• Anonymous (19th century) Eton College

    Lithograph 29 x 38 cm We have a pair of these rather fine 19th century lithographs; view the other picture here.   Condition: Mounted to board.
  • JAK  (Raymond Allen Jackson) 1927-1997

    "I think we should let the Germans keep it next time" (1992)

    Visitez La Belle France, Fly Air France 51x59cm Pen, ink and monochrome wash with inscriptions in pencil. For the London Evening Standard   JAK was one of Britian's best-known political cartoonists, working for the London Evening Standard and the Daily Mail between the 1950s and 1990s. He left school at the age of 14, and after a brief career as a messenger boy studied at Willesden College of Technology, studying art with the aim of becoming an art teacher. Following National Service (in the Territorial Army, teaching conscripts to paint), in 1950 he became a staff artist at Link House Publications, and then at advertising agency J Keymer & Co. Whilst working here he submitted cartoons to Punch and other journals, joining the Evening Standard in 1952 as illustrator, also drawing occasional cartoons. In 1966, following the suicide of 'Vicky' (Victor Weisz), he became policital cartoonist at the Evening Standard. Some of his cartoons were highly controversial. In 1970 he caricatured power workers (then striking to improve their conditions) as stupid, greedy and deaf to reason; the entire Evening Standard staff nearly went on strike in response. In 1982 a cartoon in response to the Northern Ireland situation (he frequently depicted Irish people negatively) caused Ken Livingstone to withdraw all advertising from the Standard. His style was distinctive, drawn in ink on 17" x 21.5" board using a mapping pen and brush. His signature was always in a bottom corner, with blob-like serifs, and the title and other instructions were drawn on the picture in pencil. He also drew cartoons for the Mail on Sunday, Daily Express, and Sunday Express.
  • James Fittler (1758-1835) after George Robertson (1748-1788)

    North West View of Windsor Castle in the County of Berks (1782)

    47x58cm London: Published by John Boydell Fittler engraved two views of Windsor by Robertson. Trained at Royal Academy Schools, he was a skilled engraver and etcher and joined the mid-18th century trend for recording the landscape of the British Isles, producing and selling prints to tourists. A copy of this print is in the National Trust's collection at Anglesea Abbey, from Lord Fairhaven's extraordinary collection of views of Windsor Castle.
  • Laurence Dunn (1910-2006)

    Karel Doorman About to Sail

    Watercolour 15 x 23 cm (sheet size 99 x 73 cm) Signed to backing board, with extensive inscription by Dunn. HNLMS Karel Doorman (R81) was a Colossus-class aircraft carrier of the Royal Netherlands Navy. Formerly the British ship HMS Venerable, she was sold to the Netherlands in 1948 as a light attack carrier. In 1960, she was involved in the decolonization conflict in Western New Guinea with Indonesia. In the mid 1960s, her role was changed to anti-submarine warfare carrier and only ASW aircraft and helicopters were carried. An engine room fire took her out of service in 1968. She was sold to Argentina in 1969 and renamed ARA Veinticinco de Mayo. Laurence Dunn was an artist known for his depictions of ships. He grew up in Devon, where he practised drawing passing ships, and went on to study at the Central School of Art. He then worked for shipbuilding firm John I. Thornycroft & Company Limited, where he assisted with the design of the royal yacht.During the Second World War, Dunn worked for naval intelligence. In the early 1960s he created many line drawings of Atlantic ocean liners. The World Ship Society published the following obituary for Laurence Dunn in 2006: DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home. Condition: very good. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Laurence Dunn (1910-2006)

    SS New Brooklyn (c.1927)

    4 x 17 cm Ink and bodycolour on paper SS New Brooklyn was built in Belfast by Harland & Wolff in 1920 for Elder Dempster & Co, and was known initially as New Romance. In 1954, she was sold to Mageolia Nav SA, Panama and renamed Marianna. She was scrapped in 1959 at La Spezia. She was an 'N' Type fabricated ship with straight frames which was introduced in 1917 to utilise the capacity of bridge building companies which had very little of their normal bridge-building work to do during the war. Dunn's drawings of coastal tramps are early works, likely sketched from the side of the Thames estuary near his home. The World Ship Society published the following obituary for the well-published maritime artist and writer  in 2006: DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home. Condition: Generally very good, slight toning to paper. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • C.A. Hay

