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William Williams (Welsh, active 1724 - 1733)
Jesus College, Oxford (circa 1732)
Engraving 43 x 44 cm This engraving of the city of Oxford, adorned with its eponymous dreaming spires, comes from the 'Oxonia Depicta', a large folio of engraved plates illustrating Oxford's halls and colleges. Condition: previously folded; some losses to folds, some toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Franciscus de Neve (c.1632-1704) 'Landscape with Shepherdess Playing a Tambourine' and 'Echo & Narcissus'
Engravings Both signed in the lower margin: 'Franciscus de Neue In. e fecit' and 'Si Stampano in Roma da Gio: Iacomo de Rossi alla Paca' Each 31.5 x 38.5cm (plate) Franciscus (or Frans) de Neve was a Flemish painter and engraver, born in Antwerp in 1632. His father, also an artist, was called by the same name, resulting in some confusion for art historians. The younger de Neve was working in Rome from 1660-1670, producing paintings for the Palazzo Doria-Pamphili (alongside Pietro da Cortona) and was known for his religious subjects, mythological scenes and landscapes. He was part of a network of Dutch and Flemish artists in the city, who helped to promote and support his career. Many of his works are known only from the engravings which in Rome were produced by Giovanni Giacomo de Rossi alla Pace (including these examples). After 1670 he travelled to Augsburg and Munich, then to Austria and Moravia, where he completed numerous commissions for altarpieces. Towards the end of his life he returned to his native Flanders and became Master of the Guild of Saint Luke. De Neve had a reputation as a gifted landscape painter, and these two engravings show his keen interest in the details of the natural world, as well as the influence of Claude Lorrain in the extensive vistas. The painting of ‘Narcissus and Echo’ after which this engraving was made, hangs in the collection of Christ Church College, Oxford - one of his few original oils known to survive. Another of the prints is owned by the British Museum. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Edward Burra (1905 - 1976)
The Guitar Player
(1928 - 1929, this edition published 1971) Woodcut 15 x 10 cm; sheet size 34 x 24 cm Numbered 15/45 lower left and initialled EB lower right. Burra's woodcut of a female guitar player surrounded by a landscape of cacti. A bunch of grapes is pendent beside her triangular earring, and a male figure in a wide-brimmed hats stands in the field nearby. Edward Burra was an English painter, draughtsman, and printmaker. He travelled to Italy in 1925, the same year he met the noted British Surrealist Paul Nash, and both of these influences are evident in this woodcut. Nash introduced Burra to woodcut-making in 1928, the same year that Burra began this woodcut series. His first solo show was held at the Leicester Galleries in April 1929, and he exhibited with the English Surrealists in the 1930s. Condition: Excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Edward Burra (1905 - 1976)
Café
(1928 - 1929, this edition published 1971) Woodcut 10 x 15 cm; sheet size 24 x 34 cm Numbered 15/45 lower left and initialled EB lower right. Published by the Nicholas Treadwell Gallery in 1971. Burra's woodcut of a male and a female figure, entitled 'Café'. The two figures, seemingly a couple, gaze at one another intensely and intimately, giving the impression of having been interrupted by the viewer. Both figures' faces bear tattoo-like markings: he a star and the moon, she a geometric design resembling a noughts-and-crosses board. The "café" in which they sit is a dreamily abstract landscape full of palms and other plants from the tropics. Edward Burra was an English painter, draughtsman, and printmaker. He travelled to Italy in 1925, the same year he met the noted British Surrealist Paul Nash, and both of these influences are evident in this woodcut. Nash introduced Burra to woodcut-making in 1928, the same year that Burra began this woodcut series. His first solo show was held at the Leicester Galleries in April 1929, and he exhibited with the English Surrealists in the 1930s. Condition: Excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
S Clapham (active 1940 - 1960)
Puslinch House
Watercolour 49 x 70 cm A beautifully-coloured watercolour of Puslinch House, a fine Christopher Wren-style Georgian mansion in Devon. The estate was owned by the Poslylinch, Mohun, and Upton families before being taken over by the Yonge family in 1718, following the marriage of John Yonge and Mary Upton. The Queen Anne House mansion was built on the occasion of their wedding and an earlier mediaeval house still exists in the grounds as a country cottage. During the war, the house was used as a voluntary hospital for wounded officers. Clapham was an architect based in Stockwell in London. Condition: generally very good; a little faint spotting to top right corner. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
