition: generally good, except loss to left hand side. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
William Kip (active 1598 - 1610) after Christopher Saxton (1540 - 1610)
Map of Cambridgeshire (1637)
Engraving with later hand colouring 29 x 32 cm An antique map of Cambridgeshire. The map was originally published in William Camden's atlas 'Britannia', which was first published in 1586. William Kip was a goldsmith and map engraver. He was born in Utrecht in the Netherlands and moved to London to pursue his career as an engraver. Alongside William Hole, Kip re-engraved Christopher Saxton's 1574 county maps for publication in Camden's 'Britannia', and it is this venture for which he is most well-known. Christopher Saxton was an English cartographer who produced the first county maps of England and Wales. Between 1574 and 1578 he engraved maps of every county in Britain, and compiled them into an atlas in 1579. These maps bore Queen Elizabeth I's arms as well as those of Saxton's patron, Thomas Seckford. Condition: generally good; faint evidence of old staining. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more maps and general pictures of Cambridge. -
Jane Gray (b.1931)
Arms of University of Cambridge Design for Stained Glass Window
Watercolour 23 x 21 cm Detailed in artist's handThe University of Cambridge is one of the world’s oldest universities, with groups of scholars first congregating at the ancient Roman trading post of Cambridge for the purpose of study in 1209, the first college (Peterhouse) being founded in 1284. The university was granted its arms some years later in 1573 by Robert Cooke, Clarenceux King of Arms and a graduate of St. John's College. The granted arms are described in heraldic terminology, or blazon, as follows: Gules on a Cross Ermine between four Lions passant guardant Or a Bible fesswise Gules clasped and garnished Or the clasps in base.
Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
Andrew Ingamells (1956 - )
University College, Oxford
Etching 40 x 70 cm Signed lower right and numbered 15/100 lower left, both in pencil. Inspired by David Loggan’s celebrated engraving of the college, this view of Univ College belongs to Ingamells’ series of views of Oxford and Cambridge. The series took six months to complete and has long-since sold out from the publisher. Ingamells trained at St Albans School of Art and the London College of Printing, subsequently working as a graphic designer and illustrator. Based in London, he began making drawings of the buildings and landscapes of London. Ingamells’ work is in many public collections including those of the Tate Gallery, The National Trust, The Paul Mellon Centre for British Art, and the City of London Guildhall Library. His pictures are also in several private collections, including those of various Oxford and Cambridge colleges, HM King Charles III, and Shell Oil. The artist is currently part-way through his epic project to record all the colleges of Oxford and Cambridge, a project undertaken in homage to David Loggan. Condition: excellent. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of University College, Oxford. -
Andrew Ingamells (1956 - )
King's College, Cambridge
Etching 54 x 48 cm Signed lower right in pencil. Inspired by David Loggan’s celebrated engraving of the College in 1680, this view of King's College was the first of Ingamells’ series of views of Oxford and Cambridge. It took six months to complete and has long-since sold out from the publisher. Ingamells trained at St Albans School of Art and the London College of Printing, subsequently working as a graphic designer and illustrator. Based in London, he began making drawings of the buildings and landscapes of London. Ingamells’ work is in many public collections including those of the Tate Gallery, The National Trust, The Paul Mellon Centre for British Art, and the City of London Guildhall Library. His pictures are also in several private collections, including those of various Oxford and Cambridge colleges, HM King Charles III, and Shell Oil. The artist is currently part-way through his epic project to record all the colleges of Oxford and Cambridge, a project undertaken in homage to David Loggan. Condition: excellent; in wood frame. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of King's College, Cambridge. -
John Le Keux (1783 - 1846) after Frederick Mackenzie (1788 - 1854)
Sidney College from the Master's Garden (1845)
Hand-coloured engraving 12 x 15 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of Sidney Sussex College, Cambridge. The College was founded in 1596 under the terms of the will of Frances Sidney, Countess of Sussex, wife of Thomas Radclyffe, 3rd Earl of Sussex, and named after its foundress. Frederick Mackenzie (circa 1788 - 1854) was a British watercolourist and architectural draughtsman. He first exhibited at the Royal Academy in 1804, and contributed eleven drawings between that year and 1828. He contributed to the Society of Painters in Water Colours exhibitions from 1813, becoming an associate in 1822, and a full member the following year. From 30 November 1831 until, his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. John Le Keux was a British engraver. When working as an apprentice to his father, a pewter manufacturer, he began engraving pewter, and trained as an engraver. He was then apprenticed to the noted engraver James Basire, and went on to produce engravings for the architectural publications of John Britton, Augustus Welby Pugin, John Preston Neale, and others. He produced various engravings of Oxford and Cambridge colleges. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good; a couple of spots and some age toning. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Sidney Sussex. -
Walter Hoyle (1922 - 2000)
King's College, Cambridge (Cambridge Series 1956 - 66)
Linocut 46 x 56 cm Signed, titled, and numbered 5/5 in pencil. Hoyle's view of King's College, Cambridge, against a shadowy yellow sky. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Provenance: the artist's wife. Condition: very good; few handling marks to margin, a horizontal crease about half way down that was likely in the paper prior to printing. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of King's College, Cambridge. -
Walter Hoyle (1922 - 2000)
King's College, Cambridge (Cambridge Series 1956 - 66)
Linocut 56 x 43 cm Signed and inscribed A/P in pencil. Possibly unique. Hoyle's view of King's College, Cambridge, with a slice of blue sky behind. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Provenance: family of the artist. Condition: generally very good; a few handling marks and a little age toning to the margins. Vertical impressins within and below the blue vertical area which are probably part of the artist's working technique. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of King's College, Cambridge. -
Walter Hoyle (1922 - 2000)
Emmanuel College, Cambridge (Cambridge Series 1956 - 66)
Linocut 55 x 43 cm Signed and inscribed A/P in pencil. Hoyle's view of Emmanuel's Front Court bleaches the gold of the chapel's Ketton Stone into an icy blue, and situates it beneath a tempestuous yellow sky. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Provenance: family of the artist. Condition: generally very good; a few handling marks and areas of discolouration to extreme margins, extraneous ink to right hand side, and a very small brown spot to very top right beyond the blue sky. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Emmanuel College, Cambridge. -
Walter Hoyle (1922 - 2000)
Senate House, Cambridge (Cambridge Series 1956 - 66)
Linocut 46 x 70 cm Trial print aside from the series, with different colourway. Senate House, under a lively blue sky. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Provenance: family of the artist. Condition: generally very good; a few handling marks and areas of discolouration to extreme margins, extraneous ink to right hand side, and a very small brown spot to very top right beyond the blue sky. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other general views of Cambridge. -
Walter Hoyle (1922 - 2000)
King's College Chapel, Cambridge (Cambridge Series 1956 - 66)
Linocut 72 x 41 cm Signed and inscribed A/P in pencil. Hoyle depicts King's College Chapel as both indomitable and delicate. The bold composition sees the chapel's spires surrounded by a fiery orange light against the black night of the background; at the same time, the western facade looks like it could have been cut from paper, or crafted from lace. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Provenance: family of the artist. Condition: generally very good; a few handling marks to margins. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of King's College, Cambridge. -
V Robinson
The Lent Bumps 1931 - 1940
Pen, ink and watercolour 60 x 48 cm A hand-painted chart illustrating the results of the Lent Bumps from 1931 to 1939, with a note that in 1940 there were 'No Lent Races due to War'. The Lent Bumps, also known as "Lents" or the Lent Races are a set of University of Cambridge rowing races held each year on the River Cam. The races are open to all college boat clubs from the University of Cambridge, the University Medical and Veterinary Schools and Anglia Ruskin Boat Club. The Lent Bumps take place over five days (Tuesday to Saturday) at the end of February / start of March and are run as bumps races (of rowing race in which a number of boats chase each other in single file, each crew attempting to catch and 'bump' the boat in front without being caught by the boat behind). The men's races officially began in 1887 and the women's in 1976. Condition: generally good; some age toning to board and a little staining to the margins that will be hidden by a mount. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other Cambridge pictures. -
Out of stock
Brownbridge (flourished 1930s - 1940s)
Boat Race at the Dorchester (1939)
Lithographic brochure 15 x 19.5 cm From a small archive of works by Brownbridge, a member of the Society of Industrial Artists. A design for a poster advertising the Dorchester's dinner after the Oxford and Cambridge Boat Race. The artist has built his design around dark and light blues, to represent the colours of Oxford and Cambridge respectively. Brownbridge's design is marvellously 1930s, from the boldly decorative typeface to the whimsically glamorous guests and their waiters floating below the invitation. Boat Race dinners in London are rather different today; at any rate, prices are not normally advertised as 'excluding Wines and Cigars'. Society of Industrial Artists correspondance (photographed above) is not included; please enquire separately. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other designs by Brownbridge. -