    Llangollen Bridge, Wales (early 19th century)

    Pen, ink and monochrome watercolour 8 x 12 cm   Llangollen Bridge is built across the River Dee at the North end of the high street of Llangollen in the county of Denbigshire in Wales. The Bridge is listed as one of the seven wonders of Wales and is Grade I listed. There has been a bridge across the Dee at Llangollen since at least 1284. Some historians believe that the bridge was constructed in the 1540s; there is evidence of sepulchral slabs within the bridge's masonry, indicating that it was rebuilt following the dissolution of Henry VIII's dissolution of the monasteries. We also have in stock an en-suite watercolour of the nearby Valle Crucis abbey, from which some of the bridge's stone might have been taken. Condition: Generally very good. Signed lower right.
  • C.A. Hay

    Valle Crucis Abbey, Wales (early 19th century)

    Pen, ink and monochrome watercolour 8 x 12 cm   Valle Crucis is a Cistercian abbey located in Llantysilio in Denbighshire, Wales. The abbey was built in 1201 by Madog ap Gruffydd Maelor, Prince of Powys Fadog. In 1537, at the height of Henry VIII's Dissolution of the Monasteries, Valle Crucis was dissolved and fell into disrepair. The abbey is now a ruin, though large parts of the original structure still survive. We also have in stock an en-suite watercolour of the nearby Llangollen Bridge; it is likely that some of the abbey's stone was used to build the bridge after the abbey had been dissolved. Condition: Generally very good. Signed lower right.
  • Benjamin Cole (1697-1783)

    South Prospect of Somerset House (c. 1753)

    Engraving 24 x 37 cm   Stow's Survey of London, a ward-by-ward topographical and historical tour of the City of London giving an account of buildings, social conditions and customs, was first published in 1598. Cole's architectural view of Somerset House illustrates the clean neoclassical proportions for which it is known. Condition: Trimmed by the binder's knife within plate marks; some offsetting from facing page; occasional soft creases; generally good.
  • Benjamin Cole (1697-1783)

    Southwark Cathedral (c. 1753)

    Engraving 24 x 33 cm   Stow's Survey of London, a ward-by-ward topographical and historical tour of the City of London giving an account of buildings, social conditions and customs, was first published in 1598. This view of Southwark Cathedral, labelled here as 'the South Prospect of the Church of St Saviour in Southwark', offers a charming perspective of the building's architecture and churchyard. Condition: Generally very good; slight offsetting from facing page and old library stamp to reverse.
  • Laurence Dunn (1910 - 2006)

    The Emperor and Grosvenor

      Watercolour 8 x 9 cm Laurence Dunn was an artist known for his depictions of ships. He grew up in Devon, where he practised drawing passing ships, and went on to study at the Central School of Art. He then worked for shipbuilding firm John I. Thornycroft & Company Limited, where he contributed to the design of the Royal Yacht. During the Second World War, Dunn worked in naval intelligence. In the early 1960s, he created many line drawings of Atlantic ocean liners. The World Ship Society published the following obituary for Laurence Dunn in 2006: DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home. Condition: very good. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Anonymous, c.1850

    'The handsome Ritualistic Priest, arrayed in purple and fine linen irresistible with the "Devout Women"' Caricature

    Pen, ink and watercolour 20 x 24 cm By repute this item was found in the rooms of John Keble (1792-1866) at the Hermitage Hotel in Eastbourne after his death in 1866, together with another caricature watercolour of the 'Cotton-ia Worcester-ienisis' which we also have for sale. Condition: Generally very good, slight toning to paper.
  • William Roxby Beverley (1811-1889, British)

    Durham Cathedral From the North East (c.1860)

    16 cm x 24 cm Watercolour Provenance: Sotheby's lot 25, 25th January 1989. William Roxby Beverley was an English theatrical scene painter, known also as an artist in oils and watercolours. William John Lawrence, writing in the Dictionary of National Biography, considered him second only to Clarkson Stanfield among British scene painters of the nineteenth century. Condition: Slight loss of colour in sky area and very light foxing in same, otherwise generally very good.
  • Johannes 'Jan' Kip (1652/3 - 1722)

