• Jane Gray (b.1931)

    Shrewsbury Abbey, Design for Stained Glass Window Dedicated to St Winefride (1990)

      Watercolour 39 x 19 cm

    Signed, dated and studio stamp verso.

    The red sandstone Abbey that resides over Shrewsbury is a welcoming landmark to visitors entering the town and dates back to the Norman era. Despite many renovations and alterations over the years, the medieval and Victorian elements marry remarkably naturally in this grand yet dignified place of worship. Shrewsbury abbey is home to several notable tombs and monuments as well as the remnants of a medieval shrine to St Winefride who was once venerated there. The central light at the top depicts the Trinity, where the Holy Spirit is represented by a dove, God by a vortex (left) and Christ by a lamb (right). The trinity remain linked throughout the design by a blue ribbon decorated with crosses and water droplets. St Winefride’s spiritual strength is represented by the large, central red cross, and her initial rests at its foot. In the left light, beneath the vortex, is corn, and to the right, grapes, both symbols uniting to form a timeless reference to the Eucharist. Below is the ship, a symbol of thee Ecumenical church, and on the right are seven doves representing the seven gifts of the holy spirit: wisdom, counsel, fortitude, knowledge, piety, and fear of the Lord. Two small roundels with Alpha and Omega (‘I am the beginning and the end’ as God notes in the Book of Revelations) unify the upper and lower windows in the design. The central lower light depicts St Winefride, set against a starry backdrop, holding the Martyr’s Palm and Cross beneath her martyr’s crown. The water that is said to have spewed forth from her decapitated head is symbolically illustrated in the fountain at her feet that flows into the adjacent lights. Further symbols to Saint Winefride adorn both the left and right lights. The crossed keys and inverted cross (left light) represent Saint Peter, and the sword, book, and anchor rounded cross represent Saint Paul, the saints to whom Shrewsbury Abbey is dedicated. The window was installed in 1992.

    Provenance: the artist’s studio sale. Literature: Jane Gray, Playing with Rainbows. (Shropshire: Ellingham Press, 2011), pp.47, 81. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here.    
  • Jane Gray (b.1931)

    Northgate, Design for Stained Glass Window

      Watercolour 49.5 x 18 cm

    Gray left little information about this design but it is possibly for a shopping centre or similar building. Nevertheless, this design perfectly captures Gray’s colourful and quintessentially modern style and approach to stained glass window design. Here, Gray uses a few key colours, strong lines, and geometrical elements to construct her multi-panelled, lettered design.

    Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here.    
  • Jane Gray (b.1931)

    All Saints Church, Tunworth, Hampshire, Design for Stained Glass Memorial Window for the Hon. Julian Berry OBE, DL, JP, Colonel of the Royal Horse Guards (The Blues) (1992)

      Watercolour 28 x 30 cm Signed, dated and studio stamp verso.

    All Saints Church is a Norman church, built in the 12th century, and lies nestled in the downland of the Tunworth Downs, Hampshire. Colonel Julian Berry (1920-1988), son of the 1st Viscount Camrose of Hackwood Park, is notably buried in the churchyard, and his death is commemorated in Gray’s stained glass window design, featuring items of military ceremonial dress set against a night sky accompanied by the line from John 1:1, ‘In the beginning was the word’. The window was installed in 1992.

    Provenance: the artist’s studio sale. Literature: Jane Gray, Playing with Rainbows. (Shropshire: Ellingham Press, 2011), p.81. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here.    
  • Jane Gray (b.1931)

    St Peter’s Church, Martindale, Design for Benedicite Stained Glass Windows (1975-77)

      Watercolour 32.5 x 8 cm

    St Peter’s Church was built in Martindale, Cumbria in 1880 by a local craftsman using stone from the surrounding area. The church is situated in an enchanting rural oasis and has connections to the acclaimed modern poet, Kathleen Raine, who lived in the Old Vicarage, as well as William and Dorothy Wordsworth who visited the area on one of their Cumbrian excursions. Gray’s ‘Martindale Era’ lasted from 1974-1981, in which time, she designed and installed fifteen stained glass windows in St Peter’s Church. This pair of windows were commissioned as Gray was constructing her fifth, and supposedly last, window; the church had received a gift from an American donor who shared the name ‘Martindale’ and the vicar decided to commission two more windows on the them of the Benedicite.

    Provenance: the artist’s studio sale. Literature: Jane Gray, Playing with Rainbows. (Shropshire: Ellingham Press, 2011), pp.17-18, 74. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here.    
  • Jane Gray (b.1931)

    Christ Church, Charnock Richard, Lancashire, Design for Stained Glass Window (1988)

      Watercolour 25.5 x 15.5 cm Signed, dated and studio stamp verso.

    Christ Church was built in 1860 at the heart of the 13th century country village of Charnock Richard. Alongside its stained glass windows, the church boasts historic tile work and an exceptional  marble memorial to the original benefactor’s wife, Frances Darlington.

    Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here.    
  • Henry Sargant Storer (1791-1837)

    A view of Cambridge from Castle Hill c.1824

    Watercolour 46x74.5cm Original watercolour for engraving published in c. 1824. A copy of the engraving is available to view. Provenance: the family of the artist. A very large and very fine view of Cambridge from Castle Hill. New Court of St John's College shines brightly, being in the course of construction - it was finished in 1831. A later panorama of Cambridge in 1838 shows Jesus Green lock in the course of construction. If you are interested email info@manningfineart.co.uk or call us on 07929 749056.
  • Andrew Ingamells (1956 - )

    University College, Oxford

      Etching 40 x 70 cm Signed lower right and numbered 15/100 lower left, both in pencil. Inspired by David Loggan’s celebrated engraving of the college, this view of Univ College belongs to Ingamells’ series of views of Oxford and Cambridge. The series took six months to complete and has long-since sold out from the publisher. Ingamells trained at St Albans School of Art and the London College of Printing, subsequently working as a graphic designer and illustrator. Based in London, he began making drawings of the buildings and landscapes of London. Ingamells’ work is in many public collections including those of the Tate Gallery, The National Trust, The Paul Mellon Centre for British Art, and the City of London Guildhall Library. His pictures are also in several private collections, including those of various Oxford and Cambridge colleges, HM King Charles III, and Shell Oil. The artist is currently part-way through his epic project to record all the colleges of Oxford and Cambridge, a project undertaken in homage to David Loggan. Condition: excellent. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of University College, Oxford.
  • Johannes 'Joan' Blaeu (1596 - 1673)

    Oxonium Comitatus, Vulgo Oxfordshire (1662)

      Engraving with later hand-colouring 38 x 50 cm A decorative map of Oxfordshire by the celebrated Dutch mapmaker and artist Joan Blaeu, (son of the cartographer Willem Blaeu). Two Oxford scholars flanks the cartouche which declares the map to be of Oxonium (that is, Oxfordshire), and the design also features the arms of the British Royal Family, King Alfred, and the University of Oxford. Sixteen colleges crests border the map. Blaeu moved to Amsterdam in 1920 to join the family firm of mapmakers. In 1635, the business published the Theatrum orbis terrarum, sive, Atlas novus in two volumes - the largest and most expensive book published in the seventeenth century, and the venture for which the Blaeu were most famed. Joan and his brother Cornelius took over the studio after their father died in 1638; Joan became the official cartographer for the Dutch East India Company, as his father had been before him. Condition: mostly very good; area of toning to top left where coloured to reverse. Good oak frame. Framed with reverse visible. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other antique maps.
  • In the Country, In the Town (c. 1960)

      Original vintage poster 76 x 50 cm A delightfully quaint vintage poster with a series of important and relevant pedestrian safety messages. From its foundation in 1916 onwards, the Royal Society for the Prevention of Accidents published dozens of highly artistic posters encouraging people to take precautions and prevent injuries (for example, telling factory workers to wear goggles and inspect their tools, or advising drivers to watch out for children in the road). This poster advises those visiting the country to use footpaths and cross roads carefully, and suggests that city-dwellers walk on pavements and only cross at pedestrian crossings. 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 St John’s College, Cambridge.
  • Whitlock

    Your Savings Soon Mount Up (1930)

    Original vintage poster 76 x 50 cm Issued by the National Savings Committee, Westminster, SW1. Printed for HM Stationery Office by Messrs McCaw, Stevenson, & Orr Ltd, London. This poster, depicting a biplane soaring over the British countryside, was designed and published by the Government to promote saving. Posters like this encouraged people to save via National Savings - in doing so, their savings would mount like the pictured plane. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage National Savings posters.
  • Sydney Thomas Charles Weeks (1878 - 1945)

    Houses of Parliament (1950)

    Original vintage poster 50 x 76 cm Issued by the National Savings Committee, Westminster, SW1. Printed for HM Stationery Office by David Allen & Sons Ltd, London. This poster was designed and published by the Government in 1950 to promote saving. Posters like this encouraged people to save via National Savings, using the image of the strong and stalwart Palace of Westminster to indicate that money saved with the government scheme was secure. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage National Savings posters.
  • Tanks (1939 - 1945)

      Original vintage poster 74 x 51 cm A copy of this poster is held by the Victoria and Albert Museum (E.2134-1946). Issued by the National Savings Committee, London, the Scottish Savings Committee, Edinburgh, and the Ulster Savings Committee, Belfast. Printed for HM Stationery Office by Fosh & Cross Ltd, London. This poster was designed during the Second World War and published by the Government to promote saving. Posters like this encouraged people to save via National Savings, with the promise that the funds saved would be used to support the war effort. Condition: generally very good, a couple of short repaired edge tears and crease to middle. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage posters.
  • Out of stock

    Well Saved!