Wilfred Pettitt (1904 - 1978)
Great Court, Trinity College, Cambridge
Watercolour 17 x 27 cm A smartly-dressed couple and their two children enjoy the sunny and immaculately-lawned Great Court of Trinity College, Cambridge. The man and woman admire the ornate fountain which stands sentinel in the middle of the court (it, along with the rest of Great Court, was erected by by Thomas Nevile, master of the college in the early 17th century). Their children, perhaps oblivious to the architectural majesty around them, amuse themselves by playing with the pigeons. Wilfred Stanley Pettitt was born in Great Yarmouth, and studied at the Great Yarmouth School of Art and the Norwich School of Art. In 1928 he showed at the Royal Academy Royal Academy for the first time, and his work was also exhibited by the Royal Society of British Artists and the Royal Cambrian Academy. In 1944 Pettitt became one of the founding members of the Norwich Twenty Group (a group of Norfolk artists who intended to raise the standards of local professional art). He died in Eastbourne in 1978. Condition: mounted to board; otherwise very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity College, Cambridge. -
Margaret Souttar (1914 - 1987)
Trinity Hall, Cambridge V
Acrylic paint 56 x 72 cm Signed lower right. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. Trinity Hall was one of the first Cambridge colleges to admit women as students – it did not do so until 1976. Provenance: the artist's studio sale. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity Hall. -
Out of stock
Margaret Souttar (1914 - 1987)
Trinity Hall, Cambridge IV
Acrylic paint 62 x 92 cm Signed lower right. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. Trinity Hall was one of the first Cambridge colleges to admit women as students – it did not do so until 1976. Provenance: the artist's studio sale. Condition: generally very good; on thin paper - some crinkling to paper as a result of being painted. Further sketch to reverse. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity Hall. -
Margaret Souttar (1914 - 1987)
Trinity Hall, Cambridge II
Acrylic paint 56 x 65 cm cm Souttar was a Scottish painter and printmaker known for her town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. Trinity Hall was one of the first Cambridge colleges to admit women as students – it did not do so until 1976.6. Provenance: the artist's studio sale. Condition: generally very good, some crinkling as a result of using water-based paints on thin paper. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity Hall. -
Margaret Souttar (1914 - 1987)
Trinity Hall, Cambridge I
Acrylic paint 55 x 76 cm Signed in pencil lower right. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. Trinity Hall was one of the first Cambridge colleges to admit women as students - it did not do so until 1976. Provenance: the artist's studio sale. Condition: generally very good, a few handling marks. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity Hall. -
Margaret Souttar (1914-1987)
Trinity Hall, Cambridge
Acrylic on paper 76 x 56 cm Signed lower right. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. Trinity Hall was one of the first Cambridge colleges to admit women as students - it did not do so until 1976. Provenance: the artist's studio sale. Condition: generally very good; some small glue stains around collaging. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity Hall. -
Margaret Souttar (1914 - 1987)
Selwyn College, Cambridge
Lithograph 77 x 56 cm Signed in pencil lower right. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. Selwyn College was one of the first Cambridge colleges to admit women as students - it did not do so until 1976. Provenance: the artist's studio sale. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Selwyn College, Cambridge. -
Margaret Souttar (1914 - 1987)
Selwyn College, Cambridge
Lithograph 77 x 56 cm Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. Selwyn College was one of the first Cambridge colleges to admit women as students - it did not do so until 1976. Provenance: the artist's studio sale. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Selwyn College, Cambridge. -
Margaret Souttar (1914 - 1987)
Selwyn College, Cambridge III
Acrylic 51 x 70 cm (image); sheet 67 x 98 cm Inscribed left Selwyn Cambridge '61, with annotations by the artist concerning colour. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good; some crinkling as a result of using water-based paints on thin paper. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Selwyn College, Cambridge. -
Margaret Souttar (1914 - 1987)
Selwyn College, Cambridge II
Acrylic 71 x 52 cm Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good; some crinkling as a result of using water-based paints on thin paper; a little creasing to edges. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Selwyn College, Cambridge. -
Margaret Souttar (1914 - 1987)
Selwyn College, Cambridge I
Acrylic 70 x 51 cm Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good; some crinkling as a result of using water-based paints on thin paper; a little creasing to edges. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Selwyn College, Cambridge. -
Margaret Souttar (1914 - 1987)
Queens' College, Cambridge II
Acrylic paint 55 x 75 cm Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good; some crinkling as a result of using water-based paints on thin paper; slight toning to paper in some areas. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Queens' College, Cambridge. -
Margaret Souttar (1914 - 1987)
Queens' College, Cambridge I
Acrylic paint 67 x 74 cm Signed below. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good, on thin paper; some crinkling to paper as a result of being painted. Possible slight discolouration around pediment. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Queens' College, Cambridge. -
Margaret Souttar (1914 - 1987)
Queens' College, Cambridge
Lithograph 72 x 56 cm Numbered 169/178 lower left, and signed lower right, in pencil. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Queens' College, Cambridge. -
Margaret Souttar (1914 - 1987)
Queens' College, Cambridge
Lithograph 72 x 56 cm Proof print aside from the numbered edition of 178. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Queens' College, Cambridge. -
Margaret Souttar (1914 - 1987)
Magdalene College, Cambridge V
Acrylic paint 75 x 55 cm Signed lower left; titled in margin upper left. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good; some crinkling as a result of using water-based paints on thin paper; slight toning to paper in some areas. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Magdalene College, Cambridge. -
Margaret Souttar (1914 - 1987)
Magdalene College, Cambridge IV
Acrylic paint 70 x 100 cm Signed lower left; titled in margin upper left. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good; some crinkling as a result of using water-based paints on thin paper; a little creasing to edges. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Magdalene College, Cambridge. -
Margaret Souttar (1914 - 1987)
Magdalene College, Cambridge III
Acrylic paint 75 x 55 cm Signed lower left; titled in margin upper left. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good; some crinkling as a result of using water-based paints on thin paper. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Magdalene College, Cambridge. -
Margaret Souttar (1914 - 1987)
Magdalene College, Cambridge II
Acrylic paint 54 x 72 cm Signed lower right. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good; painted on thin paper which has crinkled as a part of the artist's working technique. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Magdalene College, Cambridge. -
Margaret Souttar (1914 - 1987)
Magdalene College, Cambridge I
Acrylic paint 49 x 66 cm Signed lower left; titled in margin upper left. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Magdalene College, Cambridge. -
Out of stock
Margaret Souttar (1914 - 1987)
Trinity Hall, Cambridge with Blue Sky
Lithograph 76 x 56 cm Numbered 3/50, and signed lower right, in pencil. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. Trinity Hall was one of the first Cambridge colleges to admit women as students - it did not do so until 1976. Provenance: the artist's studio sale. Condition: generally very good, the odd very short tear and handling mark affecting outer few millimetres of margin. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity Hall. -
Margaret Souttar (1914 - 1987)
Emmanuel College, Cambridge Lion Rampant (1960)
Acrylic paint 74 x 50 cm Signed and dated lower right. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good; some crinkling as a result of using water-based paints on thin paper. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Emmanuel College, Cambridge. -
Margaret Souttar (1914 - 1987)
Emmanuel College, Cambridge with Lion Rampant (1960)
Acrylic paint 102 x 69 cm Signed and dated lower right. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Emmanuel College, Cambridge. -
Margaret Souttar (1914 - 1987)
Emmanuel College, Cambridge (1960)
Acrylic paint 102 x 69 cm Signed and dated lower right. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. These views highlight the layers of history and architectural styles which make up a Cambridge college. Provenance: the artist's studio sale. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Emmanuel College, Cambridge. -
Margaret Souttar (1914 - 1987)
Trinity Hall, Cambridge
Lithograph 76 x 56 cm Signed and numbered 4/50 in pencil. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. Trinity Hall was one of the first Cambridge colleges to admit women as students - it did not do so until 1976. Provenance: the artist's studio sale. Condition: generally very good; a few handling marks. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity Hall. -
Walter Hoyle (1922 - 2000)
King's College, Cambridge (Cambridge Series 1956 - 66)