    The North Prospect of Gloster Cathedral (c.1716)

    43 x 47 cm Copper engraving Johannes "Jan" Kip was a Dutch engraver, draughtsman and print dealer. After producing works for the court of William of Orange in Amsterdam, Kip followed William and Mary to London, settling in Farringdon and selling prints. Later, Kip collaborated with draughtsman and painter Leonard Knyff, and together they made a popular series of engraved views of English country houses. This print is from Sir Robert Atkyn's 'The Ancient and Present State of Gloucestershire'. In his usual manner - Kip was probably the foremost engraver of his time in England - he has placed figures before the Cathedral to give life - and scale - to the building. Condition: Generally very good with central vertical fold and adjacent parallel creases; one diagonal crease mid left to bottom centre. Will look very good when framed.  
  • Laurence Dunn (1910-2006)

    SS Denmark Maru (c.1927)

    4 x 17 cm Ink and bodycolour on paper SS Denmark Maru was built by Kawasaki Shipyard Co in Japan. Until 1935 she was in service on K Line's Hamburg - New York route. Dunn's drawings of coastal tramps are early works, likely sketched from the side of the Thames estuary near his home. The World Ship Society published the following obituary for the well-published maritime artist and writer  in 2006: DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home. Condition: Generally very good, slight toning to paper. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Anon. Eton College

    Watercolour 31.5x40.5cm If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good.
  • Cuthbert "CB" Bradley for Vanity Fair Magazine 'A Judge': The Rev Cecil Legard

    11 July 1901 Lithograph 21 x 37 cm   CB's cartoon depicts The Rev Cecil Legard (1843-1918), the Rector of Cottesbrooke and heir to the baronetcy. As well as a clergyman, Legard was a noted sportsman and hound expert; he was a steeplechase rider, and also edited the Foxhound Kennel Stud Book. CB depicts him judging hounds, excellently outfitted; as the biography on the reverse of the mounted lithograph notes, he might be 'the best judge of a foxhound in England'. A copy of the cartoon is held by the Kingston Lacy Estate in Dorset. Cuthbert Bradley was also a sporting man - he famously authored 'Fox-Hunting from Shire to Shire with Many Noted Packs' and worked as a sporting journalist for The Field. As well as illustrating for Vanity Fair, he painted polo and foxhunting scenes, and other pictures of equestrian interest. The majority of his Vanity Fair cartoons are of hunting men. The Vanity Fair magazine of 1868 to 1914 was subtitled 'A Weekly Show of Political, Social and Literary Wares'. Founded by Thomas Gibson Bowles, who aimed to expose the contemporary vanities of Victorian society, it featured regular full-page, colour lithographs of famous (or infamous) contemporary figures. It is for these caricatures that the original Vanity Fair is best known today. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good.
  • Cuthbert "CB" Bradley for Vanity Fair Magazine 'Otho': Otho Paget

    30 January 1902 Lithograph 21 x 37 cm   CB's cartoon depicts John Otho Paget, noted beagler and author of 'Beagles and Beagling'. Cuthbert Bradley was also a sporting man - he famously authored 'Fox-Hunting from Shire to Shire with Many Noted Packs' and worked as a sporting journalist for The Field. As well as illustrating for Vanity Fair, he painted polo and foxhunting scenes, and other pictures of equestrian interest. The majority of his Vanity Fair cartoons are of hunting men. The Vanity Fair magazine of 1868 to 1914 was subtitled 'A Weekly Show of Political, Social and Literary Wares'. Founded by Thomas Gibson Bowles, who aimed to expose the contemporary vanities of Victorian society, it featured regular full-page, colour lithographs of famous (or infamous) contemporary figures. It is for these caricatures that the original Vanity Fair is best known today. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good.
  • Sir Leslie "Spy" Ward for Vanity Fair Magazine 'The Huntsman': Thomas Firr