      Original vintage poster 76 x 51 cm Printed for HM Stationery Office by GCM Printing Service Ltd, Leicester. This poster, published by the Government and designed to promote saving, encourages us to save via the Post Office Savings Bank, the Trustee Savings Banks, and National Savings. Like the young football player pictured, we too can succeed by saving. Condition: generally very good; a few very short repaired edge tears and pin holes to corners. All would hide under a mount. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage National Savings posters.
  • Andrew Ingamells (1956 - )

    King's College, Cambridge

      Etching 54 x 48 cm Signed lower right in pencil. Inspired by David Loggan’s celebrated engraving of the College in 1680, this view of King's College was the first of Ingamells’ series of views of Oxford and Cambridge. It took six months to complete and has long-since sold out from the publisher. Ingamells trained at St Albans School of Art and the London College of Printing, subsequently working as a graphic designer and illustrator. Based in London, he began making drawings of the buildings and landscapes of London. Ingamells’ work is in many public collections including those of the Tate Gallery, The National Trust, The Paul Mellon Centre for British Art, and the City of London Guildhall Library. His pictures are also in several private collections, including those of various Oxford and Cambridge colleges, HM King Charles III, and Shell Oil. The artist is currently part-way through his epic project to record all the colleges of Oxford and Cambridge, a project undertaken in homage to David Loggan. Condition: excellent; in wood frame. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of King's College, Cambridge.
  • Jane Gray (b.1931)

    St Peter's Church, Martindale, Design for Stained Glass Window (1980)

      Watercolour 29.5 x 4.5 cm Signed and dated verso. St Peter’s Church was built in Martindale, Cumbria in 1880 by a local craftsman using stone from the surrounding area. The church is situated in an enchanting rural oasis and has connections to the acclaimed modern poet, Kathleen Raine, who lived in the Old Vicarage, as well as William and Dorothy Wordsworth who visited the area on one of their Cumbrian excursions. Gray's 'Martindale Era' lasted from 1974-81, in which time, she designed and installed fifteen stained glass windows in St Peter's Church. This window was designed in memory of Charles Barrand, the vicar at Martindale, who died in 1981. Alongside the cymbals, harp, pipes, horn, and musical notes to celebrate the musical Saint Cecilia, are some of the flowers the vicar grew in the vicarage garden and his favourite psalm: number 150.  Provenance: the artist’s studio sale. Literature: Jane Gray, Playing with Rainbows. (Shropshire: Ellingham Press, 2011), pp.20, 74. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here.    
  • Lionel Edwards (1878 - 1966)

    The Beaufort Hunt. Kill Above Sodbury Vale. (1925)

      Lithograph 38 x 52 cm Signed in plate lower right and in pencil lower left outside the plate. Printed and Published by Eyre and Spottiswoode. A Lionel Edwards lithograph depicting the Beaufort - part of the artist's 1925 'Hunting Countries' series. The Beaufort's hunt dress is peculiar to the country in that the Huntsman and Whippers-In wear green and the subscribers a blue coat with buff facings. The earliest records of hounds being kennelled at Badminton date back to 1640 when the then Marquis of Worcester hunted mainly deer, but hare and fox as well. Dukes of Beaufort have either hunted hounds themselves or have been in the Mastership since the title was created in 1682 and the hounds, kennels and stables still belong to them. The 10th Duke was master from 1924 to 1984 and so great was his contribution to foxhunting he became universally known as "Master". The Beaufort is one of the few remaining private packs. Lionel Edwards was a British artist who specialised in pictures of country life, particularly horses, and provided illustrations for Country Life. He is best known for his hunting scenes but also painted pictures of horse racing, shooting and fishing. Condition: generally very good; some fading to the clouds. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other hunting pictures.
  • John Ivester Lloyd (1873 - 1942)

    Christ Church Beagles

      Lithograph 31 x 42 cm Thomas Ivester Lloyd (1873 - 1942) was born in Liverpool. During the First World War, he served with the Remount Service, in common with many other equine artists. He was later commissioned into the Royal Artillery. From childhood he hunted, and he became Master of the Sherington Foot Beagles. As well as his equine portraits, he illustrated some books. The pony books he illustrated were all written by his son, John Ivester-Lloyd. Condition: colours excellent. Original frame. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other hunting pictures.
  • Crest Mill, Castleton, Rochdale, Lancashire (1906)

      Watercolour 56 x 96 cm Crest Mill in Castleton, Rochdale, was built in 1906. It was designed by Sir Philip Sidney Stott, the English architect, civil engineer and surveyor. Crest Mill was demolished long ago. The mill engines were sent to the United States, but the ship carrying them sank in the Atlantic. Scott's mill chimneys all had two distinctive bands towards the top. Stott was born in Chadderton, Lancashire, and joined the family firm of architects upon leaving school. In 1883, he set up his own business, P. S. Stott, specialising in the design of cotton mills - he designed 22 mills in Oldham and 55 elsewhere in the county, plus many more in Europe, India and the Far East, amounting to 124 in total. He became a baronet in 1920, and was elected a Fellow of the Society of Architects and a member of the Royal Institute of British Architects. He was a significant figure in Lancashire mills, being responsible for 40% of the spindles laid down in Oldham between 1887 and 1914, and 44% of the increase in Lancashire's spinning capacity between 1887 and 1925. He retired a wealthy man having accumulated shares in the mills he designed. Condition: generally very good; some slight staining marks to mount, and possible faint time staining in areas. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more architectural perspectives.
  • Edmund J Thring (1906 - 1985)

    Design for St Nicholas House, High Street, Bristol

      Gouache 46 x 54 cm Signed lower left and inscribed 'Alec F French & Partners, Architects, Bristol' (home to the Commercial Union Group and remodelled in 1959 by Alec French and partners). An architectural drawing of St Nicholas House, a 1930s Art Deco building on the corner of St Nicholas Street and High Street in the heart of Bristol. It was originally built as a banking headquarters, and is recognisable for its curved facade. Today St Nicholas House is a co-working space owned by The Office Group; the interiors have been remodelled in an Art Deco-inspired style, in honour of the building's architectural origins. Edmund J Thring was an architectural perspectivist who produced over 2,500 perspectives in his lifetime. He spent much of the Second WorId War in the Photographic Reconnaissance Interpretation Unit at RAF Nuneham Park, interpreting aerial photographs and making models. In 'A History of Architectural Model Making in Britain', David Lund notes that Thring was the chief instructor for the hundred or so recruits in the model-making department. He was described as ‘a sweetly patient man with a merciless eye and inflexible standards of quality’ who pushed his recruits hard. The team made over four hundred models for the D-Day invasion, and a thousand further models over the rest of the war. Pilots bombing German warships in Norwegian fjords found maps almost useless, so carried cardboard models of the topography in their cockpits. Thring also served with the Observer Corps, scanning the English Channel from the Sussex coast. Following the war, he began taking commissions for architectural perspectives (there were plenty of these available on account of the extensive postwar rebuilding works). We are grateful to the artist’s daughter for providing this information. Condition: generally very good, mounted to board, old time-staining to very margins under mount area. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for our other architectural drawings.
  • 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.
  • after Maurice Utrillo (1883 - 1955)

    France: La Cathédrale de Reims

    Original vintage poster 100 x 62 cm Commissioned by the Ministère des Travaux Publics et des Transports and the Commissariat général au Tourisme. Printed in France, by and for the French Government. Printed by Braun & Cie, Mulhouse-Paris. This poster, featuring a Utrillo painting of Reims Cathedral, was printed by the French tourist board to encourage holidays to France. Utrillo's depiction of Reims is highly post-impressionist, with thick layers of impasto and an inventive colour palette. Maurice Utrillo was a French painter who specialised in post-impressionist cityscapes, particularly of Montmartre, where he lived. His mother was Suzanne Valadon, an artist's model who sat for several French painters, including Renoir. Utrillo's father is unknown, though the painter Miquel Utrillo acknowledged him as his own some years after his birth. Valedon became a painter herself after several years of modelling, and was mentored by Degas. She encouraged her son to become a painter, and he received positive critical attention in the 1910s, followed by international popularity in the following decade. He was awarded the Cross of the Légion d'Honneur in 1928 and is today known for his poetic depictions of Paris, especially Montmartre. He is buried there, in the Cimetière Saint-Vincent, having suffered from mental illness and alcoholism for most of his life. Condition: generally very good; a few tiny repaired edge tears. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage travel posters.
  • John Le Keux (1783 - 1846) after Frederick Mackenzie (1788 - 1854)

    Sidney College from the Master's Garden (1845)

      Hand-coloured engraving 12 x 15 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of Sidney Sussex College, Cambridge. The College was founded in 1596 under the terms of the will of Frances Sidney, Countess of Sussex, wife of Thomas Radclyffe, 3rd Earl of Sussex, and named after its foundress. Frederick Mackenzie (circa 1788 - 1854) was a British watercolourist and architectural draughtsman. He first exhibited at the Royal Academy in 1804, and contributed eleven drawings between that year and 1828. He contributed to the Society of Painters in Water Colours exhibitions from 1813, becoming an associate in 1822, and a full member the following year. From 30 November 1831 until, his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. John Le Keux was a British engraver. When working as an apprentice to his father, a pewter manufacturer, he began engraving pewter, and trained as an engraver. He was then apprenticed to the noted engraver James Basire, and went on to produce engravings for the architectural publications of John Britton, Augustus Welby Pugin, John Preston Neale, and others. He produced various engravings of Oxford and Cambridge colleges. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good; a couple of spots and some age toning. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Sidney Sussex.
  • Hilary Hennes (née Hilary Miller) (1919 - 1993)

    Seated Nude

      Chalks 56 x 38 cm A chalk drawing of a seated female nude, with contemplative pose and expression. Hilary Miller was born in London, where her father was a curator at the South London Art Gallery. She attended Blackheath High School and, from 1936 to 1940, studied at the Blackheath School of Art, and then for a further three years at the Royal College of Art. After graduating, she taught at the South East Sussex Technical College and in 1946 married the artist Hubert Hennes. The couple lived in Oxford, where they both held teaching posts at the Oxford School of Art. Between 1948 and 1967 Miller frequently exhibited paintings at the Royal Academy in London, and also illustrated a number of books on gardening and natural history, such as 'The Living World' and 'Boff's Book of Gardening'. 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 works by the artist.
  • Hilary Hennes (née Hilary Miller) (1919 - 1993)

    Standing Nude

      Chalks 56 x 38 cm A chalk drawing of a standing female nude. The reverse of Hennes' drawing Flowers on a Table. Hilary Miller was born in London, where her father was a curator at the South London Art Gallery. She attended Blackheath High School and, from 1936 to 1940, studied at the Blackheath School of Art, and then for a further three years at the Royal College of Art. After graduating, she taught at the South East Sussex Technical College and in 1946 married the artist Hubert Hennes. The couple lived in Oxford, where they both held teaching posts at the Oxford School of Art. Between 1948 and 1967 Miller frequently exhibited paintings at the Royal Academy in London, and also illustrated a number of books on gardening and natural history, such as 'The Living World' and 'Boff's Book of Gardening'. Provenance: the artist's studio sale. Condition: generally very good. The reverse of Hennes' drawing Flowers on a Table (see photograph above). If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist.
  • Hilary Hennes (née Hilary Miller) (1919 - 1993)