Linocut 61 x 80 cm Numbered 37/75 lower left, titled below, marked as artist's proof, and signed lower right, all in pencil. A blue- and grey-hued linocut of King's. A version of this print, owned by the Government Art Collection, hangs in the British Embassy in Tunis. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Provenance: ex the Arthur Andersen collection. Condition: generally very good; some gentle and even age toning to paper. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of King's College, Cambridge. -
Johannes Kip (1652 - 1722) after R Whitehand
Prospect of Cambridge from the South East (1724)
Engraving 57 x 88 cm A view of the city of Cambridge, replete with college spires, by Johannes ''Jan'' Kip, the Dutch draughtsman, engraver and print dealer. The engraving illustrates an 18th century Cambridge defined by livestock and farmhands, as well as its University. The largest and best view of Cambridge, extremely rare - we have not traced any other copies at auction. Condition: good. Previously folded, occasional small losses and the odd slightly toned patch; two joined sheets. Trimmed to within platemark; very rare. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Ebenezer Challis (1806 - 1881)
Sidney Sussex College, Cambridge (1834)
Engraving 27 x 43 cm A 19th century view of Sidney Sussex, complete with Victorian undergraduates in academic dress, horse and cart, and behatted rider. Condition: good. Trimmed. Otherwise generally good with the occasional tiny spot. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more views of Sidney Sussex. -
Tony Broderick (late 20th century) Chapel of Corpus Christi College, Cambridge
Print 37 x 25 cm A Lincoln-based artist known for his pictures of Lincoln and also of Cambridge's colleges. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Corpus Christi. -
David Loggan (1634 - 1692)
St Catharine's College, Cambridge (1690)
Engraving 35 x 46 cm 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 has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: has previously been washed, otherwise generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
Magdalene College, Cambridge (1690)
Engraving 38 x 43 cm 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 has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: enerally even all-over toning; old repair to lower central fold with small loss. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Alfred Allan
Clare College, Cambridge
Engraving 24.5 x 17 cm Signed lower left. An atmospheric watercolour depicting Clare College. Alfred Allan has painted several Cambridge colleges and also specialises in coastal scenes. Condition: generally very good; fractional age toning visible to the sky, top right. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Clare College, Cambridge. -
David Loggan (1634 - 1692)
Jesus College, Cambridge (1690)
Engraving 36 x 52 cm Loggan's skilful view of Jesus College from the 'Cantabrigia 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 has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: extant portions very good; partly trimmed to within platemark; lacking portions of letters in lower left; also missing 1cm-width section down middle, historically replaced in pen and ink. Backed to laid paper. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Jesus College, Cambridge. -
David Loggan (1634 - 1692)
Trinity College, Cambridge (1690)
Engraving 80 x 50 cm 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 has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally very good; printed on two sheets, folds as issued. A few creases to top area. As a multi-folded plate in the published book, Trinity has normally suffered and is normally trimmed closely and has damage; this particular example has instead good margins outside the platemark and without damage to the folds. A very good copy of Trinity. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
Christ's College, Cambridge (1690)
Engraving 39 x 48 cm 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 has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally even all-over toning; old repair to lower central fold with small loss. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Out of stock
David Loggan (1634 - 1692)
Queen's College, Cambridge (1690)
Engraving 36 x 46 cm 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 has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally good; mostly even over-all toning, fraction lighter down central fold; has previously been washed. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
The Church of St Mary the Virgin, Cambridge (1690)
Engraving 38 x 47 cm 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 has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: has been previously washed; generally good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
Emmanuel College, Cambridge (1690)
Engraving 31 x 47 cm 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 has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally very good; mostly even all-over toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Samuel Sparrow (active 1800) after John Kirby Baldrey (1750 - 1823)
Emmanuel College, Cambridge
Engraving 35 x 49 cm An engraving of Emmanuel College's neoclassical facade, complete with strolling undergraduates in pairs. The engraving was printed in the Cambridge Almanack in 1806. Samuel Sparrow was a British engraver of landscapes and architectural scenes after his fellow artists, often published as bookplates. John Kirkby Baldrey was a draughtsman and engraver who provided designs for the Cambridge University Almanack between 1803 and 1810. Condition: generally very good; some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Robert Woodlark, Founder of Catherine Hall, Cambridge from a Picture at the Hall (1815)
Hand-coloured aquatint 24 x 20 cm Published by Rudolph Ackermann (1764 - 1834). A copy of this engraving is held by the National Portrait Gallery, reference NPG D4871. Robert Woodlark (also spelt Wodelarke) was an English academic and priest. He was the Provost of King's College, Cambridge, and the founder of St Catharine's College, Cambridge. He drew up the original statutes for the governance of the college and obtained a charter from Edward IV, 16 August 1475. Woodlark was a professor of sacred theology at the University and served as Chancellor of the University of Cambridge from 1459 to 1460, and again from 1462 to 1463. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some gentle age toning. Handsome gilded frame with elaborate wash line mount. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Joseph Constantine Stadler (1755 - 1828) after William Westall (1781 - 1850)
Entrance to the Avenue, from Clare Hall Piece (1815)
Hand-coloured aquatint 25 x 30 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the gates of Clare College, formerly known as Clare Hall. The River Cam winds its way through the scene; we can see the New Buildings of King's College, Cambridge on the far bank. Victorian figures, several with parasols, picnic or promenade in the foreground. Joseph Constantine Stadler was a prolific German émigré engraver of images after his contemporaries - here, 18th-century English landscape painter and diarist Joseph Farington. Stadler's engravings are wide-ranging in subject matter and include landscapes, seascapes and portraits, as well as military, sporting and decorative subjects. Stadler was employed by the leading print publisher of the time, John Boydell. Stadler lived in Knightsbridge when he died at the age of 73. William Westall was a British landscape artist. He was born in Hertford and enrolled at the Royal Academy schools in 1799. He later became the draughtsman for a voyage to Australia and the South Seas. After being shipwrecked, he travelled to Canton in China and to India, staying in Bombay for several months. He returned to England in 1805 but later set off for Madeira and Jamaica. He became a member of the Society of Painters in Water Colours (1811) and an associate of the Academy (1812). Following a mental breakdown, he regularly visited the Lake District and published ‘Views of the Valley and Vale of Keswick’ (1820). His series of aquatints of the Thames, the great universities, and England's public schools for Ackermann are among his most popular works. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some gentle age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Mabel Oliver Rae (1868 - 1956)
The Bridge of Sighs, St John's College, Cambridge (circa 1920)
Etching 13 x 18 cm Hand-signed in pencil lower left, and titled in pencil lower right. Initialled 'MR' in plate lower left. The Bridge of Sighs is an iconic feature of St John’s College, and one of the most recognisable pieces of architecture in Cambridge. It was built in 1831 by the architect Henry Hutchinson and crosses the River Cam between the college's Third Court and New Court. It is the only covered bridge to cross the River Cam, and the only College bridge built in the Victorian Gothic style. 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. Condition: even age toning, a little spotting, generally good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Sutton Nichols (1668 - 1729)
Map of Cambridgeshire
Engraving 43 x 36 cm Signed in plate lower left. A beautifully coloured 18th century map engraving of Cambridgeshire. The map was produced by Robert Morden for publication in Edward Gibson's 1695 translation of William Camden's Britannia, a topographical and historical survey of Great Britain and Ireland produced to "restore antiquity to Britaine, and Britain to his antiquity" - a most noble aim. William Camden (1551 - 1623) was an English antiquarian, historian, topographer, and herald, best known as the author of Britannia, the first chorographical survey of the islands of Great Britain and Ireland, and the Annales, the first detailed historical account of the Queen Elizabeth I's reign. Sutton Nicholls was a draughtsman and engraver best known for his panoramic views of the cities of London and Westminster. Almost all of his engravings were commissioned by publishers. Nicholls specialised in topographical and architectural designs; he also produced many maps, notably illustrating John Strype’s edition of John Stowe’s ‘Survey of London’ in 1720. Condition: good. Mounted to board. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Pieter van den Keere (1571 - circa 1646) after John Speed (1551 or 1552 - 1629)
Map of Cambridgeshire (1627)