    1 November 1884 Lithograph 21 x 37 cm   Depicting Thomas Firr, Huntsman of the Quorn, on the day of the season's opening meet. The illustrated volume 'Tom Firr of the Quorn: Huntsman Extraordinary' details Firr's days with the hunt, and considers him 'the greatest huntsman in England'. He was huntsman to the Quorn for 27 years from 1872 to 1899. The Quorn Hunt has a claim to be the oldest hunt in the country, having been founded in 1696 by Mr Thomas Boothby of Tooley Park, Leicestershire. Tooley Park lies about eight miles southwest of Leicester, just to the north of the Hinckley road. The hunt takes its name from the village of Quorn, where the hounds were kennelled from 1753 to 1904. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. Mounted to board, some age toning.
  • Roland "Ao" / "Armadillo" L'Estrange for Vanity Fair Magazine 'Berks and Bucks': Sir Robert Rodney Wilmot

    5 November 1903 Lithograph 21 x 37 cm   Depicting Sir Robert Rodney Wilmot, in red hunting clothes and whip, of the Berks & Bucks Draghounds at their opening meet. Wilmot was educated at Eton and Oxford, and his hobbies famously included croquet. The Vanity Fair magazine of 1868 to 1914 was subtitled 'A Weekly Show of Political, Social and Literary Wares'. Founded by Thomas Gibson Bowles, who aimed to expose the contemporary vanities of Victorian society, it featured regular full-page, colour lithographs of famous (or infamous) contemporary figures. It is for these caricatures that the original Vanity Fair is best known today. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. Mounted to board, some age toning.
  • Vanity Fair Spy Magazine President of St john's College Oxford

    1 April 1893 Lithograph If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good.
  • Theodoor Galle (c. 1571-1633) Jan Collaert (1545-1628) after Maerten de Vos (1532 - 1603) 50. Penetrabo omnes inferiores partes terre, et inspiciam omnes dormientes, et illuminabo omnes sperantes in Domino. Eccles. 24. 

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm

    From the Gospel of Ecclesiasticus, Chapter 24 "Penetrate all the lower parts of the earth, and behold all and illuminate all who hope in the Lord." Theodoor Galle was the son of Philip Galle, a Dutch publisher best known for his old master prints, from whom he learnt the craft. Theodoor married a daughter of the prominent family of Plantin in Antwerp. His marriage established the productive partnership between the Galle workshop and the Plantin Moretus printing house. A talented workman, Galle quickly became a respected engraver, print publisher and a member of the guild of St Luke, a city guild for artists in 1595. In the years to follow he became the guild's deacon. Adriaen Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Theodoor Galle (c. 1571-1633) Jan Collaert (1545-1628) after Maerten de Vos (1532 - 1603) 49. Accepto corpore Ioseph inuoluit in sindone munda: et posuit illud in monumento suo nouo, quod exciderat in petra. Matth. 27.

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Matthew, Chapter 27 "Taking the body, wrapped in a linen cloth and placed it in his own new tomb, which had been cut into the rock." Theodoor Galle was the son of Philip Galle, a Dutch publisher best known for his old master prints, from whom he learnt the craft. Theodoor married a daughter of the prominent family of Plantin in Antwerp. His marriage established the productive partnership between the Galle workshop and the Plantin Moretus printing house. A talented workman, Galle quickly became a respected engraver, print publisher and a member of the guild of St Luke, a city guild for artists in 1595. In the years to follow he became the guild's deacon. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Theodoor Galle (c. 1571-1633) Adrian Collaert (c.1560-1618) after Maerten de Vos (1532 - 1603) 47. In Caluarie loco crucifixerunt eum, et cum eo alios duos, hinc, medium autem Iesum. Ioan. 19.

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of John, Chapter 19 "There they crucified him, and with him two others—one on each side and Jesus in the middle." Theodoor Galle was the son of Philip Galle, a Dutch publisher best known for his old master prints, from whom he learnt the craft. Theodoor married a daughter of the prominent family of Plantin in Antwerp. His marriage established the productive partnership between the Galle workshop and the Plantin Moretus printing house. A talented workman, Galle quickly became a respected engraver, print publisher and a member of the guild of St Luke, a city guild for artists in 1595. In the years to follow he became the guild's deacon. Adriaen Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Theodoor Galle (c. 1571-1633) Adrian Collaert (c.1560-1618) after Maerten de Vos (1532 - 1603) 46. Et postquam venerunt in locum qui voctur Caluarie, ibi crucifixerunt eum. Luc. 23.