    Flowers on a Table

      Chalks 56 x 38 cm A chalk drawing depicting a vase of bright flowers on a table in a high-ceilinged room with elegant architectural features. Hilary Miller was born in London, where her father was a curator at the South London Art Gallery. She attended Blackheath High School and, from 1936 to 1940, studied at the Blackheath School of Art, and then for a further three years at the Royal College of Art. After graduating, she taught at the South East Sussex Technical College and in 1946 married the artist Hubert Hennes. The couple lived in Oxford, where they both held teaching posts at the Oxford School of Art. Between 1948 and 1967 Miller frequently exhibited paintings at the Royal Academy in London, and also illustrated a number of books on gardening and natural history, such as 'The Living World' and 'Boff's Book of Gardening'. Provenance: the artist's studio sale. Condition: generally very good. Drawing of a standing nude to the reverse (see photographs). If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist.
  • Edward McKnight Kauffer (1890 - 1954)

    Uxbridge (1919)

      Original vintage poster 76 x 51 cm   Designed in 1919 and printed by the Dangerfield Printing Co Ltd on the 12th April 1920. 224/1000. A fantastic 1919 poster illustrating the pleasures of Uxbridge. Another version of this poster, bearing the legend 'Uxbridge by Tram', was released the same year to advertise London United Tramways. A copy of the poster is held by the Victoria and Albert Museum. Edward McKnight Kauffer was an American artist and graphic designer who lived for much of his life in the United Kingdom. He is mainly known for his work in poster design, but was also active as a painter, book illustrator and theatre designer. He studied art at the California School of Design from 1910 to 1912 and then at the Académie Moderne in Paris until 1914 (via a six month stint at the Art Institute of Chicago). He moved to London upon the start of the First World War and produced 140 poster for London Underground and London Transport. He created posters for Shell Oil, the Great Western Railway and other commercial clients, and also illustrated books and book covers. Later he also became interested in textiles, interior design, and theatrical design. He returned to New York City in 1940 and began designing posters for American Airlines (his primary client until his death) in 1947 .In 1952 he designed the book jacket for Ralph Ellison's novel Invisible Man - arguably Kauffer's most famous work. Condition: generally very good; a few short neatly repaired edge tears. Amusing article loosely pasted to reverse. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage London Transport posters.
  • Lady Margaret Myddleton (1910 - 2003)

    Harbour at Menton

      Oil on canvas 32 x 45 cm Signed lower left, and titled on label to reverse. Myddleton's sunny view of this fashionable Cote d'Azur port sees two sailing boats make their way into the harbour, as three onlookers watch from the pier. Behind them rise the town's sun-drenched buildings, including the basilica of Saint-Michel-Archange, and the purple of the French Alps. Lady Margaret Myddleton was an accomplished painter, painting interiors, country houses, and landscapes (both home and abroad). This was likely painted while Lady Myddleton was holidaying on the French Riviera. Most of her watercolours are on display in Chirk Castle, Wrexham, the family seat of the Myddleton family since 1593 (although the castle's ownership was transferred to the National Trust in 1981). Lady Myddelton was the chatelaine of the castle for thirty years, and died there in 2003. She had married Lt-Col Ririd Myddelton (Deputy Master of the Household to King George VI) in 1931, and the couple struggled to maintain the castle and estate. In 1978, Chirk and its 468 acres of parkland were bought for the nation through the National Land Fund and for the next three years were administered by the Welsh Office. In 1981 they passed to the National Trust, which now manages them. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more Modern British original painting.
  • John Hoyland (1934 - 2011)

    Yellows (1969)

      Screenprint 56 x 94 cm

    Artist’s proof. Signed and dated lower right.

    Hoyland's abstract print is made up of wide fields of colour, formally arranged. Paul Moorhouse wrote of the artist's ‘insistence on eliminating figurative references’, and here we have an entirely abstract composition - one which has no desire to depict anything figurative, anything tangible. The colours are vivid, with the ‘restrictive palette in which red-green oppositions are dominant’ which marks Hoyland's early work is cautiously evident here. The abstraction is deliberately imperfect: small yellow splashes break into the expanse of green, and the texture of that green overtly demonstrates its texture and madeness. Hoyland's prints are keen to remind us of the physical process of their making, relying on the tension between the formal and the informal to do so. John Hoyland was one of Britain's most revered post-war abstract artists. He was born in Sheffield and studied at the Sheffield School of Art and Crafts, and then Sheffield College of Art and the Royal Academy Schools in London. His first solo exhibition was held at the Marlborough New London Gallery in 1964. Retrospectives of his paintings have been held at the Serpentine Gallery (1979), the Royal Academy (1999) and Tate St Ives (2006). Hoyland was elected to the Royal Academy in 1991 and was appointed Professor of Painting at the Royal Academy Schools in 1999. Condition: very good; recent heavy handsome frame. Glass will be removed for international shipping. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other Modern British Print.
  • Graham Sutherland (1903 - 1980)

    Away by Green Line (1936)

      Original vintage poster 103 x 63 cm A poster produced for London Transport illustrating the pleasurable destinations to be reached via Green Line Coaches. Sutherland's design depicts a scythe, a sheaf of wheat, and a farmer's sunhat - three promises of country life which the city-dweller might now easily access, thanks to the advent of British coach travel. Graham Sutherland OM was an English artist known for his romantic, abstract landscapes and portraits of public figures, including Churchill and the Queen Mother. Sutherland spent the 1920s mostly making landscape prints, but, following the collapse of the print market in the early 1930s branched out into watercolours. He also undertook a few commercial commissions for posters, working for London Transport, Shell and others. He served as an official war artist in the Second World War, painting industrial scenes on the British home front. After the war he worked in oils and explored figurative painting. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other London Transport posters.
  • Graham Sutherland (1903 - 1980)

    Away by Green Line (1936)

      Original vintage poster 103 x 63 cm A copy of this poster is held by the London Transport Museum (1983/4/4500). A poster produced for London Transport illustrating the pleasurable destinations to be reached via Green Line Coaches. Sutherland's design depicts a pitchfork and a maize dolly - two promises of country life which the city-dweller might now easily access, thanks to the advent of British coach travel. Graham Sutherland OM was an English artist known for his romantic, abstract landscapes and portraits of public figures, including Churchill and the Queen Mother. Sutherland spent the 1920s mostly making landscape prints, but, following the collapse of the print market in the early 1930s branched out into watercolours. He also undertook a few commercial commissions for posters, working for London Transport, Shell and others. He served as an official war artist in the Second World War, painting industrial scenes on the British home front. After the war he worked in oils and explored figurative painting. Condition: generally very good, one repaired short tear about 10mm long. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other London Transport posters.
  • Angela Stones (1914 - 1995)

    Still Life with Pink Roses

      Oil on board 47 x 37 cm A beautiful still life which moves between pink and green: pink roses and bowl, and green leaves, apples, and plate. Stones' impasto technique brings texture to the fruit and petals, and the blues and browns of the background highlight the brilliance of the roses. Stones was educated at the Chelsea School of Art, and was a member of an artistic dynasty. Her mother Dorothy Bradshaw (1893 - 1983) studied under Jack Merriott – the artist famous for his British Rail posters, and her son, Christopher Assheton-Stones (1947 - 1999), was arguably the foremost pastel artist of his time. Provenance: the family of the artist. Condition: very good; gilt frame has a few repaired small losses. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other pictures by the artist.
  • Edwin La Dell (1914-1970)

    The High, Oxford

      Lithograph 49 x 64 cm Signed, titled, and number 28/80 in pencil. A beautiful depiction of the golden Headington stone of Queen's College on the High Street, Oxford. The cupola above the college's entrance, and, in the background, the shadowy spire of the University Church of St Mary the Virgin, rise into the blustery sky. La Dell studied at the Sheffield School of Art, where he won a scholarship to the Royal College of Art. From 1934 to 1940 John Nash was the head of printmaking there, and taught La Dell. La Dell himself became head of lithography there in 1948, and remained in post until his death. During the war La Dell was an official war artist and a camofleur, but he is probably best known for his lithographs of Oxford and Cambridge that he published himself. His works are widely held in the public collections, including the Royal Academy and the Government Art Collection, the latter of which holds many of his views of Cambridge. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Queen's College, Oxford.
  • Joseph Constantine Stadler (1755 - 1828) after Michael Angelo Rooker (1743/6 - 1801)

    St Giles's with a part of St John's College (1813)

    Engraving with later hand-colouring 25 x 32 cm An engraving of St Giles, including the famous St Giles Church, with the front of St John's to the right. Joseph Constantine Stadler was a prolific German émigré engraver of images after his contemporaries. Stadler's engravings are wide-ranging in subject matter and include landscapes, seascapes and portraits, as well as military, sporting and decorative subjects. Stadler was employed by the leading print publisher of the time, John Boydell. Stadler lived in Knightsbridge when he died at the age of 73. Michael Angelo Rooker ARA was an English oil and watercolour painter of architecture and landscapes, illustrator, and engraver. Condition: good. Some gentle age toning. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of St John’s College, Oxford.
  • 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.
  • after Michael Angelo Rooker (1743/6 - 1801)

    North West view of Friar Bacon's Study, and Folly Bridge

      Engraving 30 x 45 cm Friar Bacon's Study was built as a watchtower in the thirteenth century. The name is 'merely traditional, and not in any Record to be found', according to the 1773 text 'The Antient and Present State of the City of Oxford'; it is said to have been used by the Franciscan Friar Roger Bacon as an astronomical observatory. For hundreds of years after Friar Bacon's use of it, the tower was a notable landmark in Oxford, and Samuel Pepys visited it in 1668: 'So to Friar Bacon's study: I up and saw it, and gave the man a shilling. Oxford mighty fine place.' The Study was often considered a folly, and the bridge is now known as Folly Bridge. Rooker painted the tower in 1780 - around the same time as the tower was demolished - and James Basire produced an engraving of his painting in 1787, to be used as the frontispiece for the Oxford Almanack. The Oxford Almanack was an annual almanack published by the Oxford University Press for the University of Oxford from 1674 through 2019 (when printing sadly ceased due to "dwindling interest"). The almanack traditionally included engravings or lithographs of the University and information about the upcoming year. Other almanack artists have included Michael Burghers, J. M. W. Turner, and John Piper. Basire and Dayes collaborated on several views of Oxford during the courses of their careers. Michael Angelo Rooker ARA was an English oil and watercolour painter of architecture and landscapes, illustrator, and engraver. Rooker's original painting currently hangs in Worcester College. Condition: good; in handsome (worn) antique Hogarth frame. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other non-collegiate views of Oxford.
  • Bernard Myers (1925 - 2007)