Engraving 8 x 12 cm A beautifully coloured map of Cambridgeshire, with an antique description of the county to the reverse. The map, along with many others, was published in Speed's atlas, 'The Theatre of the Empire of Great Britaine', first published in 1611. This particular miniature edition of the 'Theatre' was published in miniature by George Humble in 1627, entitled 'England Wales Scotland and Ireland Described and Abridged With ye Historic Relation of things worthy memory from a farr larger Voulume. Done by John Speed.’ Speed's original map was likely engraved for this edition by Peter van den Keere. van den Keere's maps soon came to be known as "Miniature Speeds". John Speed was an English cartographer, chronologer and historian. The son of a citizen and Merchant Taylor in London, he rose from his family occupation to accept the task of drawing together and revising the histories, topographies and maps of the Kingdoms of Great Britain as an exposition of the union of their monarchies in the person of King James I and VI. He accomplished this with remarkable success, with the support and assistance of the leading antiquarian scholars of his generation. He drew upon and improved the shire maps of Christopher Saxton, John Norden and others, being the first to incorporate the hundred-boundaries into them, and he was the surveyor and originator of many of the town or city plans inset within them. His work helped to define early modern concepts of British national identity. His Biblical genealogies were also formally associated with the first edition of the King James Bible. He is among the most famous of English mapmakers. George Humble (1572 - 1640) was an English publisher, known for his publication of John Speed's 'The theatre of the empire of Great Britaine,' the first comprehensive atlas depicting the British Isles, and his later 'A prospect of the most famous parts of the World,' the first English world atlas. Pieter van den Keere was a Flemish engraver, publisher, and globe maker who worked in England and the Dutch Republic. Condition: generally very good; some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Ernest William Haslehurst (1866 - 1949)
The Market Place, Cambridge, with a view of Great St Mary’s Church and King's College Chapel
Watercolour 33.5 x 23 cm Haslehurst's watercolour of Cambridge's marketplace, overlooked by the spires of King's College Chapel and Great St Mary's. Ernest William Haslehust was an English landscape painter and book illustrator who worked in watercolours. He was a member of the Royal Institute of Painters in Water Colours (RI), Royal Society of British Artists (RBA), Royal West of England Academy (RWA) and Royal British Colonial Society of Artists (RBC), and exhibited regularly at many venues including the Royal Academy in London. He also designed posters for the LNER and LMS railway companies, and his art was featured in many magazines of the day including the Illustrated London News and The Tatler. Condition: generally good. Some spotting. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
After Ernest William Haslehurst (1866 - 1949)
E Staircase, Second Court, St John's College, Cambridge (circa 1915)
Watercolour 33 x 22 cm Haslehurst's watercolour of a staircase at John's. The artists captures the quintessential Cambridge combination of dark wood and old stone, focusing on a beautiful but overlooked passageway in the college. Light streams in from the court. Second Court was built in the years immediately after 1599, to the designs of Ralph Symons of Westminster and Gilbert Wigg of Cambridge. The harmonious proportions and local brickwork of the Court in general make it the finest example of this style of architecture in Cambridge. Ernest William Haslehust was an English landscape painter and book illustrator who worked in watercolours. He was a member of the Royal Institute of Painters in Water Colours (RI), Royal Society of British Artists (RBA), Royal West of England Academy (RWA) and Royal British Colonial Society of Artists (RBC), and exhibited regularly at many venues including the Royal Academy in London. He also designed posters for the LNER and LMS railway companies, and his art was featured in many magazines of the day including the Illustrated London News and The Tatler. His painting of this view was featured in the illustrated book of Cambridge by Noel Barwell (Blackie & Son) 1910, and the artist of this painting has recorded the view from the same corner. Condition: very good; some light spotting. Handsome antique frame which bears some signs of age. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
The Mathematical Bridge, Queens' College, Cambridge
Watercolour 27 x 18 cm A delightful watercolour of Cambridge's famous Mathematical Bridge. Figures punt under the bridge and the buildings of Queens are reflected in the serene waters of the River Cam. Kate Hillman of the Cambridge University Engineering Department notes that: "One of the most recognisable structures on the Cam, Queens' College bridge was originally built in 1749 by James Essex the Younger. Since then it has been rebuilt twice to the original design of William Etheridge, once in 1866 and again in 1905. In 1866 the bridge deck was changed from a stepped design to the current sloped deck. In 1905 a complete rebuild of the bridge was required due to weathering of the original oak structure. stories have suggested that a group of students (or professors, depending on the storyteller) disassembled the bridge to discover how it stood up and then couldn't put it back together. The bridge was supposedly then rebuilt using rather prominent bolts." Condition: very good; gilt frame has some age. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Joseph Constantine Stadler (1755 - 1828) after William Westall (1781 - 1850)
Jesus College, Cambridge, from the Close (1815)
Hand-coloured aquatint 24 x 29.5 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of Jesus College, foregrounded by trees, the River Cam, and grazing cattle. Joseph Constantine Stadler was a prolific German émigré engraver of images after his contemporaries - here, 18th-century English landscape painter and diarist Joseph Farington. Stadler''s engravings are wide-ranging in subject matter and include landscapes, seascapes and portraits, as well as military, sporting and decorative subjects. Stadler was employed by the leading print publisher of the time, John Boydell. Stadler lived in Knightsbridge when he died at the age of 73. William Westall was a British landscape artist. He was born in Hertford and enrolled at the Royal Academy schools in 1799. He later became the draughtsman for a voyage to Australia and the South Seas. After being shipwrecked, he travelled to Canton in China and to India, staying in Bombay for several months. He returned to England in 1805 but later set off for Madeira and Jamaica. He became a member of the Society of Painters in Water Colours (1811) and an associate of the Academy (1812). Following a mental breakdown, he regularly visited the Lake District and published ‘Views of the Valley and Vale of Keswick’ (1820). His series of aquatints of the Thames, the great universities, and England's public schools for Ackermann are among his most popular works. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
D Havell (1785 - 1822) after William Westall (1781 - 1850)
The Library of St John's College, Cambridge (1815)
Hand-coloured aquatint 24 x 29.5 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of St John's College, Cambridge's marvellous library. It was built between 1623 and 1628, largely through the donations and efforts of two members of the college: Valentine Carey, Bishop of Exeter, and John Williams, Lord-Keeper and Bishop of Lincoln. The building's shell was completed in 1624, a date which appears on the south gable of the western oriel window. The building is constructed in the Jacobean Gothic style, and measures 110 feet by 30 feet wide. The tall two-light windows are a very early example of Gothic Revival, but the façade is Renaissance-inspired. The library contains 42 bookcases arranged at right angles to the north and south walls, and is the home of the College's double-manual harpsichord. William Westall was a British landscape artist. He was born in Hertford and enrolled at the Royal Academy schools in 1799. He later became the draughtsman for a voyage to Australia and the South Seas. After being shipwrecked, he travelled to Canton in China and to India, staying in Bombay for several months. He returned to England in 1805 but later set off for Madeira and Jamaica. He became a member of the Society of Painters in Water Colours (1811) and an associate of the Academy (1812). Following a mental breakdown, he regularly visited the Lake District and published ‘Views of the Valley and Vale of Keswick’ (1820). His series of aquatints of the Thames, the great universities, and England''s public schools for Ackermann are among his most popular works. The Havell family of Reading, Berkshire, England, included a number of notable engravers, etchers and painters, as well as writers, publishers, educators, and musicians. Daniel and Robert Havell set up in partnership as aquatint engravers. Soon Daniel began to work independently, engraving plates for Rudolph Ackermann''s History of Cambridge (1815) and hid history of various public schools including Eton, Winchester, and Rugby (1816), as well as a celebrated views of St Paul''s Cathedral (1818) and various other London landmarks for Ackermann''s Repository of Arts. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857)
Pensioner of Trinity College, Masters of Arts, and Sizer (1815)
Hand-coloured aquatint 25 x 30 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of a pensioner of Trinity College, Masters of Arts, and a sizer (that is, an undergraduate who receives some form of assistance such as meals, lower fees or lodging during his or her period of study, in some cases in return for doing a defined job) from Ackermann's ''A History of the University of Cambridge, Its Colleges, Halls and Public Buildings''. The four figures walk forward with ceremonial accoutrements, likely to a graduation ceremony. At Cambridge, a sizar was originally an undergraduate student who financed his studies by undertaking more or less menial tasks within his college but, as time went on, was increasingly likely to receive small grants from the college. Certain colleges, including St John's and Trinity, distinguished between two categories of sizar: there were specific endowments for specific numbers of sizars who were called "proper sizars"; those who were not so endowed, but who were maintained by fellow-commoners and fellows were called subsizars. Isaac Newton matriculated as subsizar at Trinity College. Richard S. Westfall noted that sizars were considerably more successful in gaining degrees than the gentlemen who entered Cambridge in the seventeenth century. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann''s collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857)