S Clapham (active 1940 - 1960)
St Paul's Cathedral
Watercolour 51 x 68 cm Signed lower right. This architectural watercolour is a panegyric to the English Baroque grandeur of St Paul's Cathedral. Three small figures climb the steps, emphasising the size and magnificence of the architecture around them. St Paul's was built between 1675 and 1711 by Sir Christopher Wren. The foundation stone was laid in 1675 when Wren was 43 years old, and the building works were completed 35 years later by Wren's son. Its construction was part of a major rebuilding programme in the city after the Great Fire of London. Clapham was an architect based in Stockwell in London. Condition: generally very good; a couple of spots. Mounted to board by artist and signed to board. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
Donald Brun (1909-1999)
Davos (1970s)
Original vintage poster 102 x 64 cm Donald Brun produced his famous series of posters for Switzerland as global travel became more popular. Davos is depicted as a marvellous and brightly-coloured resort full of beauteous skiers, pony sleds, and ice skaters. Cable cars travel up to the tip of a bright red ski, and a bold skier launches himself into the wide blue yonder. Condition: very good. Backed to linen. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage skiing posters. -
Julian Otto Trevelyan, RA (1910 -1988)
Caius College II, Cambridge (1959/1962)
Signed by the artist and numbered 4/70 in pencil. The edition consisted of 70 numbered proofs and 30 artist’s proofs. 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. Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Clifford Ellis (1907-1985)
Form
Gouache 21x30cm Provenance: the family of the artist, by descent. 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. -
David Loggan (1634-1692) New College, Oxford
Collegium Novum Engraving (1690) mounted to board 32x49cm To see biographical details and other works by the artist please click here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Julian Trevelyan (1910-1988)
St James' Park (1969-70)
Etching and aquatint, signed, numbered 48/75 35x48cm 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. -
Julian Trevelyan (1910-1988)
Richmond (1969)
Etching and aquatint, signed, numbered 47/75 48x35cm 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. -
Julian Trevelyan (1910-1988)
Kensington Gardens (1969)
Etching and aquatint, signed, numbered 55/75 35x48cm 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. -
US Naval Aviation Training Division
1943 Vultee Vengeance World War 2 US airplane
Aeroplane identification poster, 1943 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series (click here) - have a much more arty approach to the task with shading and an interesting angle view. Designed in 1940 as a single-engined dive bomber for the French Armée de l'Air, with deliveries scheduled for October 1940. With the fall of France in June 1940 the order was cancelled, but the British Royal Air Force ordered 200 of these dive bombers having been impressed by the Stuka. It was a reliable aircraft, stable in flight and in a dive. It was much used in Burma, this forgotten theatre of the war being regarded as a repository for otherwise unpopular and unwanted equipment, but where it proved very effective in bombing Japanese positions. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634-1692)
Wadham College Oxford
Engraving (1675) 34x42cm If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634-1692)
Brasenose College Oxford
Engraving (1675) 30x40cm To view biographical details and other prints by Loggan click here. Trimmed to within platemark and backed to linen (very many years ago). Otherwise generally good condition. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Anonymous
Holland via Harwich Original Vintage Poster
Lithograph 98.5x61cm 102x64cm including frame If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally good, slight water mark in upper left corner. -
Anonymous
Oxford Wings for Victory Poster Design
56x38cm 62x44cm including hand-finished black frame. Gouache on paper c. 1943 Click here to see other posters from this series and for more information on Wings for Victory campaigns. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: excellent, framed. -
David Loggan (1634-1692)
Balliol College, Oxford
Engraving, 1675 30x40cm 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 good. -
David Loggan (1634-1692)
Jesus College, Oxford
Engraving, 1675 30 x 41cm 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. Condition: excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634-1692)