    Chiswick Reach

      Oil on paper 50 x 72 cm Myers' impressionist view of Chiswick Reach (likely painted from his studio, which overlooked the Thames) depicts a hazy morning mist making its way down the river. The artist's sparse and muted palette renders the sky barely discernible from the water; chevron brushstrokes make up trees which cast their shadows over the Thames. A flotilla of boats, ghost-like with their white sails, appear from the blue mist. Bernard Myers was a painter and printmaker who trained at St Martin’s School of Art, the Camberwell School of Arts and Crafts, and the Royal College of Art in the 1940s and 1950s. This painting won the David Murray Landscape Scholarship and was painted while Myers was a student at the RCA. He went on to teach there before moving into a studio in Hammersmith. He lived and painted at 5 Durham Wharf, just off Chiswick Mall and with a view of the Thames, from the 1980s until his death in 2007. Provenance: New Grafton Gallery. Condition: excellent. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of London.
  • Walter Hoyle (1922 - 2000)

    Rugby School

      Linocut 62 x 46 cm Signed, titled, and inscribed A/P in pencil. Possibly unique. Hoyle's view of Rugby School. The school's architecture is depicted in shades of blue and grey, with an orange patch of sun in the cloudy sky above. A green garden peeks out from between the buildings, which lean gently away from one another. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Condition: enerally very good; a few handling marks and a little spotting to the margins. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Walter Hoyle (1922 - 2000)

    King's College, Cambridge (Cambridge Series 1956 - 66)

      Linocut 46 x 56 cm Signed, titled, and numbered 5/5 in pencil. Hoyle's view of King's College, Cambridge, against a shadowy yellow sky. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Provenance: the artist's wife. Condition: very good; few handling marks to margin, a horizontal crease about half way down that was likely in the paper prior to printing. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of King's College, Cambridge.
  • Walter Hoyle (1922 - 2000)

    King's College, Cambridge (Cambridge Series 1956 - 66)

      Linocut 56 x 43 cm Signed and inscribed A/P in pencil. Possibly unique. Hoyle's view of King's College, Cambridge, with a slice of blue sky behind. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Provenance: family of the artist. Condition: generally very good; a few handling marks and a little age toning to the margins. Vertical impressins within and below the blue vertical area which are probably part of the artist's working technique. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of King's College, Cambridge.
  • Walter Hoyle (1922 - 2000)

    Emmanuel College, Cambridge (Cambridge Series 1956 - 66)

      Linocut 55 x 43 cm Signed and inscribed A/P in pencil. Hoyle's view of Emmanuel's Front Court bleaches the gold of the chapel's Ketton Stone into an icy blue, and situates it beneath a tempestuous yellow sky. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Provenance: family of the artist. Condition: generally very good; a few handling marks and areas of discolouration to extreme margins, extraneous ink to right hand side, and a very small brown spot to very top right beyond the blue sky. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Emmanuel College, Cambridge.
  • Walter Hoyle (1922 - 2000)

    Senate House, Cambridge (Cambridge Series 1956 - 66)

      Linocut 46 x 70 cm Trial print aside from the series, with different colourway. Senate House, under a lively blue sky. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Provenance: family of the artist. Condition: generally very good; a few handling marks and areas of discolouration to extreme margins, extraneous ink to right hand side, and a very small brown spot to very top right beyond the blue sky. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other general views of Cambridge.
  • Walter Hoyle (1922 - 2000)

    King's College Chapel, Cambridge (Cambridge Series 1956 - 66)

      Linocut 72 x 41 cm Signed and inscribed A/P in pencil. Hoyle depicts King's College Chapel as both indomitable and delicate. The bold composition sees the chapel's spires surrounded by a fiery orange light against the black night of the background; at the same time, the western facade looks like it could have been cut from paper, or crafted from lace. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Provenance: family of the artist. Condition: generally very good; a few handling marks to margins. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of King's College, Cambridge.
  • Harry Arthur Riley (1895 - 1966)

    Barmouth, North Wales, for Mountain, Sand & Sea

      Original vintage poster 100 x 60 cm Riley's vintage poster extols the virtues of visiting sunny Barmouth - the scene depicts dozens of attractively (if perhaps unrealistically) tanned holidaymakers, a bright blue sea, and a pretty coastal town. The poster was part of a series produced for British Railways, designed to encourage rail travel to beauty spots across Britain. Principally known as a commercial artist, Harry Riley RI’s iconic poster designs of the 1920s - 1960s and his bright, joyful and idyllic depictions of British seaside holiday destinations, such as Morecambe, Plymouth, Weston-Super-Mare and Ilfracombe, were used to advertise the British rail network and have come to define Post-War British leisure and travel. He was also known for this work with airliners such as BOAC and Qantas. Although not an easily identifiable name within the echelons of the mid-20th century commercial art scene, Riley’s works pay testament to a highly skilled and prolific artist whose visual style fittingly captures the idealistic and amber-tinted vision of early 1960s glamour that the era’s commercial and travel sectors strove to embody. Harry Riley studied at St Martin's School of Art and was soon commissioned to produce commercial art and poster designs for companies such as Selfridges and Fortnum & Mason. He became a member of the Royal Institute of Painters in Watercolour and worked as a cartoonist for the Daily Mail, later becoming President of the London Sketch Club. The bright and bold style of his art for British Railways has become instantly recognisable today and is an illustration of travel, leisure, and idealism in post-war Britain. Condition: colours good. Backed to board. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage travel posters.
  • Beverley Pick (1916 - 1995/6)

    Mild Weather is Your Chance to Save Fuel (circa 1944)

      Original vintage poster 30 x 20 in Poster published for the Ministry of Information. In this series of ten posters, "Mrs Housewife" shows us how to save fuel at home as part of the Home Front war effort. This poster advises that less heating, and thus less fuel, is required during mild weather. Beverley Pick was born in the Netherlands. He spent the Second World War designing posters for the Ministry of Information, many of them in a highly modern photographic style. He was a member of the Society of Industrial Artists, and created varied posters for commercial and industrial organisations, including the British Overseas Airways Corporation and British European Airways, after the war. Condition: folds as issued; slight edge wear. Otherwise generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage Home Front posters.
  • Beverley Pick (1916 - 1995/6)

    Save Fuel in the Living Room (circa 1944)

      Original vintage poster 30 x 20 in Poster published for the Ministry of Information. In this series of ten posters, "Mrs Housewife" shows us how to save fuel at home as part of the Home Front war effort. The character's hair and dress are fantastically 1940s. Beverley Pick was born in the Netherlands. He spent the Second World War designing posters for the Ministry of Information, many of them in a highly modern photographic style. He was a member of the Society of Industrial Artists, and created varied posters for commercial and industrial organisations, including the British Overseas Airways Corporation and British European Airways, after the war. Condition: folds as issued; slight edge wear. Otherwise generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage Home Front posters.
  • Beverley Pick (1916 - 1995/6)

    Save Fuel at the Sink (circa 1944)

      Original vintage poster 30 x 20 in Poster published for the Ministry of Information. In this series of ten posters, "Mrs Housewife" shows us how to save fuel at home as part of the Home Front war effort. The character's hair and dress, and the style of her kitchen, are fantastically 1940s. Beverley Pick was born in the Netherlands. He spent the Second World War designing posters for the Ministry of Information, many of them in a highly modern photographic style. He was a member of the Society of Industrial Artists, and created varied posters for commercial and industrial organisations, including the British Overseas Airways Corporation and British European Airways, after the war. Condition: folds as issued; slight edge wear. Otherwise generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage Home Front posters.
  • Beverley Pick (1916 - 1995/6)

    Save Fuel at Breakfast Time (circa 1944)

      Original vintage poster 30 x 20 in Poster published for the Ministry of Information. In this series of ten posters, "Mrs Housewife" shows us how to save fuel at home as part of the Home Front war effort. The character's kitchen, kettle, and cooking accoutrements are fantastically 1940s. Beverley Pick was born in the Netherlands. He spent the Second World War designing posters for the Ministry of Information, many of them in a highly modern photographic style. He was a member of the Society of Industrial Artists, and created varied posters for commercial and industrial organisations, including the British Overseas Airways Corporation and British European Airways, after the war. Condition: folds as issued; slight edge wear. Otherwise generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage Home Front posters.
  • Beverley Pick (1916 - 1995/6)

    Save Fuel at Tea Time (circa 1944)

      Original vintage poster 30 x 20 in Poster published for the Ministry of Information. In this series of ten posters, "Mrs Housewife" shows us how to save fuel at home as part of the Home Front war effort. The character's hair and dress are fantastically 1940s. Beverley Pick was born in the Netherlands. He spent the Second World War designing posters for the Ministry of Information, many of them in a highly modern photographic style. He was a member of the Society of Industrial Artists, and created varied posters for commercial and industrial organisations, including the British Overseas Airways Corporation and British European Airways, after the war. Condition: folds as issued; slight edge wear. Otherwise generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage Home Front posters.
  • Beverley Pick (1916 - 1995/6)

    What Mrs Housewife Can Learn To Do (circa 1944)

      Original vintage poster 30 x 20 in Poster published for the Ministry of Information. This series of ten posters illustrates how housewives ought to save fuel at home as part of the Home Front war effort. Here, we are presented with a list of six tasks, including insulating water tanks and reading electricity meters, which a housewife should learn to do. Beverley Pick was born in the Netherlands. He spent the Second World War designing posters for the Ministry of Information, many of them in a highly modern photographic style. He was a member of the Society of Industrial Artists, and created varied posters for commercial and industrial organisations, including the British Overseas Airways Corporation and British European Airways, after the war. Condition: folds as issued, slight edge wear, and short closed edge tear. Otherwise generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage Home Front posters.
  • Beverley Pick (1916 - 1995/6)

    They Need All the Fuel You Can Save (circa 1944)

      Original vintage poster 30 x 20 in Poster published for the Ministry of Information. This series of ten posters illustrates how housewives ought to save fuel at home as part of the Home Front war effort. Here, the poster reminds us that less fuel used at home means more fuel available for the Armed Forces (pictured here during the D-Day landings, disembarking from a landing craft). Beverley Pick was born in the Netherlands. He spent the Second World War designing posters for the Ministry of Information, many of them in a highly modern photographic style. He was a member of the Society of Industrial Artists, and created varied posters for commercial and industrial organisations, including the British Overseas Airways Corporation and British European Airways, after the war. Condition: folds as issued; slight edge wear. Otherwise generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage Home Front posters.
  • Beverley Pick (1916 - 1995/6)