Doctors in Divinity, Esquire Beadle, and Yeoman Beadle (1815)
Hand-coloured aquatint 25 x 30 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of two Doctors in Divinity and two beadles (administrative assistants to the Chancellor and Proctors of the University) from Ackermann's ''A History of the University of Cambridge, Its Colleges, Halls and Public Buildings''. The four figures walk forward with ceremonial accoutrements, likely to a graduation ceremony. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann''s collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857)
Fellow Commoner of Emanuel College; a Nobleman; Fellow Commoner of Trinity College (1815)
Hand-coloured aquatint 25 x 29.5 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of two students and a nobleman from Ackermann's ''A History of the University of Cambridge, Its Colleges, Halls and Public Buildings''. The three figures dwell over a pile of books and papers, clad in the appropriate academic dress. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann''s collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
The Wren Bridge, St John's College, Cambridge
Engraving 35 x 24 cm Signed as a cypher lower right. A 1911 watercolour of St John's College's Wren Bridge, also known as the Kitchen Bridge. There had been a wooden bridge in this location since the early days of the medieval Hospital of St John the Evangelist. Christopher Wren had submitted designs to St John’s for a stone bridge in the 1690s, but building work did not commence until 1709. The Wren Bridge was completed in 1713. Its construction was overseen by Robert Grumbold, a local master stonemason and architect who was also responsible for building the Wren Library at Trinity College. The bridge reflects Wren's design, although in his original drawings he had suggested urns and pyramids, which were never added. In this view, a lone figure gazes down from the bridge into the muddy waters of the River Cam. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Pieter van der Aa (1659-1733), after David Loggan (1634–1692)
Cambridge from the East (1727)
Engraving 12 x 16 cm An eighteenth-century view of Cambridge from the East, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter who specialised in engravings of Oxford and Cambridge. A wide Cambridgeshire sky opens out over the harvest scene; in the background, the spires of the city's skyline are numbered, and identified below. A fascinating engraving which muses on the relationship between the city and its University. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Pieter van der Aa (1659-1733), after David Loggan (1634–1692)
Map of Cambridge
Engraving (1727) 12 x 16 cm An eighteenth-century map of Cambridge engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter who specialised in engravings of Oxford and Cambridge. Loggan's vision illustrates the inimitable layout of Cambridge; the River Cam, Bridge Street, and Trumpington Street bend across the map like arteries. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Stanton Ward CBE (1917 - 2007)
St John's College, Cambridge
Watercolour 30 x 47 cm John Stanton Ward CBE was an English portrait artist, landscape painter and illustrator. This view of St John's highlights the dreamlike quality of the college and its city. Ward depicts Cambridge on a winter afternoon; the trees are bare, and the afternoon sun sets gently over the city's lawns and high spires. Condition: very good. -
Walter Hoyle (1922-2000)
St Catharine's College, Cambridge (1973)
Linocut 72 x 56 cm Signed and dated '73 lower right, numbered 85 / 200 lower left, and signed below. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the RA, he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle, a promising student, as his assistant. Hoyle moved to Great Bardfield in Essex and became part of the Great Bardfield group of artists: diverse in style, they created figurative work in stark contrast to the abstract art of the St Ives artists at the other end of the country. Hoyle taught at St Martin’s School of Art from 1951 - 1960, the Central School of Arts and Crafts from 1960 - 1964, and the Cambridge School of Art from 1964 - 1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Yard, and the Fry Art Gallery. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Walter Hoyle (1922-2000)
St Catharine's College, Cambridge (1956-66)
Linocut 59 x 39 cm Signed lower right; inscribed and numbered 35/75 in pencil. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Yard and the Fry Art Gallery. Condition: very good. -
Ray Turrefield (active late 20th century)
Hitcham Building, Pembroke College, Cambridge (1978)
Print 18 x 25 cm Signed and dated lower right. A print of Pembroke College, Cambridge's Hitcham Building. Built in 1659, the Hitcham Building marks the first instance in Pembroke of the Classical Style, which was soon to find full expression in Wren’s Chapel. The building was intended for the Master’s use and was originally connected to the former Master’s Lodge. Both the poet Thomas Gray and the Prime Minister William Pitt lived in the building during their times at Pembroke. Condition: very good. -
David Loggan (1634-1692) University of Cambridge Frontispiece and Dedication for Cantabrigia Illustrata (1690) Engraving 38 x 55 cm 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. -
E. T. Talbot
St John's College, Cambridge, showing the First Court and Chapel
Watercolour 30 x 25 cm A richly-coloured watercolour painting of the First Court of St John's. First Court was built in 1511-20 to the south of the old Hospital of St John the Evangelist, and was designed to contain living quarters, chapel, library, hall, and kitchens. The version of First Court which Talbot paints looks markedly different to the college today - the chapel on the far left of the picture was demolished after the new chapel was completed in 1869. -
Sarah Orange (19th century)
The Kitchen Bridge, St John's College, Cambridge (c. 1830)
Watercolour 14 x 20 cm Provenance: Bene't Gallery, Cambridge. This 19th century watercolour depicts the Kitchen Bridge at John's. A scholar in gown and mortarboard stands alone in the bridge's centre, gazing meditatively into the glassy water below. -
Charles March Gere R.A. R.W.S. (1869 - 1957) King's College from the Backs Watercolour 36 x 69 cm Monogrammed lower left. An atmospheric watercolour of one of Cambridge's most exalted sights: King's College chapel from the Backs, together with Clare College. Charles March Gere R.A. R.W.S. was an English painter, illustrator of books, and stained glass and embroidery designer associated with the Arts and Crafts movement. -
Mabel Oliver Rae
Chapel Court, Sidney Sussex College, Cambridge
Etching, circa 1920 12 x 17 cm Hand-signed in pencil lower left, and titled in pencil lower right. Signed "MR" in plate. 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. Condition: Generally very good. -
Mabel Oliver Rae
Chapel Tower of St John's College, Cambridge
Etching, circa 1920 19 x 7 cm Hand-signed in pencil lower left, and titled in pencil lower right. Signed "MR" in plate. 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. Condition: Generally very good. -
Mabel Oliver Rae
Selwyn College, Cambridge
Etching, circa 1920 19 x 29 cm Hand-signed in pencil lower left, and titled in pencil lower right. Initialled 'MR' in plate. 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. Condition: Good. Even age toning, a little spotting, generally good. -
Pieter van der Aa (1659-1733), after David Loggan (1634-1692)
The Costumes of the University of Cambridge
Engraving, 14 x 36 cm Early 18th century This engraving by van der Aa (based on a prior design by David Loggan) illustrates the various forms of academic dress worn by members of the University of Cambridge. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. Condition: Generally very good; slight age toning, and spotting to margins. -
Mabel Oliver Rae
Great Court, Trinity College, Cambridge
Etching, circa 1920 20 x 27cm Signed lower left. 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. Condition: Generally very good, slight discolouration to margins - which will not be visible under mount. -
Trinity Bridge, Cambridge
Albumen print of a photograph, circa 1850 Mounted to board and inscribed 'Trinity Bridge Cambridge'. Trinity Bridge is a stone built tripled-arched road bridge across the River Cam. It was built from Portland stone in 1765 to the designs of James Essex to replace an earlier bridge built in 1651, and is a Grade I listed building. Trinity College is a constituent college of the University of Cambridge, and was founded in 1546 by King Henry VIII. Trinity is one of the oldest and largest colleges in Cambridge, with the largest financial endowment of any college at either Cambridge or Oxford. Trinity has some of the most distinctive architecture within Cambridge, with its Great Court reputed to be the largest enclosed courtyard in Europe. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Clare College and Bridge, Cambridge
Albumen print of a photograph, circa 1850 Mounted to board and inscribed 'Clare Coll + Bridge Cambridge'. Clare College is a constituent college of the University of Cambridge in Cambridge. The college was founded in 1326 as University Hall, making it the second-oldest surviving college of the University after Peterhouse. It was refounded in 1338 as Clare Hall after an endowment from Elizabeth de Clare, and took on its current name in 1856. Clare is famous for its chapel choir and for its gardens on The Backs, overlooking the River Cam. Condition: generally very good, slight toning to sky. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
View of Corpus Christi College, Cambridge