Canterbury Quad, St John's College, Oxford
Engraving, 1675 32 x 51cm 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. Condition: excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634-1692)
Oriel College, Oxford (1674)
Engraving, 40 x 26.7cm 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. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Charles Pulsford ARSA (1912-1989)
Abstract Harbour
Watercolour 36 x 46 cm Signed lower right. Pulsford was born in Staffordshire to Scottish parents. His family returned to Dunfermline when he was a child, and he subsequently attended Edinburgh College of Art (ECA) between 1933 and 1937. He, along with other prominent Scottish artists, embraced modernism and abstraction following the end of the war. Alan Davie, William Turnbull, William Gear and Eduardo Paolozzi are the key artists of the group with which he was association, and the National Galleries of Scotland regard Pulsford as the 'fifth man' of the group. Between 1952 and 1960 he taught at ECA and then at Canterbury College of Art. Provenance: the artist, the residual stock of William Hardie Gallery. Condition: Generally very good, in fine hand-finished frame. If you are interested, email info@manningfineart.co.uk or call us on 07929 749056. -
Charles Pulsford ARSA (1912-1989)
Abstract Landscape
Watercolour with wax resist 55 x 31 cm Provenance: the artist; the residual stock of William Hardie. Pulsford was born in Staffordshire to Scottish parents. His family returned to Dunfermline when he was a child, and he subsequently attended Edinburgh College of Art (ECA) between 1933 and 1937. He, along with other prominent Scottish artists, embraced modernism and abstraction following the end of the war. Alan Davie, William Turnbull, William Gear and Eduardo Paolozzi are the key artists of the group with which he was association, and the National Galleries of Scotland regard Pulsford as the 'fifth man' of the group. Between 1952 and 1960 he taught at ECA and then at Canterbury College of Art. Condition: Generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
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. -
Darton and Harvey (publisher)
Map of London, Southwark, and parts adjacent (1800)
Engraving 42 x 56 cm Condition: generally very good; backed to linen with some evidence of use. -
H. Fluiss
Charles Payne, Huntsman to the Pytchley Hounds on Redtape with the hound Trueman (1862)
Watercolour with body colour 36 x 43 cm A mid-nineteenth century watercolour depicting Charles Payne (1884–1967), huntsman to the Pytchley. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Appleyard (1908 - 1960)
The Middleton Hunt at Sherriff Hutton
Watercolour 28 x 37 cm Signed lower right. The Huntsman and hounds of North Yorkshire's Middleton Hunt. Condition: very good. 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. -
"Rufe" Mitsubishi "Type OO"
Aeroplane identification poster, published 1942 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. This Japanese floatplane, known to the Allies as a "Rufe", was developed from the Mitsubishi A6M Type 0 - the famous ''Zero'' figher, mainly to support amphibious operations and defend remote bases. It was based on the A6M-2 Model 11 fuselage, with a modified tail and added floats. A total of 327 were built, including the original prototype. The aircraft was deployed in 1942 and was only used in operations taking place in the Aleutians and Solomon Islands. Such seaplanes were effective in harassing American patrol torpedo boats at night. They could also drop flares to illuminate the American boats which were vulnerable to destroyer gunfire, and depended on cover of darkness. Condition: generally 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 (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. -
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. -
after Dorothy Wilding (1893 - 1976)
The Coronation Regalia (1953)
Original vintage poster 75 x 50 cm Issued by the National Savings Committee, London, the Scottish Savings Committee, Edinburgh, and the Ulster Savings Committee, Belfast. Crown Copyright Reserved. Printed for H.M. Stationery Office by Waterloo & Sons Limited, London and Dunstable. A fantastic piece of royalist British history. The famous portrait photographer Dorothy Wilding captured Queen Elizabeth II at her Coronation in 1952 - the photograph, used as the centrepiece of this poster, was also used on Britain's postage stamps until 1967. This particular poster was designed to be a Coronation souvenir, and features all the regalia and trappings of the United Kingdom's coronation ceremony, including crown, sword, orb, and sceptres, to name a few. The poster's margins are decorated with portraits of Britain's monarchs past, dating back to William the Conqueror. The National Savings Movement was a government-backed savings movement which began during the First World War to finance the government's wartime deficit. Savings products promoted by the movement typically offered a low level of return but the safety of a government guarantee. Various poster designs were issued by the movement to encourage ordinary people to save - we have several different designs in stock. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other National Savings posters. -