    Save Fuel when Ironing (circa 1944)

      Original vintage poster 30 x 20 in Poster published for the Ministry of Information. In this series of ten posters, "Mrs Housewife" shows us how to save fuel at home as part of the Home Front war effort. The character's hair, clothes, and tiny iron are fantastically 1940s. Beverley Pick was born in the Netherlands. He spent the Second World War designing posters for the Ministry of Information, many of them in a highly modern photographic style. He was a member of the Society of Industrial Artists, and created varied posters for commercial and industrial organisations, including the British Overseas Airways Corporation and British European Airways, after the war. Condition: folds as issued; slight edge wear. Otherwise generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage Home Front posters.
  • Beverley Pick (1916 - 1995/6)

    Save Fuel when Cooking (circa 1944)

      Original vintage poster 30 x 20 in Poster published for the Ministry of Information. In this series of ten posters, "Mrs Housewife" shows us how to save fuel at home as part of the Home Front war effort. The character's hair and dress, and the style of her kitchen, are fantastically 1940s. Beverley Pick was born in the Netherlands. He spent the Second World War designing posters for the Ministry of Information, many of them in a highly modern photographic style. He was a member of the Society of Industrial Artists, and created varied posters for commercial and industrial organisations, including the British Overseas Airways Corporation and British European Airways, after the war. Condition: folds as issued; slight edge wear. Otherwise generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage Home Front posters.
  • Beverley Pick (1916 - 1995/6)

    Save Fuel on Bath Night (circa 1944)

      Original vintage poster 30 x 20 in Poster published for the Ministry of Information. In this series of ten posters, "Mrs Housewife" shows us how to save fuel at home as part of the Home Front war effort. The character's hair and dress, and the style of the bath (with a line drawn on it to remind bathers to use no more than five inches of water), are fantastically 1940s. Beverley Pick was born in the Netherlands. He spent the Second World War designing posters for the Ministry of Information, many of them in a highly modern photographic style. He was a member of the Society of Industrial Artists, and created varied posters for commercial and industrial organisations, including the British Overseas Airways Corporation and British European Airways, after the war. Condition: folds as issued; slight edge wear. Otherwise generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage Home Front posters.
  • Rib of Beef

      Original vintage poster 56 x 97 cm An original poster produced by Bisto to to advertise their gravy granules. With no lettering, the deep red poster is a bold and compelling advert which relies on the public's understanding that Bisto is the only choice. Condition: backed to linen, very good; a few repaired tears to right side. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage posters.
  • Margaret Waller (1916 - 1997)

    The Oxford University Botanic Garden

      Watercolour 35 x 51 cm Signed lower left. A watercolour depicting the serenity of Oxford's Botanic Garden. Koi swim just below the surface of the round pond and the garden stretches into the distance through a pair of stone arches. Margaret Waller was a mid-century artist and Fellow of the Institute of Arts and Letters. Condition: generally good; a little spotting to the sky. 'FIAL' added to signature later. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other non-collegiate views of Oxford.
  • Out of stock

    Mary Fedden (1915 - 2012)

    The Tabac Jar

      Lithograph 26 x 31 cm Signed lower right and numbered 156/550 lower left, both in pencil; signed and dated 1996 in the plate. A typically Fedden still life: a fruit bowl, jug of utensils, and vine of tomatoes on a gingham tablecloth. Beyond the table, a harbour scene including whitewashed buildings, sailing boat, and lighthouse. The form of the objects in her still life composition, and her lilting use of perspective, are immediately recognisable as Fedden's style. Mary Fedden was a Bristol-born artist who studied at the Slade School of Art in London in the 1930s. She painted sets for ballets at Sadlers Wells, then went on to teach art and paint portraits in Bristol. During the war she served in the Land Army and the Woman's Voluntary Service, and then worked in London as a stage painter for the Arts Theatre. In 1944 she went overseas as a driver for the Navy, Army and Air Force Institutes. In 1946 she resumed easel painting and held her first exhibition at the Mansard Gallery in Heal's Department Store in 1947. In 1951 she married the artist Julian Trevelyan, and the couple travelled the world together. She began to teach painting at the Royal Academy in the late 1950s and was elected RA in 1992. She lived and worked in her Durham Wharf studio from 1949 until her death. Condition: generally very good; framed. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other pictures by Mary Fedden.
  • Brendan Neiland (b. 1941) R.A. (Expelled)

    Lady Margaret Hall

      Screenprint 46 x 27 cm Signed, titled, and numbered 42/175 in pencil. A screenprint of the cupola atop Lady Margaret Hall's Talbot Building. Reflected architecture is one of Neiland’s most recurring themes. Neiland's work is widely exhibited in major museums and galleries worldwide including, in Britain, the Victoria and Albert Museum, The Tate Gallery London, The Collections of the British Council, and the Arts Council of Great Britain. He is represented by the Redfern Gallery and has had numerous shows internationally, including at the Galerie Belvedere in Singapore, who represent him in Singapore and the Far East. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Lady Margaret Hall.
  • Brownbridge (flourished 1930s - 1940s)

    For Fireside Comfort, High Beam Gas Fires brochure design

      Gouache, mixed media art, and collage 21.5 x 14 cm From a small archive of works by Brownbridge, a member of the Society of Industrial Artists. A design for a brochure advertising Radiation's high beam gas fires. Brownbridge's design combines a photograph of a mother and child with hand-painted text; the red and yellow colour palette project warmth and cosiness. The mother's hair is fantastically 1930s, and she reads a copy of 'Patsy Ann: Her Happy Times' by Mona Reed King (first published in 1935) to her son. Society of Industrial Artists correspondance (photographed above) is not included; please enquire separately. Condition: generally very good; lacking 'The Serene' collaged photograph. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other designs by Brownbridge.
  • Brownbridge (flourished 1930s - 1940s)

    Nocturne Portable Gas Heater brochure design

      Gouache and mixed media art 21.5 x 14 cm From a small archive of works by Brownbridge, a member of the Society of Industrial Artists. A marvellous gouache design for a brochure advertising the Nocturne portable gas heater. The art deco text surrounded by stars and image of the innovative gas heater superimposed on the moon combine to make this a thoroughly modern piece of 1930s design. Society of Industrial Artists correspondance (photographed above) is not included; please enquire separately. Condition: generally very good; some damage to reverse. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other designs by Brownbridge.
  • Brownbridge (flourished 1930s - 1940s)

    Achievement Radiation gas cookers brochure design

      Pen and collage 21.5 x 14 cm From a small archive of works by Brownbridge, a member of the Society of Industrial Artists. Brownbridge's bold design advertises Radiation cookers (innovative gas cookers which were sold in Britain in the 1920s and 1930s). Shiny white against a dark background, the Radiation cooker seems impossibly glamorous and inviting. Society of Industrial Artists correspondance (photographed above) is not included; please enquire separately. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other designs by Brownbridge.
  • Brownbridge (flourished 1930s - 1940s)

    Continental Cookery Radiation cooker brochure design

      Gouache 21.5 x 14 cm From a small archive of works by Brownbridge, a member of the Society of Industrial Artists. A beautiful original gouache design for a brochure of continental recipes, created to advertise Radiation cookers (innovative gas cookers which were sold in Britain in the 1920s and 1930s). Brownbridge's brightly-coloured design includes boldly slanted text in pink and turquoise, set over a deep blue background; he also highlights architectural gems of Europe, such as the Eiffel Tower. By cooking with a Radiation cooker, the cover suggests, you too can experience the cultural and culinary delights of Europe from the comfort of your own home. Society of Industrial Artists correspondance (photographed above) is not included; please enquire separately. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other designs by Brownbridge.
  • Brownbridge (flourished 1930s - 1940s)

    Fletcher Gas Fires brochure design (1937)

      Lithographic brochure 21.5 x 14 cm From a small archive of works by Brownbridge, a member of the Society of Industrial Artists. An original gouache design for a brochure advertising Fletcher Russell and Co. gas fires. The futuristic style of the boldly blue-, black-, and orange-coloured poster, as well as the dynamic diamond-shaped badge containing the initials F and R (for Fletcher and Russell) combine to make this a highly modern piece of 1930s design. Society of Industrial Artists correspondance (photographed above) is not included; please enquire separately. Condition: generally very good; gentle crease to top right corner. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other designs by Brownbridge.
  • Out of stock

    Brownbridge (flourished 1930s - 1940s)

    Boat Race at the Dorchester (1939)

      Lithographic brochure 15 x 19.5 cm From a small archive of works by Brownbridge, a member of the Society of Industrial Artists. A design for a poster advertising the Dorchester's dinner after the Oxford and Cambridge Boat Race. The artist has built his design around dark and light blues, to represent the colours of Oxford and Cambridge respectively. Brownbridge's design is marvellously 1930s, from the boldly decorative typeface to the whimsically glamorous guests and their waiters floating below the invitation. Boat Race dinners in London are rather different today; at any rate, prices are not normally advertised as 'excluding Wines and Cigars'. Society of Industrial Artists correspondance (photographed above) is not included; please enquire separately. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other designs by Brownbridge.
  • Fred Taylor (1875 - 1963)

    Magdalen Tower from Magdalen Bridge

      Watercolour 25 x 37 cm Signed lower left. Fred Taylor captures the indomitable features of Magdalen Tower. The spire rises into a pale sky as undergraduates stream past the entrance to the Porter's Lodge. An old-fashioned car drives up the High.
    This watercolour of Magdalen was a design for the front cover of a guidebook about Oxford.
    Fred Taylor was a London-born painter and poster designer. He studied at the Académie Julian in Paris, and Goldsmiths’ in London, later travelling to Italy on a scholarship to study art. He produced many poster designs for railway and shipping firms and was an official camoufleur during the Second World War. He exhibited at the Royal Academy.
    Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Magdalen College, Oxford.
  • Wilfred Pettitt (1904 - 1978)

    Great Court, Trinity College, Cambridge

      Watercolour 17 x 27 cm A smartly-dressed couple and their two children enjoy the sunny and immaculately-lawned Great Court of Trinity College, Cambridge. The man and woman admire the ornate fountain which stands sentinel in the middle of the court (it, along with the rest of Great Court, was erected by by Thomas Nevile, master of the college in the early 17th century). Their children, perhaps oblivious to the architectural majesty around them, amuse themselves by playing with the pigeons. Wilfred Stanley Pettitt was born in Great Yarmouth, and studied at the Great Yarmouth School of Art and the Norwich School of Art. In 1928 he showed at the Royal Academy Royal Academy for the first time, and his work was also exhibited by the Royal Society of British Artists and the Royal Cambrian Academy. In 1944 Pettitt became one of the founding members of the Norwich Twenty Group (a group of Norfolk artists who intended to raise the standards of local professional art). He died in Eastbourne in 1978. Condition: mounted to board; otherwise very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity College, Cambridge.
  • Out of stock