Watercolour on paper 13.5 x 23cm A charming view of Corpus Christi College and assorted denizens of Cambridge. The college is notable as the only one founded by Cambridge townspeople; it was established in 1352 by the Guild of Corpus Christi and the Guild of the Blessed Virgin Mary, making it the sixth-oldest college in Cambridge. With around 250 undergraduates and 200 postgraduates, it also has the second smallest student body of the traditional colleges of the University, after Peterhouse. The College has traditionally been one of the more academically successful colleges in the University of Cambridge. It also ranks among the wealthiest Cambridge colleges in terms of fixed assets, being exceptionally rich in silver. Unsigned; labelled 'Corpus Christi Coll. Cambridge' in ink, lower left. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Hugh Casson (1910 - 1999)
Magdalene College, Cambridge, First Court
Signed in pencil, and numbered 328/500 from the limited edition of 500. 34x25cm From Casson’s ever-popular Oxford and Cambridge series of prints. 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 Prince of Wales 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. Condition: excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Julian Trevelyan (1910-1988) St Catharine's College, Cambridge
Etching and aquatint, signed, numbered 58/70 41 x 47 cm 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: Some toning to paper. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634-1692)
Pembroke College, Cambridge
Engraving, 1690 36x45cm 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. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Some staining to margins outside platemark. -
David Loggan (1634-1692)
Peterhouse, Cambridge
Engraving, 1690 30x40cm, framed 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. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally excellent. -
Sir Hugh Casson (1910-1999) King's College from the Backs 22 x 41cm Unsigned proof print 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 Prince of Wales 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. King's College is a constituent college of the University of Cambridge in Cambridge, England. Formally The King's College of Our Lady and Saint Nicholas in Cambridge, the college lies beside the River Cam and faces out onto King's Parade in the centre of the city. -
Mabel Oliver Rae (1868-1956)
Kings College Cambridge from the Meadow (c.1920)
27 x 39.5 cm Etching Unmounted 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. Condition: Generally very good. Mount burn to edges which will be hidden under a new mount. Tiny spot to bottom right margin below tree as visible. -
Hanslip Fletcher (1874-1955) St John's College, Cambridge
20x30cm Pen and Wash If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Mabel Oliver Rae ((1868-1956) Trinity College Cambridge Great Court
Etching 20x27 cm The rich tones of the etchings make them as popular today as when they were first made. Click here for biographical details and other pictures by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. -
Mabel Oliver Rae ((1868-1956) Trinity College Cambridge Great Gate
Etching 28x18 cm The rich tones of the etchings make them as popular today as when they were first made. Click here for biographical details and other pictures by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. -
Mabel Oliver Rae (1868-1956) Peterhouse Cambridge
Etching 11x9 cm The rich tones of the etchings make them as popular today as when they were first made. Click here for biographical details and other pictures by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. -
Robert Tavener (1920-2004) Jesus College Gateway Cambridge
Signed and numbered 10/50 Lithograph 54.5 x 39 cm c. 1970 For other works by Robert Tavener and biographical details click here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
James Bolivar Manson (1879 - 1945) St John's College, Cambridge
Watercolour 29 x 40 cm Signed lower right. A wintry view of St John's College, Cambridge. The chapel tower nestles behind bare trees, set against a white sky. Manson was an artist who worked at the Tate Gallery and was its Director from 1930 to 1938. His time there was clouded by his frustrated ambitions as a painter and his descent into alcoholism. His professional career began as an office boy - leaving Alleyn's School in Dulwich at 16 - with the publisher George Newnes, and then as a bank clerk. He simultaneously studied painting at Heatherley School of Fine Art, commencing in 1890, and then Lambeth School of Art - much encouraged by Lilian Laugher, a violinist who came to stay in the Manson household. He married her in 1903 - the same year he abandoned his bank job. They moved to Paris for a year. Manson shared a studio with Jacob Epstein, who became a lifelong friend. When they returned to London, Manson joined the Camden Town Group, becoming Secretary. Lilian was a close friend of the Director of the Tate and ensured that Manson, aged 33, became Tate Clerk. Manson continued to paint feverishly at the weekend. The Tate website describes Manson as its 'least succesful' director. Kenneth Clark described him with "a flushed face, white hair and a twinkle in his eye; and this twinkling got him out of scrapes that would have sunk a worthier man without trace." His painting continued to show promise, and he joined the London Group in 1914 and showed with the New England Art Club from 1915. His first solo show was at the Leicester Galleries in 1923 and he became a member of the NEAC in 1927. He attended a dinner at the Hotel George V in Paris in 1938 to celebrate the British Exhibition at the Louvre. Clive Bell wrote to his wife, "Manson arrived at the déjeuner given by the minister of Beaux Arts fantastically drunk - punctuated the ceremony with cat-calls and cock-a-doodle-doos, and finally staggered to his feet, hurled obscene insults at the company in general and the minister in particular, and precipitated himself on the ambassadress, Lady Phipps, some say with amorous intent; others with lethal intent." Bell concluded: "The guests fled, ices uneaten, coffee undrunk... I hope an example will be made, and that they will seize the opportunity for turning the sot out of the Tate, not because he is a sot, but because he has done nothing but harm to modern painting." The Director of the Tate was arbiter as to whether imported items amounted to art (which would make them exempt from customs duty). This caused controversy when Peggy Guggenheim imported sculpture by Marcel Duchamp and others. Manson pronounced Constantin Brâncuși's Sculpture for the Blind (a large, smooth, egg-shaped marble) to be "idiotic" and "not art", and therefore subject to duty. Letters were written to the press and the matter reached the House of Commons, where Manson was criticised and eventually had to back down. He retired at the age of 58. By his own account, "my doctor has warned me that my nerves will not stand any further strain... I have begun to have blackouts, in which my actions become automatic. Sometimes these periods last several hours.... I had one of these blackouts at an official luncheon in Paris recently, and startled guests by suddenly crowing like a cock...." His successor was Sir John Rothenstein, who discovered that the staff referred to artwork in the basement as 'Director's Stock'. It transpired that Manson had been selling it to boost his salary. His work now hangs in the Tate, as well as in many other galleries in Britain and abroad. Condition: Good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more views of St John's College, Cambridge. -
Claude Muncaster Cambridge
Watercolour 14x27cm Signed lower right Muncaster’s watercolours capture the English countryside feel with great competence. 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. Condition: Good. -
Anonymous St. John’s College, Cambridge
Watercolour 32x24.5cm If you are interested email info@manningfineart.co.ukor call us on 07929 749056. Condition: Good. -
Major F A Molony
Fellows’ Garden Emmanuel College Cambridge (19th century)
Watercolour 22x30cm In the Royal Engineers, Major F A Molony was an accomplished watercolourist who published several views of Cambridge. If you are interested email info@manningfineart.co.ukor call us on 07929 749056. Condition: Good. -
Marianne James
Entrance to Third Court St. John’s College Cambridge (c.1810-1860)
Watercolour & pencil Signed 10×17cm If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Bertie Studley Fiven (Australian, 1889-1958) Trinity College, Cambridge
14.5 x 9.5 cm Watercolour c. 1917 Born in Carlton, Victoria, Australia, Fiven enlisted in 1915 in C Company of the 31st Australian Infantry Battalion in July 1915. In November 1915 he embarked on either HMAT Wandilla or HMAT Bakara from Melbourne. Whilst on board the '31st Recorder' newspaper was produced (it ran to only one issue, published in the middle of the Indian Ocean on 1st December 1915) and Fiven produced the illustration for the front cover. He then served in Egypt defending the Suez Canal from the Turks. The Battalion then served in France in the Battle of Fromelles in July 1916, suffering 500 casualties and serving no further part in the war until 1917, where it was on the edge of the Battle of Passchendale in September. The Battalion being disbanded in March 1919, Fiven returned to Australia, returning as a Lieutenant on 15 May 1919 to the relief of his mother Mary and his sweetheart May Moore - whom he married on 16 August 1919. There was a policy of rotating troops away from the front line, and Fiven will have spent some rest time in Cambridge when he painted this picture. He died in Heidelberg in Australia in 1958. If you are interested email info@manningfineart.co.ukor call us on 07929 749056. Condition: Good. -
R.H.B Trinity College, Cambridge
22.5x13cm 1915 If you are interested email info@manningfineart.co.ukor call us on 07929 749056. Condition: Good. -
Robert Dighton A View from Trinity College, Cambridge
27x20cm Etching A caricature portrait of William Lort Mansel (1753-1820), Master of Trinity College, Cambridge and later the Bishop of Bristol. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Anonymous
St John’s College, Cambridge
Watercolour and pencil 13x18cm Probably early 19th century. This watercolour depicts St John’s prior to construction of Hutchinson’s 1831 New Court buildings; two figures wearing gowns and square caps are engaged in conversation by the Wren Bridge. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