Lucas Vorsterman (1595 - 1675) after Peter Paul Rubens (1577 - 1640)
The Flight into Egypt (1620)
Engraving 30 x 45 cm Rare. We have only been able to trace one copy at auction, 2019, Izegem, Belgium. A copy of this print is held by the British Museum (R,3.50). Mary, Joseph, and the infant Christ escape into Egypt on a donkey. Lucas Vorsterman was a Baroque engraver. He worked with the artists Peter Paul Rubens and Anthony van Dyck, as well as for patrons such as Thomas Howard, 21st Earl of Arundel and Charles I of England. Condition: mounted to old paper; trimmed to platemarks; two areas of repair in region of Mary's left hand and Christ's right knee (see photo). In old ebonised frame. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
William McDowell (1888 - 1950)
Shaw Savill Lines - Dominion Monarch
Original vintage poster 103 x 64 cm McDowell's poster advertises the magnitude and majesty of the Dominion Monarch, which dwarfs other boats and sails boldly forwards. Dominion Monarch was a UK passenger and refrigerated cargo liner. Her name was a reference to the Dominion of New Zealand, and she was built for Shaw, Savill & Albion Line (the shipping line of P Henderson & Company, a British shipping firm). McDowell was a painter, draughtsman and commercial artist, born in the shipbuilding town of Barrow-in-Furness, Lancashire. After leaving school he was apprenticed in the drawing office of the engineering firm Vickers, and eventually became a member of the Institute of Naval Architects. Shortly after the First World War, McDowell left naval architecture to become a full-time artist, producing murals for the liner Mauretania and other vessels, eventually settling in Wallasey, Cheshire. Many of his own paintings were of historical or maritime subjects, shown at the Walker Art Gallery and elsewhere. In 1919 he had a picture included in the RA Summer Exhibition. During the Second World War he was commissioned in the Royal Naval Scientific Service. Condition: generally very good, occasional repaired short edge tears, a little spotting primarily to blank panel at bottom and slightly creased at edges. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage posters. -
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. -
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 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)
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 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)
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)
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 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. -
James Greig (1861-1941)
Magdalen College, Oxford
Watercolour 28 x 38.5cm (11 x 15 in.) Greig was born in Arbroath, moving in 1891 to London to study art and furthering his education in Paris between 1895 and 1896. Returning to London he produced magazine illustrations for publications such as Punch and The Sketch in black and white. He was art critic for the Morning Post, showing his skills at writing as an historian, also editing the diaries of the landscape painter Joseph Farington (1747-1821) and publishing articles on Gainsborough and Raeburn. Elected Member of the Royal Society of British Artists in 1898 he was renowned for his colourful landscapes of the middle east and his views of Oxford. He also designed posters for Union Castle Line and P&O. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Cyrus Johnson (1848-1925)
Two Dons Engaged in Conversation by Clare College Back Gates, Cambridge
Watercolour 13x22cm If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Hans Falk (1918-2002)
Sport au Soleil en Suisse
Original Vintage Poster (1957) Lithograph 40x25" Signed in the plate, and showing a procession of brightly-coloured skiers heading up the mountain towards the sun. Falk was a Swiss graphic designer who spent much of his life in the USA, UK and Ireland, producing many striking and popular posters. -
Julian Trevelyan (1910-1988)
Richmond Park (1969)
Etching and aquatint, Signed, numbered 36/75 35x48cm (sheet size 59x77cm) On J Green paper from the Thames Suite Click here for biographical details and other works by the artist including several others from the Thames Suite. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