    Brian Bannatyne Lewis (1906 - 1991)

    Hanger Lane Station (1938)

      Pen, ink and watercolour 70 x 50 cm Inscribed 'BB Lewis' lower right. A 1938 design for the new Hanger Lane tube station, commissioned by the Great Western Railway (GWR) for its proposed western extension to the Central Line. The design's Art Deco lettering befits London Transport's aesthetic in the 1930s. Lewis brings his designs to life by including smartly-dressed characters entering and leaving the stations. The Central line opened in 1900, between Shepherd's Bush and Bank; it extended westwards to Ealing Broadway in 1920. Two years after the formation of London Transport in 1933, an extensive New Works Programme began, proposing a westwards extension of the line to Denham. Brian Lewis created designs for nine stations in early 1938, but the Second World War broke out before they could be built. By the time the extension had been built, Lewis was no longer chief architect of the GWR - the stations were modified and completed by Frederick Francis Charles Curtis instead. The extension to Greenford opened in 1947 and finally reached West Ruislip in 1948. Denham never actually became part of the tube line, owing to the establishment of the green belt. Brian Lewis was born in Tasmania, attended school in Melbourne, and subsequently obtained a Diploma in Architecture in 1928 from the University of Melbourne. He then moved to the UK to study at the Liverpool School of Architecture, winning scholarships in each of his three years of study to fund extensive European travel. He married a fellow Liverpool architectural student, Hilary Archer. After moving to London, he took up employment with the GWR in their architects’ office; he also lectured at a local polytechnic, and moonlighted with his wife at home on mainly residential commissions – rather different projects from the hotels and stations which GWR commissioned from him. He exhibited frequently at the Royal Academy of Arts, showing superb measured drawings of historic buildings. In the Second World War he enlisted with the Second Imperial Australian Force, serving in the Middle East, then transferred to the Royal Australian Engineers where he became a Captain. In 1943 he was sent to London to help GWR repair bomb damage.  Lewis became Chief Architect of GWR in 1945 (following the retirement of the noted Percy Emerson Culverhouse), and the first Chair of Architecture at Melbourne University in 1947. He also became the consulting architect for the major buildings of the Australian National University in Canberra, producing an imaginative site plan and designing University House, which was awarded the Sulman medal in 1954. He also designed the Risdon Prison Complex in 1960. He retired in 1971 to paint watercolours and write his memoirs. Condition: generally very good; a few handling marks and two holes from filing. Handsomely framed. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here to view the other station designs in the set.
  • Out of stock

    Brian Bannatyne Lewis (1906 - 1991)

    North Acton Station (1938)

      Pen, ink and watercolour 70 x 50 cm Initialled and dated 26 2 38. A 1938 design for the new North Acton tube station, commissioned by the Great Western Railway (GWR) for its proposed western extension to the Central Line. The design's Art Deco lettering befits London Transport's aesthetic in the 1930s. Lewis brings his designs to life by including smartly-dressed characters entering and leaving the stations. The Central line opened in 1900, between Shepherd's Bush and Bank; it extended westwards to Ealing Broadway in 1920. Two years after the formation of London Transport in 1933, an extensive New Works Programme began, proposing a westwards extension of the line to Denham. Brian Lewis created designs for nine stations in early 1938, but the Second World War broke out before they could be built. By the time the extension had been built, Lewis was no longer chief architect of the GWR - the stations were modified and completed by Frederick Francis Charles Curtis instead. The extension to Greenford opened in 1947 and finally reached West Ruislip in 1948. Denham never actually became part of the tube line, owing to the establishment of the green belt. Brian Lewis was born in Tasmania, attended school in Melbourne, and subsequently obtained a Diploma in Architecture in 1928 from the University of Melbourne. He then moved to the UK to study at the Liverpool School of Architecture, winning scholarships in each of his three years of study to fund extensive European travel. He married a fellow Liverpool architectural student, Hilary Archer. After moving to London, he took up employment with the GWR in their architects’ office; he also lectured at a local polytechnic, and moonlighted with his wife at home on mainly residential commissions – rather different projects from the hotels and stations which GWR commissioned from him. He exhibited frequently at the Royal Academy of Arts, showing superb measured drawings of historic buildings. In the Second World War he enlisted with the Second Imperial Australian Force, serving in the Middle East, then transferred to the Royal Australian Engineers where he became a Captain. In 1943 he was sent to London to help GWR repair bomb damage.  Lewis became Chief Architect of GWR in 1945 (following the retirement of the noted Percy Emerson Culverhouse), and the first Chair of Architecture at Melbourne University in 1947. He also became the consulting architect for the major buildings of the Australian National University in Canberra, producing an imaginative site plan and designing University House, which was awarded the Sulman medal in 1954. He also designed the Risdon Prison Complex in 1960. He retired in 1971 to paint watercolours and write his memoirs. Condition: generally very good; a few handling marks and two holes from filing. Handsomely framed. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here to view the other station designs in the set.
  • Out of stock

    Brian Bannatyne Lewis (1906 - 1991)

    East Acton Station (1938)

      Pen, ink and watercolour 70 x 50 cm Initialled and dated 28 2 38. A 1938 design for the new East Acton tube station, commissioned by the Great Western Railway (GWR) for its proposed western extension to the Central Line. The design's Art Deco lettering befits London Transport's aesthetic in the 1930s. Lewis brings his designs to life by including smartly-dressed characters entering and leaving the stations. The Central line opened in 1900, between Shepherd's Bush and Bank; it extended westwards to Ealing Broadway in 1920. Two years after the formation of London Transport in 1933, an extensive New Works Programme began, proposing a westwards extension of the line to Denham. Brian Lewis created designs for nine stations in early 1938, but the Second World War broke out before they could be built. By the time the extension had been built, Lewis was no longer chief architect of the GWR - the stations were modified and completed by Frederick Francis Charles Curtis instead. The extension to Greenford opened in 1947 and finally reached West Ruislip in 1948. Denham never actually became part of the tube line, owing to the establishment of the green belt. Brian Lewis was born in Tasmania, attended school in Melbourne, and subsequently obtained a Diploma in Architecture in 1928 from the University of Melbourne. He then moved to the UK to study at the Liverpool School of Architecture, winning scholarships in each of his three years of study to fund extensive European travel. He married a fellow Liverpool architectural student, Hilary Archer. After moving to London, he took up employment with the GWR in their architects’ office; he also lectured at a local polytechnic, and moonlighted with his wife at home on mainly residential commissions – rather different projects from the hotels and stations which GWR commissioned from him. He exhibited frequently at the Royal Academy of Arts, showing superb measured drawings of historic buildings. In the Second World War he enlisted with the Second Imperial Australian Force, serving in the Middle East, then transferred to the Royal Australian Engineers where he became a Captain. In 1943 he was sent to London to help GWR repair bomb damage.  Lewis became Chief Architect of GWR in 1945 (following the retirement of the noted Percy Emerson Culverhouse), and the first Chair of Architecture at Melbourne University in 1947. He also became the consulting architect for the major buildings of the Australian National University in Canberra, producing an imaginative site plan and designing University House, which was awarded the Sulman medal in 1954. He also designed the Risdon Prison Complex in 1960. He retired in 1971 to paint watercolours and write his memoirs. Condition: generally very good; a few handling marks and two holes from filing. Handsomely framed. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here to view the other station designs in the set.
  • Out of stock

    Brian Bannatyne Lewis (1906 - 1991)

    South Ruislip Station (1938)

      Pen, ink and watercolour 70 x 50 cm Initialled and dated 8 3 38. A 1938 design for the new South Ruislip tube station, commissioned by the Great Western Railway (GWR) for its proposed western extension to the Central Line. The design's Art Deco lettering befits London Transport's aesthetic in the 1930s. Lewis brings his designs to life by including smartly-dressed characters entering and leaving the stations. The Central line opened in 1900, between Shepherd's Bush and Bank; it extended westwards to Ealing Broadway in 1920. Two years after the formation of London Transport in 1933, an extensive New Works Programme began, proposing a westwards extension of the line to Denham. Brian Lewis created designs for nine stations in early 1938, but the Second World War broke out before they could be built. By the time the extension had been built, Lewis was no longer chief architect of the GWR - the stations were modified and completed by Frederick Francis Charles Curtis instead. The extension to Greenford opened in 1947 and finally reached West Ruislip in 1948. Denham never actually became part of the tube line, owing to the establishment of the green belt. Brian Lewis was born in Tasmania, attended school in Melbourne, and subsequently obtained a Diploma in Architecture in 1928 from the University of Melbourne. He then moved to the UK to study at the Liverpool School of Architecture, winning scholarships in each of his three years of study to fund extensive European travel. He married a fellow Liverpool architectural student, Hilary Archer. After moving to London, he took up employment with the GWR in their architects’ office; he also lectured at a local polytechnic, and moonlighted with his wife at home on mainly residential commissions – rather different projects from the hotels and stations which GWR commissioned from him. He exhibited frequently at the Royal Academy of Arts, showing superb measured drawings of historic buildings. In the Second World War he enlisted with the Second Imperial Australian Force, serving in the Middle East, then transferred to the Royal Australian Engineers where he became a Captain. In 1943 he was sent to London to help GWR repair bomb damage.  Lewis became Chief Architect of GWR in 1945 (following the retirement of the noted Percy Emerson Culverhouse), and the first Chair of Architecture at Melbourne University in 1947. He also became the consulting architect for the major buildings of the Australian National University in Canberra, producing an imaginative site plan and designing University House, which was awarded the Sulman medal in 1954. He also designed the Risdon Prison Complex in 1960. He retired in 1971 to paint watercolours and write his memoirs. Condition: generally very good; a few handling marks and two holes from filing. Handsomely framed. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here to view the other station designs in the set.
  • Out of stock

    Brian Bannatyne Lewis (1906 - 1991)

    Perivale Station (1938)