R Hacking
St. John’s College, Cambridge (1978)
Watercolour 17x25cm If you are interested email info@manningfineart.co.ukor call us on 07929 749056. Condition: Good. -
Ludwig Lund (1908-2003)
St John’s College Wren Bridge
Watercolour 26 x 21 cm 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. Condition: Good. -
Mabel Oliver Rae (1868-1956) Bridge of Sighs St John's College Cambridge
Etching 30x19 cm Click here for biographical details and other pictures by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Mabel Oliver Rae (1868-1956) Christ's College Cambridge Great Gate
Etching 27x18cm Click here for biographical details and other pictures by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
R Warwick (British, fl c. 1900-1930) Trinity College Cambridge, Great Gate
Etching size: 9x6cm; sheet size 15x12cm On deckle-edged paper If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally good condition, some foxing to sheet, but scarcely within image area. -
R Warwick (British, fl c. 1900-1930) St John's College Cambridge
Etching size: 9x6cm; sheet size 15x12cm On deckle-edged paper If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good condition. -
Hugh Casson (1910 - 1999) Emmanuel College Cambridge, Front Court
Signed in pencil, and numbered from the limited edition of 500. 24x27cm From Casson’s ever-popular Oxford and Cambridge series of prints. 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 Prince of Wales 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. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good, very slight age toning to visible area. -
Edwin La Dell (1914-1970) King's College from the Copper Kettle, Cambridge
Signed in pencil and titled 32x48cm A copy of this print is in the Government Art Collection. Lithograph Born in Coventry, La Dell's father was a Sheffield-born bookbinder. After study at Sheffield School of Art, he was the winner of a scholarship to the Royal College of Art where the head of print making was John Nash (from 1934 to 1940). La Dell became head of lithography there from 1948 until his death. During the war he was an official war artist and a camofleur, but he is probably best known for his lithographs of Oxford and Cambridge that he published himself, together with those he published for the School Prints scheme and Lyons Tea Rooms. His works are widely held in the public collections, including the Royal Academy and the Government Art Collection, the latter having a copy of this print. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: In conservation mount, some age toning to print as visible in photograph. -
John Fulleylove (1845-1908) Trinity College, Cambridge - Great Court
Watercolour 13x17cm Born in Leicester, John Fulleylove trained as an architect with a Leicester firm before becoming a full-time painter. He exhibited widely in the UK, at such venues as the Royal Academy, the Fine Art Society, and the Royal Society of British Artists. His paintings were the subject of illustrated topographical books, including one on ‘Oxford’ published by the Fine Art Society. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Major F A Molony (c. 1865 - ?) St John's College, Cambridge
watercolour, probably early twentieth century 7x10" Molony was member of the Royal Engineers and a talented watercolourist. 25 July 1882: Promoted to the rank of Lieutenant. 1885: Served in the 10th Company, Royal Engineers during the Suakin Expedition. 22 October 1890: Promoted to the rank of Captain. 27 October 1899: Promoted to the rank of Major. Fought at Battle of Pieters Hill, in the Anglo-Boer war. 23 June 1902: Mentioned in Lord Kitchener's Despatches.m, If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Rowland de Winton Aldridge (1906-1997) The Backs, St John's College Cambridge
34x51cm watercolour Born in Kent he was given 'de Winton' after his grandmother, who was related to the De Wintons of the Welsh engineering company De Winton & Co (1854-1901) that built narrow-gauge railways. He was a protégé of Edward Wesson, one of Britian's most important twentieth century watercolourists, and was a prolific artist of landscapes and urban riverscapes. St John's College Cambridge was one of his favourite views to paint, combining as it does an urban riverscape, a landscape and late 17th century buildings. Aldridge was an authority on 18th century architecture and was adviser to Baron Iliffe during his restoration of Basildon Park. If you are interested email info@manningfineart.co.ukor call us on 07929 749056. Condition: Good. -
Julian Otto Trevelyan, RA (1910 -1988) Caius College II, Cambridge (1959/1962)
Signed by the artist and inscribed in pencil Artist's Proof, aside from the edition of 70. The edition consisted of 70 numbered proofs and 30 artist’s proofs. We also have listed one of the 70 numbered proof prints, which is in a purple colourway - rather than the blue here. 37x51cm (14.5×20 inches) This comes from Julian Trevelyan’s Cambridge Suite which consisted of 10 lithographs: Caius College, Caius College II, Christ’s College, Corpus Christi College, Downing College, Emmanuel College, Jesus College, Peterhouse, St Catharine’s College and Sidney Sussex College. The Government Art Collection has copies of several of the prints in this series. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. Old crease that runs from top to bottom has been restored and is barely perceptible - see photograph. -
Jane Carpanini RWS RWA RCA (1949-) Gonville and Caius College, Cambridge
30x45cm Digital Limited Edition Print 77/350 Bornin Bedfordshire, Carpanini studied at Brighton College of Art and the University of Reading. Since the start of her career she has been known for meticulous architectural paintings. Wales has been a favourite subject and she has paintings in the collections of the National Library of Wales and National Museum of Wales. Her renowned series of views of Oxford and Cambridge Colleges were published by Contemporary Watercolours. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent. -
Tony Broderick (British, late 20th Century) Corpus Christi College Cambridge
Print 35x25cm A Lincoln-based artist, known for his portrayal of Lincoln and also of the Cambridge Colleges. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent. -
Bowens (British, fl. mid 20th Century) Cambridge: Centre of Scientific Research
Pye Group Records Pye - Nixa - Mercury - Vanguard - EmArcy c. mid-late 1950s Haig Road in Cambridge, where Pye had their factory, was subsumed into Elizabeth Way and was a long way from King's College chapel. However that iconic building is used to illustrate the Cambridge connection. EmArcy Records is a jazz record label founded in 1954 by Mercury Records. Mercury Record Corporation was founded in Chicago in 1945 Pye Records was a British record label; it had started life manufacturing televisions and radios, with its main plant off Haig Road in Cambridge. It purchased Nixa Records in 1953 Vanguard Records is a US record label set up in 1950 primarily as a classical label. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
David Loggan (1634-1692) View of Cambridge
Engraving after 1690, this is a slightly later Henry Overton printing, shortly after 1700 35x51cm Baptised in Danzig in 1634 Loggan's parents were English and Scottish. Studying engraving in Danzig with Willem Hondius (1598-1652 or 1658) he moved to London in the late 1650s producing the engraved title-page for the folio 1662 Book of Common Prayer. Marrying in 1663 he moved to Nuffield, Oxfordshire in 1665 to avoid the Plague and was in 1668/9 appointed Public Sculptor to the nearby University of Oxford having been commissioned to produce bird’s-eye views of all the Oxford Colleges. He lived in Holywell Street as he did this. Oxonia illustrata was published in 1675, with the help of Robert White (1645-1704). Following its completion he commenced work on his equivalent work for Cambridge, Cantabrigia Illustrata which was finally published in 1690 when he was made engraver to Cambridge University. Oxonia illustrata also includes an engraving of Winchester College (sharing its founder – William of Wykeham – with New College) whilst Cantabrigia illustrata includes one of Eton College (which shares its founder – Henry VIII – with King’s College). Bird’s-eye views required a particular talent as an architectural perspectivist of that era as it was not until 1783 that the first living thing (a sheep, named Montauciel ‘climb to the sky’) was sent aloft by the Mongolfier brothers in a balloon. 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 the bottom right-hand corner), those of Cambridge were printed in smaller numbers and it is thought largely no second edition was produced, although this frontispiece proudly claims to have been published by Overton and a pencil note on the print suggests 1715 as a date. 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. Edmund Hort New (1871-1931) produced a series of pen-and-ink drawings of views of Oxford that paid homage to Loggan showing the development of the city in the following two hundred years. They were turned into photoengravings by Emery Walker who published the series between . Probably no more than two hundred of each engraving were produced and the plates were destroyed in the blitz. The contemporary artist Andrew Ingamells (b.1956) has produced a highly-acclaimed series of etchings again bringing Loggan’s vision up to date. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. Some age toning as visible in photograph; usual handling wear and marks to edges. -
David Loggan (1634-1692) The Bishop's Hostal, Trinity College Cambridge
Engraving 1690 35x50cm 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. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Some age toning as visible in photograph; usual handling wear and marks to edges, generally very good. -
David Loggan (1634-1692) Charles Duke of Somerset