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Luke, Chapter 23 "When they came to the place called the Skull, they crucified him there." Theodoor Galle was the son of Philip Galle, a Dutch publisher best known for his old master prints, from whom he learnt the craft. Theodoor married a daughter of the prominent family of Plantin in Antwerp. His marriage established the productive partnership between the Galle workshop and the Plantin Moretus printing house. A talented workman, Galle quickly became a respected engraver, print publisher and a member of the guild of St Luke, a city guild for artists in 1595. In the years to follow he became the guild's deacon. Adriaen Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Theodoor Galle (c. 1571-1633) Adrian Collaert (c.1560-1618) after Maerten de Vos (1532 - 1603) 45. Susceperunt autem Iesum eduxerunt. Et baiulans sibi crucem, exiuit in eum qui dicitur Caluarie locum. Ioan. 19.

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of John, Chapter 19 "And He, bearing His cross, went out to a place called the Place of a Skull." Theodoor Galle was the son of Philip Galle, a Dutch publisher best known for his old master prints, from whom he learnt the craft. Theodoor married a daughter of the prominent family of Plantin in Antwerp. His marriage established the productive partnership between the Galle workshop and the Plantin Moretus printing house. A talented workman, Galle quickly became a respected engraver, print publisher and a member of the guild of St Luke, a city guild for artists in 1595. In the years to follow he became the guild's deacon. Adriaen Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Theodoor Galle (c. 1571-1633) Adrian Collaert (c.1560-1618) after Maerten de Vos (1532 - 1603) 44. Pilatus accepta aqua, lauans manus coram populo, dixit, Innocens ego sum a sanguine insti huius vos videritus. Matth. 27.

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Matthew, Chapter 27 "When Pilate saw that he could not prevail at all, but rather that a tumult was rising, he took water and washed his hands before the multitude, saying, “I am innocent of the blood of this just Person. You see to it."" Theodoor Galle was the son of Philip Galle, a Dutch publisher best known for his old master prints, from whom he learnt the craft. Theodoor married a daughter of the prominent family of Plantin in Antwerp. His marriage established the productive partnership between the Galle workshop and the Plantin Moretus printing house. A talented workman, Galle quickly became a respected engraver, print publisher and a member of the guild of St Luke, a city guild for artists in 1595. In the years to follow he became the guild's deacon. Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Theodoor Galle (c. 1571-1633) Jan Baptist Barbe (1578-1649) after Maerten de Vos (1532 - 1603) 43. Exiuit ergo Iesus portans coronam spineam, et purpureum vestimentum. Et dicit eis Pilatus; Ecce homo. Ioan. 19.

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of John, Chapter 19 "Then Jesus came out, wearing the crown of thorns and the purple robe. And Pilate said to them, Behold the Man!" Theodoor Galle was the son of Philip Galle, a Dutch publisher best known for his old master prints, from whom he learnt the craft. Theodoor married a daughter of the prominent family of Plantin in Antwerp. His marriage established the productive partnership between the Galle workshop and the Plantin Moretus printing house. A talented workman, Galle quickly became a respected engraver, print publisher and a member of the guild of St Luke, a city guild for artists in 1595. In the years to follow he became the guild's deacon. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Theodoor Galle (c. 1571-1633) Johannes Collaert (1525-1580) after Maerten de Vos (1532 - 1603) 42. Plectentes coronam de spinis, posuerunt super caput eius, et arundinem in dextra eius. Et genu flexo ante eum, illudebant ei. Matth. 27.

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Matthew, Chapter 27 "When they had twisted a crown of thorns, they put it on His head, and a reed in His right hand. And they bowed the knee before Him and mocked Him." Theodoor Galle was the son of Philip Galle, a Dutch publisher best known for his old master prints, from whom he learnt the craft. Theodoor married a daughter of the prominent family of Plantin in Antwerp. His marriage established the productive partnership between the Galle workshop and the Plantin Moretus printing house. A talented workman, Galle quickly became a respected engraver, print publisher and a member of the guild of St Luke, a city guild for artists in 1595. In the years to follow he became the guild's deacon. Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Theodoor Galle (c. 1571-1633) Adrian Collaert (1560-1618) after Maerten de Vos (1532 - 1603) 41. Vulneratus est propter iniquitates nostra, attritus est propter scelera nostra. Disciplina pacis nostrae super eum, et liuore eius sanati sumus. Isai. 53.