      Pen, ink and watercolour 70 x 50 cm A 1938 design for the new Perivale tube station, commissioned by the Great Western Railway (GWR) for its proposed western extension to the Central Line. The design's Art Deco lettering befits London Transport's aesthetic in the 1930s. Lewis brings his designs to life by including smartly-dressed characters entering and leaving the stations. The Central line opened in 1900, between Shepherd's Bush and Bank; it extended westwards to Ealing Broadway in 1920. Two years after the formation of London Transport in 1933, an extensive New Works Programme began, proposing a westwards extension of the line to Denham. Brian Lewis created designs for nine stations in early 1938, but the Second World War broke out before they could be built. By the time the extension had been built, Lewis was no longer chief architect of the GWR - the stations were modified and completed by Frederick Francis Charles Curtis instead. The extension to Greenford opened in 1947 and finally reached West Ruislip in 1948. Denham never actually became part of the tube line, owing to the establishment of the green belt. Brian Lewis was born in Tasmania, attended school in Melbourne, and subsequently obtained a Diploma in Architecture in 1928 from the University of Melbourne. He then moved to the UK to study at the Liverpool School of Architecture, winning scholarships in each of his three years of study to fund extensive European travel. He married a fellow Liverpool architectural student, Hilary Archer. After moving to London, he took up employment with the GWR in their architects’ office; he also lectured at a local polytechnic, and moonlighted with his wife at home on mainly residential commissions – rather different projects from the hotels and stations which GWR commissioned from him. He exhibited frequently at the Royal Academy of Arts, showing superb measured drawings of historic buildings. In the Second World War he enlisted with the Second Imperial Australian Force, serving in the Middle East, then transferred to the Royal Australian Engineers where he became a Captain. In 1943 he was sent to London to help GWR repair bomb damage.  Lewis became Chief Architect of GWR in 1945 (following the retirement of the noted Percy Emerson Culverhouse), and the first Chair of Architecture at Melbourne University in 1947. He also became the consulting architect for the major buildings of the Australian National University in Canberra, producing an imaginative site plan and designing University House, which was awarded the Sulman medal in 1954. He also designed the Risdon Prison Complex in 1960. He retired in 1971 to paint watercolours and write his memoirs. Condition: generally very good; a few handling marks and two holes from filing. Handsomely framed. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here to view the other station designs in the set.
  • Out of stock

    Brian Bannatyne Lewis (1906 - 1991)

    Greenford Station (1938)

      Pen, ink and watercolour 70 x 50 cm Initialled and dated 7 3 38. A 1938 design for the new Greenford tube station, commissioned by the Great Western Railway (GWR) for its proposed western extension to the Central Line. The design's Art Deco lettering befits London Transport's aesthetic in the 1930s. Lewis brings his designs to life by including smartly-dressed characters entering and leaving the stations. The Central line opened in 1900, between Shepherd's Bush and Bank; it extended westwards to Ealing Broadway in 1920. Two years after the formation of London Transport in 1933, an extensive New Works Programme began, proposing a westwards extension of the line to Denham. Brian Lewis created designs for nine stations in early 1938, but the Second World War broke out before they could be built. By the time the extension had been built, Lewis was no longer chief architect of the GWR - the stations were modified and completed by Frederick Francis Charles Curtis instead. The extension to Greenford opened in 1947 and finally reached West Ruislip in 1948. Denham never actually became part of the tube line, owing to the establishment of the green belt. Brian Lewis was born in Tasmania, attended school in Melbourne, and subsequently obtained a Diploma in Architecture in 1928 from the University of Melbourne. He then moved to the UK to study at the Liverpool School of Architecture, winning scholarships in each of his three years of study to fund extensive European travel. He married a fellow Liverpool architectural student, Hilary Archer. After moving to London, he took up employment with the GWR in their architects’ office; he also lectured at a local polytechnic, and moonlighted with his wife at home on mainly residential commissions – rather different projects from the hotels and stations which GWR commissioned from him. He exhibited frequently at the Royal Academy of Arts, showing superb measured drawings of historic buildings. In the Second World War he enlisted with the Second Imperial Australian Force, serving in the Middle East, then transferred to the Royal Australian Engineers where he became a Captain. In 1943 he was sent to London to help GWR repair bomb damage.  Lewis became Chief Architect of GWR in 1945 (following the retirement of the noted Percy Emerson Culverhouse), and the first Chair of Architecture at Melbourne University in 1947. He also became the consulting architect for the major buildings of the Australian National University in Canberra, producing an imaginative site plan and designing University House, which was awarded the Sulman medal in 1954. He also designed the Risdon Prison Complex in 1960. He retired in 1971 to paint watercolours and write his memoirs. Condition: generally very good; a few handling marks and two holes from filing. Handsomely framed. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here to view the other station designs in the set.
  • Out of stock

    Brian Bannatyne Lewis (1906 - 1991)

    West Ruislip Station (1938)

      Pen, ink and watercolour 70 x 50 cm A 1938 design for the new West Ruislip tube station, commissioned by the Great Western Railway (GWR) for its proposed western extension to the Central Line. The design's Art Deco lettering befits London Transport's aesthetic in the 1930s. Lewis brings his designs to life by including smartly-dressed characters entering and leaving the stations. The Central line opened in 1900, between Shepherd's Bush and Bank; it extended westwards to Ealing Broadway in 1920. Two years after the formation of London Transport in 1933, an extensive New Works Programme began, proposing a westwards extension of the line to Denham. Brian Lewis created designs for nine stations in early 1938, but the Second World War broke out before they could be built. By the time the extension had been built, Lewis was no longer chief architect of the GWR - the stations were modified and completed by Frederick Francis Charles Curtis instead. The extension to Greenford opened in 1947 and finally reached West Ruislip in 1948. Denham never actually became part of the tube line, owing to the establishment of the green belt. Brian Lewis was born in Tasmania, attended school in Melbourne, and subsequently obtained a Diploma in Architecture in 1928 from the University of Melbourne. He then moved to the UK to study at the Liverpool School of Architecture, winning scholarships in each of his three years of study to fund extensive European travel. He married a fellow Liverpool architectural student, Hilary Archer. After moving to London, he took up employment with the GWR in their architects’ office; he also lectured at a local polytechnic, and moonlighted with his wife at home on mainly residential commissions – rather different projects from the hotels and stations which GWR commissioned from him. He exhibited frequently at the Royal Academy of Arts, showing superb measured drawings of historic buildings. In the Second World War he enlisted with the Second Imperial Australian Force, serving in the Middle East, then transferred to the Royal Australian Engineers where he became a Captain. In 1943 he was sent to London to help GWR repair bomb damage.  Lewis became Chief Architect of GWR in 1945 (following the retirement of the noted Percy Emerson Culverhouse), and the first Chair of Architecture at Melbourne University in 1947. He also became the consulting architect for the major buildings of the Australian National University in Canberra, producing an imaginative site plan and designing University House, which was awarded the Sulman medal in 1954. He also designed the Risdon Prison Complex in 1960. He retired in 1971 to paint watercolours and write his memoirs. Condition: generally very good; a few handling marks and two holes from filing. Handsomely framed. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here to view the other station designs in the set.
  • Out of stock

    Brian Bannatyne Lewis (1906 - 1991)

    Ruislip Gardens Station (1938)

      Pen, ink and watercolour 70 x 50 cm Initialled and dated 4 3 38. A 1938 design for the new Ruislip Gardens tube station, commissioned by the Great Western Railway (GWR) for its proposed western extension to the Central Line. The design's Art Deco lettering befits London Transport's aesthetic in the 1930s. Lewis brings his designs to life by including smartly-dressed characters entering and leaving the stations. Ruislip Gardens Station, when built, did not adhere to this design. The Central line opened in 1900, between Shepherd's Bush and Bank; it extended westwards to Ealing Broadway in 1920. Two years after the formation of London Transport in 1933, an extensive New Works Programme began, proposing a westwards extension of the line to Denham. Brian Lewis created designs for nine stations in early 1938, but the Second World War broke out before they could be built. By the time the extension had been built, Lewis was no longer chief architect of the GWR - the stations were modified and completed by Frederick Francis Charles Curtis instead. The extension to Greenford opened in 1947 and finally reached West Ruislip in 1948. Denham never actually became part of the tube line, owing to the establishment of the green belt. Brian Lewis was born in Tasmania, attended school in Melbourne, and subsequently obtained a Diploma in Architecture in 1928 from the University of Melbourne. He then moved to the UK to study at the Liverpool School of Architecture, winning scholarships in each of his three years of study to fund extensive European travel. He married a fellow Liverpool architectural student, Hilary Archer. After moving to London, he took up employment with the GWR in their architects’ office; he also lectured at a local polytechnic, and moonlighted with his wife at home on mainly residential commissions – rather different projects from the hotels and stations which GWR commissioned from him. He exhibited frequently at the Royal Academy of Arts, showing superb measured drawings of historic buildings. In the Second World War he enlisted with the Second Imperial Australian Force, serving in the Middle East, then transferred to the Royal Australian Engineers where he became a Captain. In 1943 he was sent to London to help GWR repair bomb damage.  Lewis became Chief Architect of GWR in 1945 (following the retirement of the noted Percy Emerson Culverhouse), and the first Chair of Architecture at Melbourne University in 1947. He also became the consulting architect for the major buildings of the Australian National University in Canberra, producing an imaginative site plan and designing University House, which was awarded the Sulman medal in 1954. He also designed the Risdon Prison Complex in 1960. He retired in 1971 to paint watercolours and write his memoirs. Condition: generally very good; a few handling marks and two holes from filing. Handsomely framed. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here to view the other station designs in the set.
  • K Edmonds

    Countryside Scene

      Watercolour 24 x 35 cm Signed lower right. A blue- and green-hued landscape, where earth blends into sky. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.
  • John Piper (1903 - 1992)

    Radcliffe Camera

      Lithograph 53 x 35.5 cm Numbered 110/1150 lower left and signed lower right in pencil. John Piper's view of the Radcliffe Camera in Radcliffe Square. John Piper CH was an English painter, printmaker, and designer of stained-glass windows. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. Condition: very good. Attractively framed; frame included for mainland UK shipping only. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Oxford.
  • William Matthison (1853-1926)