Mezzotint 1690 35x25cm Chancellor of Cambridge University, the Duke of Somerset's portrait was in Loggan's Cantabrigia Illustrata. Baptised in Danzig in 1634 Loggan's parents were English and Scottish. Studying engraving in Danzig with Willem Hondius (1598-1652 or 1658) he moved to London in the late 1650s producing the engraved title-page for the folio 1662 Book of Common Prayer. Marrying in 1663 he moved to Nuffield, Oxfordshire in 1665 to avoid the Plague and was in 1668/9 appointed Public Sculptor to the nearby University of Oxford having been commissioned to produce bird’s-eye views of all the Oxford Colleges. He lived in Holywell Street as he did this. Oxonia illustrata was published in 1675, with the help of Robert White (1645-1704). Following its completion he commenced work on his equivalent work for Cambridge, Cantabrigia Illustrata which was finally published in 1690 when he was made engraver to Cambridge University. Oxonia illustrata also includes an engraving of Winchester College (sharing its founder – William of Wykeham – with New College) whilst Cantabrigia illustrata includes one of Eton College (which shares its founder – Henry VIII – with King’s College). Bird’s-eye views required a particular talent as an architectural perspectivist of that era as it was not until 1783 that the first living thing (a sheep, named Montauciel ‘climb to the sky’) was sent aloft by the Mongolfier brothers in a balloon. 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 the bottom right-hand corner), those of Cambridge were printed in smaller numbers and it is thought largely no second edition was produced, although this frontispiece proudly claims to have been published by Overton and a pencil note on the print suggests 1715 as a date. 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. Edmund Hort New (1871-1931) produced a series of pen-and-ink drawings of views of Oxford that paid homage to Loggan showing the development of the city in the following two hundred years. They were turned into photoengravings by Emery Walker who published the series between . Probably no more than two hundred of each engraving were produced and the plates were destroyed in the blitz. The contemporary artist Andrew Ingamells (b.1956) has produced a highly-acclaimed series of etchings again bringing Loggan’s vision up to date. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
David Loggan (1634-1692) Great St Mary's Church, Cambridge University Church (1690)
Engraving 35 x 50 cm 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. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: has been cleaned; scholarly observations in ink; crease in paper lower left before printing. Usual handling wear and marks to edges. -
David Loggan (1634-1692) King's College Cambridge
Engraving 1690 40x51cm Baptised in Danzig in 1634 Loggan's parents were English and Scottish. Studying engraving in Danzig with Willem Hondius (1598-1652 or 1658) he moved to London in the late 1650s producing the engraved title-page for the folio 1662 Book of Common Prayer. Marrying in 1663 he moved to Nuffield, Oxfordshire in 1665 to avoid the Plague and was in 1668/9 appointed Public Sculptor to the nearby University of Oxford having been commissioned to produce bird’s-eye views of all the Oxford Colleges. He lived in Holywell Street as he did this. Oxonia illustrata was published in 1675, with the help of Robert White (1645-1704). Following its completion he commenced work on his equivalent work for Cambridge, Cantabrigia Illustrata which was finally published in 1690 when he was made engraver to Cambridge University. Oxonia illustrata also includes an engraving of Winchester College (sharing its founder – William of Wykeham – with New College) whilst Cantabrigia illustrata includes one of Eton College (which shares its founder – Henry VIII – with King’s College). Bird’s-eye views required a particular talent as an architectural perspectivist of that era as it was not until 1783 that the first living thing (a sheep, named Montauciel ‘climb to the sky’) was sent aloft by the Mongolfier brothers in a balloon. 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 the bottom right-hand corner), those of Cambridge were printed in smaller numbers and it is thought largely no second edition was produced. 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. Edmund Hort New (1871-1931) produced a series of pen-and-ink drawings of views of Oxford that paid homage to Loggan showing the development of the city in the following two hundred years. They were turned into photoengravings by Emery Walker who published the series between . Probably no more than two hundred of each engraving were produced and the plates were destroyed in the blitz. The contemporary artist Andrew Ingamells (b.1956) has produced a highly-acclaimed series of etchings again bringing Loggan’s vision up to date. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Some age toning as visible in photograph; usual handling wear and marks to edges, generally very good. -
Edwin La Dell (1914-1970) King's Parade, Cambridge
Signed in pencil and titled 35x47cm A copy of this print is in the Government Art Collection. Lithograph Born in Coventry, La Dell's father was a Sheffield-born bookbinder. After study at Sheffield School of Art, he was the winner of a scholarship to the Royal College of Art where the head of print making was John Nash (from 1934 to 1940). La Dell became head of lithography there from 1948 until his death. During the war he was an official war artist and a camofleur, but he is probably best known for his lithographs of Oxford and Cambridge that he published himself, together with those he published for the School Prints scheme and Lyons Tea Rooms. His works are widely held in the public collections, including the Royal Academy and the Government Art Collection, the latter having a copy of this print. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: In conservation mount, some age toning to print as visible in photograph. -
Robert Thomson (British, 20th Century) Trinity College Cambridge - Trinity Bridge over the River Cam with Punts
22 x 32 cm Watercolour Signed in pencil 'Thomson' to bottom right An old favourite view, painted in a bold and confident fashion by Robert Thomson, capturing the carefree spirit of an afternoon's punting, and the bold and clear architecture of Cambridge's biggest and wealthiest College. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent. -
Joseph Murray Ince (1806-1859) King's College Chapel, Cambridge
Watercolour 27.5x21 In a fine hand-finished gilt frame. Provenance (label to reverse) Christopher Wood Gallery Signed lower right 'J M Ince 1844' Brought up in Radnorshire, in Wales, Ince studied under David Cox from 1823-1826, and then exhibited at the Royal Academy. He was a drawing master at Cambridge University during the 1830s, during which period he painted many views of the Colleges of both Oxford and Cambridge, returning to Radnorshire in 1835. His works are in the collections of major galleries including the Tate, The V&A and The Fitzwilliam Museum in Cambridge. This is a particularly fine interior painting of the venue for the famous annual Service of Nine Lessons and Carols. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: In a fine hand-finished gilt frame. Generally very good condition. -
'ER' Monogrammist St John's College Cambridge, the Wren Bridge from the River Cam
Watercolour c. 1900 35x25cm A highly accomplished watercolour of the Kitchen Bridge at St John's College. The artist has clearly had a change of heart, and visibly moved the person standing on the bridge, bringing a sense of movement to what is otherwise a still painting. Moreover the richness of the colour he has chosen for the brickwork brings a further element of surprise to the viewer. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Mounted to board, the occasional tiny spot to the sky as visible in photograph. -
Anonymous (British, c. 1900) St John's College Cambridge from the River, Scholars Before
39x28cm Watercolour Scholars loll on the bank of the River Cam as they do today, and presumably have done ever since the foundation of the college in 1511. A dreamy view of one of the prettiest views in Cambridge. Condition: generally very good, slight staining to very margins, outside mount area. -
Anonymous King's College Cambridge with the River Cam and Bridge to foreground
51x63.5cm Watercolour Probably 1920s A fine, and large, view of King's College. The artist paints in an art deco style, picking out the stones of the bridge in different colours, the colours all having a heightened sense of reality. Born from cubism, the art deco era is characterised by a fragmented, geometric character particularly evident here. It gives the impression of a shimmering dream. The twenties was an incredible period of change, moving from heavy elaborate styles to a pared back and sleek style expressing more dynamism, an interest in dimension and abstraction. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
George Lilly Anderson (British b. 1870)
Trinity College Cambridge Bridge
28x38cm Watercolour Intriguingly nothing is known of Anderson's life, apart from the carefully painted landscapes. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
J Phillip Davies (British, 20th Century)
Selwyn College Cambridge
Oil on board c. 1970 60x89cm A rare view of Selwyn College Cambridge, captured here in all the glory of its Victorian red brick. -
John Dean Monroe Harvey (1895-1978)
Garret Hostel Bridge, Cambridge, Trinity Hall and Clare College behind
38x61cm Watercolour and pencil For biographical details and more works by JDM Harvey, please click here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Andrew Ingamells Jesus College, Cambridge
Etching and aquatint 58 x 84 cm Signed in pencil and numbered from the edition of 150. Inspired by David Loggan’s celebrated engraving of the College in 1680, this view of Jesus College was the first of Ingamells’ series of views of Oxford and Cambridge. It took six months to complete and has long-since sold out from the publisher. The Master and Fellows of the College own both the original drawing, which the engraving is based upon, and the copper etching plate used to make the prints. Ingamells trained at St Albans School of Art and the London College of Printing, subsequently working as a graphic designer and illustrator. Based in London, he began making drawings of the buildings and landscapes of London. Ingamells' work is in many public collections including those of the Tate Gallery, The National Trust, The Paul Mellon Centre for British Art, and the City of London Guildhall Library. His pictures are also in several private collections, including those of various Oxford and Cambridge colleges, HRH King Charles III, and Shell Oil. The artist is currently part-way through his epic project to record all the colleges of Oxford and Cambridge, a project undertaken in homage to David Loggan.