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Isaiah, Chapter 53 "But He was wounded for our transgressions, He was bruised for our iniquities; The chastisement for our peace was upon Him, And by His stripes we are healed." Theodoor Galle was the son of Philip Galle, a Dutch publisher best known for his old master prints, from whom he learnt the craft. Theodoor married a daughter of the prominent family of Plantin in Antwerp. His marriage established the productive partnership between the Galle workshop and the Plantin Moretus printing house. A talented workman, Galle quickly became a respected engraver, print publisher and a member of the guild of St Luke, a city guild for artists in 1595. In the years to follow he became the guild's deacon. Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Theodoor Galle (c. 1571-1633) Jan Baptist Barbé (1578-1649) after Maerten de Vos (1532 - 1603) 40. Vt cognouit Pilatus quod de Herodis potestate esset, remisit eum Herodem, qui et ipse Hierosolymis erat illis diebus. Luc 23.

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Luke, Chapter 23 "When he discovered that he came under Herod’s jurisdiction, he passed him on to Herod who happened to be in Jerusalem at that time." Theodoor Galle was the son of Philip Galle, a Dutch publisher best known for his old master prints, from whom he learnt the craft. Theodoor married a daughter of the prominent family of Plantin in Antwerp. His marriage established the productive partnership between the Galle workshop and the Plantin Moretus printing house. A talented workman, Galle quickly became a respected engraver, print publisher and a member of the guild of St Luke, a city guild for artists in 1595. In the years to follow he became the guild's deacon. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Theodoor Galle (c. 1571-1633) Jan Baptist Barbé (1578-1649) after Maerten de Vos (1532 - 1603) 39. Mane consilium facientes summi sacerdotes cum Senioribus et Scribis, vincientes Iesum, duxerunt et tradiderunt Pilato. Marci. 15.

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Mark, Chapter 15 "In the morning, the high priests and elders and teachers, binding Jesus, led him away and delivered him to Pilate." Theodoor Galle was the son of Philip Galle, a Dutch publisher best known for his old master prints, from whom he learnt the craft. Theodoor married a daughter of the prominent family of Plantin in Antwerp. His marriage established the productive partnership between the Galle workshop and the Plantin Moretus printing house. A talented workman, Galle quickly became a respected engraver, print publisher and a member of the guild of St Luke, a city guild for artists in 1595. In the years to follow he became the guild's deacon. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Theodoor Galle (c. 1571-1633) Adrian Collaert (1560-1618) after Maerten de Vos (1532 - 1603) 38. Tunc Princeps Sacerdotum scidit veftimenta sua, dicens, Blasphemauit: Quid adhuc egemus testibus. Matth. 26.

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Matthew, Chapter 26 "Then the high priest tore his clothes, saying, “He has spoken blasphemy! What further need do we have of witnesses?” Theodoor Galle was the son of Philip Galle, a Dutch publisher best known for his old master prints, from whom he learnt the craft. Theodoor married a daughter of the prominent family of Plantin in Antwerp. His marriage established the productive partnership between the Galle workshop and the Plantin Moretus printing house. A talented workman, Galle quickly became a respected engraver, print publisher and a member of the guild of St Luke, a city guild for artists in 1595. In the years to follow he became the guild's deacon. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Theodoor Galle (c. 1571-1633) Cornelius Galle (1576-1650) after Maerten de Vos (1532 - 1603) 37. Qui aute tradidit eu, dedit illis fignu, dicens, Quemcumq osculatus fuero, ipse est, tenete eu. Et confestim accedes ad Iesum, dixit, Aue rabbi. Matth. 26.

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Matthew, Chapter 26 "The one I kiss, that’s the one—seize him.” He went straight to Jesus, greeted him, “How are you, Rabbi?" and kissed him.” Theodoor Galle was the son of Philip Galle, a Dutch publisher best known for his old master prints, from whom he learnt the craft. Theodoor married a daughter of the prominent family of Plantin in Antwerp. His marriage established the productive partnership between the Galle workshop and the Plantin Moretus printing house. A talented workman, Galle quickly became a respected engraver, print publisher and a member of the guild of St Luke, a city guild for artists in 1595. In the years to follow he became the guild's deacon. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Theodoor Galle (c. 1571-1633) Cornelius Galle (1576-1650) after Maerten de Vos (1532 - 1603) 35. Pater mi, possibile est, transeat a me calix iste. veruntamen non ficut ego volo, sed sicut tu. Matth. 26.

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Matthew, Chapter 26 "My Father, if it is possible, may this cup be taken from me. Yet not as I will, but as you will.” Theodoor Galle was the son of Philip Galle, a Dutch publisher best known for his old master prints, from whom he learnt the craft. Theodoor married a daughter of the prominent family of Plantin in Antwerp. His marriage established the productive partnership between the Galle workshop and the Plantin Moretus printing house. A talented workman, Galle quickly became a respected engraver, print publisher and a member of the guild of St Luke, a city guild for artists in 1595. In the years to follow he became the guild's deacon. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Laurence Dunn (1910-2006)

    SS Zrinski (c.1925)

    4 x 17 cm Ink and bodycolour on paper Zrinski was built by the Northumberland Shipbuilding Co Ltd. Following a period in Norwegian ownership it was transferred to Yugoslavian ownership in 1927. In 1940 it was acquired by the Crest Shipping Co Ltd, and sunk by German U-Boat U-140 on 8 December 1940 - as SS Ashcrest. Dunn's drawings of coastal tramps are early works, likely sketched from the side of the Thames estuary near his home. The World Ship Society published the following obituary for the well-published maritime artist and writer  in 2006: DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home. Condition: Generally very good, slight toning to paper. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Theodoor Galle (c. 1571-1633) Jacob de Bye (1685-?) after Maerten de Vos (1532 - 1603) 33. Vidit Iesus quandam vidnam pauperculam mittentem ara minuta duo: Et dixit, Velre dico vobis, quia vidua hec pauper, plusquam omnes misit. Luke. 22.

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Luke, Chapter 22 "Vidit Iesus quandam vidnam pauperculam mittentem ara minuta duo: Et dixit, Vere dico vobis, quia vidua hec pauper, plusquam omnes misit. Luke. 22.” Theodoor Galle was the son of Philip Galle, a Dutch publisher best known for his old master prints, from whom he learnt the craft. Theodoor married a daughter of the prominent family of Plantin in Antwerp. His marriage established the productive partnership between the Galle workshop and the Plantin Moretus printing house. A talented workman, Galle quickly became a respected engraver, print publisher and a member of the guild of St Luke, a city guild for artists in 1595. In the years to follow he became the guild's deacon. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Theodoor Galle (c. 1571-1633) Jacob de Bye (1685-?) after Maerten de Vos (1532 - 1603) 31. Videtis hec omnia? Amen dico vobis, non relinquetur hic lapis super lapidem, qui non destruatur. Matth. 24.

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Matthew, chapter 24 "You see all of this? Verily I say unto you, there shall not be left here one stone upon another, that shall not be thrown down.” Theodoor Galle was the son of Philip Galle, a Dutch publisher best known for his old master prints, from whom he learnt the craft. Theodoor married a daughter of the prominent family of Plantin in Antwerp. His marriage established the productive partnership between the Galle workshop and the Plantin Moretus printing house. A talented workman, Galle quickly became a respected engraver, print publisher and a member of the guild of St Luke, a city guild for artists in 1595. In the years to follow he became the guild's deacon. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Adrian Collaert (1560–1618) Theodoor Galle (c. 1571-1633) after Maerten de Vos (1532 - 1603) 31. Et inuenit Iesus afellum, et sedit super eum, sicut scriptum est; Noli timere filia Syon, Ecce Rex tuus venit, sedens super pullion asine. Iohn. 12. 

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of John, chapter 12 "Finding a young donkey, Jesus sat on it, as it is written: Fear not, daughter of Zion; Behold, your King is coming, Sitting on a donkey’s colt." Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Theodoor Galle (c. 1571-1633) Jacob de Bye (1685-?) after Maerten de Vos (1532 - 1603) 30. Iesus voce magna clamauit; Lazare, veni foras. Et statim proijt qui fuerat mortuus. Iohn. 11.

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of John, chapter 11 "Jesus called in a loud voice, “Lazarus, come out!” The dead man came out.” Theodoor Galle was the son of Philip Galle, a Dutch publisher best known for his old master prints, from whom he learnt the craft. Theodoor married a daughter of the prominent family of Plantin in Antwerp. His marriage established the productive partnership between the Galle workshop and the Plantin Moretus printing house. A talented workman, Galle quickly became a respected engraver, print publisher and a member of the guild of St Luke, a city guild for artists in 1595. In the years to follow he became the guild's deacon. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Theodoor Galle (c. 1571-1633) Jean Baptiste Barbe (1578-1649) after Maerten de Vos (1532 - 1603) 28.  Adducunt Scibe et Pharisaei mulierem in adulterio deprehensam. Iesus autem inclinans se deorsum, digito scribebat in terra. Iohn. 8.

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of John, chapter 8 "The scribes and the Pharisees brought a woman who had been caught in adultery, and placing her in the midst they said to him, “Teacher, this woman has been caught in the act of adultery". Jesus bent down and wrote with his finger on the ground.” Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Adriaen Collaert (c. 1560-1618) Jacob de Bye (1685-?) after Maerten de Vos (1532 - 1603) 27.  Assumit Iesus Petrum et Iacobum et Ioannem fratrem eius, et ducit illos in montem excelsum seorsum; et transfiguratus est eos. Matth. 17.

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Matthew, chapter 17 "After six days Jesus took with him Peter, James and John the brother of James, and led them up a high mountain by themselves. There he was transfigured before them.” Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Adriaen Collaert (c. 1560-1618) Theodoor Galle (1571–1633) after Maerten de Vos (1532 - 1603) 26.  Est puer vnus hic qui habet quinq panes ordeaceos, et duos: sed haec quid funt tantos? Iohn. 6.

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of John, chapter 6 "There is a lad here, which hath five barley loaves, one, and two, but what are these for so many?” Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Adriaen Collaert (c. 1560-1618) Jacob de Bye (1581–1640) after Maerten de Vos (1532 - 1603) 25. Videns Iesus turbas, ascendit in montem; et cum sedisset, accesserunt ad eum discipuli eius, et aperiens os suum, docebat eos. Matth. 5.

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Matthew, chapter 5 "And seeing the multitudes, He went up on a mountain, and when He was seated His disciples came to Him.” Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Adriaen Collaert (c. 1560-1618) Jacob de Bye (1581–1640) after Maerten de Vos (1532 - 1603) 23. Dicit iesus Surge tolle grabatum tuum, et ambula. Et statim sanus factus est, et sustulit grabatum suum et ambulabat. John. 5.

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of John, chapter 5 "He says Rise, take up your bed and walk. He immediately became well, and picked up his bed and walked.” Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Adriaen Collaert (c. 1560-1618) Jacob de Bye (1581–1640) after Maerten de Vos (1532 - 1603) 22. Ecce mulier quat sanguinis fluxum patiebatur duodecim annis, accessit retro, et tetigit fimbriam vestimenti eius. Matth. 9.

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Matthew, chapter 9 "And suddenly, a woman who had a flow of blood for twelve years came from behind and touched the hem of His garment.” Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Adriaen Collaert (c. 1560-1618) Jan Collaert (1545–1628) after Maerten de Vos (1532 - 1603) 21. Ait Paralytico, Surge, tolle lectum, et vade in domum tuam. Et surrexit, et abijt in doman suam. Matth. 9.

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Matthew, chapter 9 "Get up, pick up your mat, and go home. And the man got up and went home.” Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Adriaen Collaert (c. 1560-1618) John de Barbe (1578–1649) after Maerten de Vos (1532 - 1603) 19. Accesserunt ad eum discipuli eius, et suscitaverunt eum, dicentes, Domine, salua nos, perimus. Matth. 8.

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Matthew, chapter 8 "Then His disciples came to Him and awoke Him, saying, “Lord, save us! We are perishing!” Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
  • Adriaen Collaert (c. 1560-1618) John de Barbe (1578–1649) after Maerten de Vos (1532 - 1603) 18. Socrus simonis tenebatur magnis febribus; et rogauerunt illum pro ea. Et stans super illum imperauit febri; et dimiset illum. Luke. 4.

    Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Luke, chapter 4 "Simon’s mother-in-law was very sick. She had a high fever. They asked Jesus to do something to help her. He stood very close to her and ordered the sickness to go away". Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.

Title

Go to Top