    New College, Oxford: Front Quad

    Watercolour 35 x 52 cm Signed lower right. A charming watercolour of New College's Front Quad complete with members of the college in academic dress, wandering birds, and a gardener mowing the grass. William of Wykeham, who founded New College in 1379, was an ambitious builder. His vision for the college was of a Chapel, Hall, Library, and rooms for tutors and students to work and live in, all of which would be built around a quadrangle. This was the first time a college had been set in this way, and it became a model for colleges worldwide. Matthison was born near Birmingham and attended King Edward’s School in the city. He learnt drawing at the Birmingham Central School of Art and then became a pupil of Birmingham artist Edward Watson. He became a professional artist in 1875 and moved to Oxfordshire a few years after; this was where he had the opportunity to produce many of the Oxford views for which he is known today. In 1902 he moved to Park Town in Oxford and was commissioned by Robert Peel to paint more than seventy views of the University of Oxford, which were subsequently made into postcards. Priced at seven for a shilling, they were only available from E Cross of Pembroke Street (a long-since closed business). Raphael Tuck & Sons also commissioned him to produce postcard scenes of Cambridge. Matthison’s views of Oxford were later printed in Fifty Watercolour Drawings of Oxford, published in 1912 by Alden & Co. Condition: generally very good; a few spots to sky. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of New College, Oxford.
  • Elizabeth Byrne (1777 - 1849) after Joseph Farington RA (1747 - 1821)

    North View of Whitehaven, Cumbria

      Hand-coloured engraving 27.5 x 56.5 cm A view of the cliffs and port of Whitehaven in Cumbria. Joseph Farington RA was an 18th-century English landscape painter and diarist. He drew a north and south view of Whitehaven, which were engraved by Elizabeth Byrne in the early 19th century. Byrne was a London-born etcher and landscape painter, who was taught by her father, the etcher William Byrne. She and her father contributed etchings to the 'Magna Britannia' and 'Britannia depicta', books illustrating the most interesting views in various English counties, published by Samuel Lysons in the late 1810s. Condition: good. Two folds and some light age toning. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Michel Dureil (1929 - 2011)

    La Table du Jardin / Garden Table with a Black Cat

     

    Oil on canvas 35 x 44 cm A black cat stretches beside a typical French table, observed by bright orange flowers. Orange cushions and an orange sun-umbrella complete the scene. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Brendan Neiland (b. 1941) R.A. (Expelled)

    Waterloo International (1993)

      Lithographic poster 101 x 60 cm Signed 'Brendan Neiland', numbered I/XII, and inscribed 'To Bob Reid' (Reid was Chairman of the British Railways Board from 1990 until 1995; he was present at Waterloo International Station prior to the opening of the Channel Tunnel). Neiland is known for his interpretations of city life. His work is widely exhibited in major museums and galleries worldwide including, in Britain, the Victoria and Albert Museum, The Tate Gallery London, The Collections of the British Council and the Arts Council of Great Britain. He is represented by the Redfern Gallery and has had numerous shows internationally, including at the Galerie Belvedere in Singapore, who represent him in Singapore and the Far East. Reflected architecture is one of Neiland’s most recurring themes. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by Brendan Neiland.
  • Valerie Thornton (1931-1991)

    Bodleian Quadrangle, Oxford (1983)

      Etching 24 x 35 cm Numbered 13/75 lower left, titled below, and signed and dated lower right, all in pencil. A very good example of Thornton's recognisable and unusual etching style. Her work is deeply concerned with material, and many of her etchings focus on eroded stone, emotive landscapes, and weathered architecture. Here, Thornton draws out the exceptional texture of the Bodleian Library's local stone. Valerie Thornton was a British etcher and printmaker. She was born in London, but was evacuated to Canada with her two brothers during World War II. She returned to London in 1944 and studied at the Byam Shaw School of Art in 1949. From 1950 to 1953 Thornton studied under P.F. Millard at the Regent Street Polytechnic, then spent eight months at Atelier 17 in Paris. In the early 1960s, she moved to New York and worked at Pratt Graphic Art Centre. In 1955, she succeeded Howard Hodgkin as assistant art teacher at Charterhouse School and in 1965 she became a founding member of the Print Makers Council. In 1970 she became a Fellow of the Royal Society of Painters-Etchers and Engravers. Thornton was a member of The Regent Street Group (a group of nine artists who studied together at the Regent Street Polytechnic in the early 1950s). The group also included Susan Horsfield, Renate Meyer, Michael Lewis, Ken Symonds, Philip Le Bas, and Peter Riches. Thornton's work is included in a number of major public collections including the Victoria and Albert Museum, the British Museum, and the Tate. Thornton died in 1991 in Chelsworth, Suffolk. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more works by Valerie Thornton.
  • Joseph Collyer (1748 - 1827) after Francis Wheatley (1747 - 1801)

    The Volunteers of the City and County of Dublin

      Monochrome print 28 x 31 cm A monochrome print depicting Dublin regiments of the Irish Volunteers meeting on College Green. Francis Wheatley depicted the scene in oils in 1779, and Joseph Collyer engraved it in 1781. Wheatley went to Dublin in 1779 and established himself there as a portrait-painter; this view of the Dublin Volunteers became the basis for a best-selling print bought by numerous Irish Patriots. Volunteers were local Irish militias raised by community initiative in Ireland in 1778. Their original purpose was to guard against invasion and to preserve law and order at a time when British soldiers were withdrawn from Ireland to fight abroad during the American Revolutionary War and the government failed to organise its own militia. Taking advantage of Britain's preoccupation with its rebelling American colonies, the Volunteers were able to pressure Westminster into conceding legislative independence to the Dublin parliament. Francis Wheatley was an English portrait and landscape painter who studied at the Royal Academy, and won several prizes from the Society of Arts. He was elected an associate of the Royal Academy in 1790, and an academician in the following year. Joseph Collyer was a British engraver. In 1770 where he exhibited at the Royal Academy for the first time; he was elected an associate engraver of the Royal Academy, and appointed portrait engraver to Queen Charlotte in 1786. Condition: fair. Some browning and staining. In handsome rosewood frame. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Clifford and Rosemary Ellis

    It Is Better To Return Early

      Lithographic poster 102 x 61 cm Printed by Waterlow & Sons Ltd for London Transport. This original vintage poster was designed for London Transport and encourages shoppers to head home earlier in the day to avoid congestion on the London Underground and buses. The well-heeled customers in the poster sport smart 1930s shoes, and jostle against their purchases (a Father Christmas puppet and red-berried holly leaves mark the design as published in time for Christmas). The pinstripe-suited gentleman's newspaper serves as the background for the first line of the poster's text, which is slanted in the synthetic cubist style (synthetic cubists were keen to explore collage in their work, often employing collage, especially of newsprint). London Transport was the forerunner of London Underground. During the 1930s London Transport commissioned over forty posters a year from well-known artists such as Laura Knight, CRW Nevinson, Edward Wadsworth, Eric Ravilious, Paul Nash, Graham Sutherland, and Edward McKnight Kauffer – a bold policy that did much to popularise avant-garde artistic styles that stemmed from Cubism, Futurism and Abstraction. 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 works by Clifford and Rosemary Ellis.
  • John Barnicoat MA ARCA (1924 - 2013) Harbour (1975)

      Tempera on card 26 x 26 cm Initialled B and dated '75. John Barnicoat was a painter of oils and works on paper using tempera, conté, acrylic, pen, and ink. He was brought up in Cornwall and educated at King’s College, Taunton. He joined the Royal Naval Volunteer Reserves and took part in D-Day, aged 29. He went on to read history at Lincoln College, Oxford, and also studied at the Ruskin School of Drawing. He attended the Royal College of Art in the early 1950s, eventually becoming the Senior Tutor at the RCA Painting School between 1976 and 1980. He was the head of Falmouth School of Art 1972 - 1976 and Head of the Chelsea School of Art 1980 - 1989. He wrote 'Posters: a Concise History' in 1972, and organised and curated exhibitions in the UK and Russia on the art of poster design. From 1989 onwards he produced numerous drawings and oils of the bridges of London, women’s heads, acrylic and conté works on paper, and pen and wash drawings of women dressing. His work is represented in both government and private collections, and was recently shown at The Belgrave Gallery, St Ives (2017 - 2022). Provenance: the artist's estate. Condition: generally very good; in hand-finished frame. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other Modern British original paintings.
  • John Piper (1903 - 1992)

    Cartoon for Baptistry Chapel Window, Coventry Cathedral

      Gouache and mixed media art 127 x 54 cm Labelled B101 by the artist and initialled. A gouache design for one of the Coventry Cathedral Baptistry Window panels. John Piper was commissioned to design the Baptistry Window in 1955, in partnership with glassmaker Patrick Reyntiens. The window is made of 198 panels of stained glass and is 26 metres high.

    Piper commented in his book “Stained Glass: Art or Anti-Art?” that ‘The function, the flesh and blood and bones of stained glass – its whole being – is to gratify light and to intensify atmosphere in a room or building, not necessarily to provide colour – or a message.’ The ambiguous post-war tenor of the design is striking: the khaki palette, the soldier-like figure, and the landscape evoking a 20th century theatre of war.

    John Piper CH was an English painter, printmaker, and designer of stained-glass windows. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. Condition: very good. Four pin holes and a small handling mark mid left. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by John Piper.
  • 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.
  • José Ortega (1921 - 1990)

    "Don Quixote" Espagne

    Original vintage poster c. 1960 99 x 65 cm Printed in Barcelona for the Publications de la Direccion General del Turismo. Ortega's poster is an abstract depiction Don Quixote (the Spanish hero written by Miguel de Cervantes), complete with his distinctive hat and spear. Ortega designed the poster for the Spanish tourist board, using an illustrious figure from Spain's literary heritage to encourage people to visit Spain. José García Ortega was born in Arroba de los Montes and was a member of the Communist Party. He worked as a painter and sculptor, studying at the Círculo de Bellas Artes in Madrid. In 1953 he went to France to study art, funded by a French government scholarship. He returned to Spain throughout the 1950s and 1960s, and became a commercially successful artist. Some of his most famous designs include the posters which the Spanish tourist board commissioned from him circa 1960. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more original vintage travel posters.
  • Mario Puppo (1905 - 1977)

    Santo Stefano d'Aveto

    Original vintage poster 97 x 68 cm Produced circa 1955 for Italian Railways. Mario Puppo's poster advertising the Italian ski resort of Santo Stefano d'Aveto. The figure of a skier reaches upward in triumph; behind her, a vintage ski lift makes its way up the mountain and a blue-clad skier tackles the piste. Mario Puppo was born in Levanto, Italy, and worked in a studio in Chiavari. He designed leaflets advertising skiing and beach resorts, which gained popularity in the 1930s. By the 1940s his poster designs were being featured in the Milan Advertising Graphics show. Throughout the 1940s he designed covers for catalogues, leaflets, playbills, music scores and records, as well as producing more travel posters for public and private Italian companies. Condition: backed to linen; frame included for UK mainland only (excluding Cornwall, Highlands and Islands - where further shipping charges may apply). If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more original vintage posters.
  • Guy Georget (1911 - 1992)

    Espagne - Riders

    Original vintage poster 100 x 62 cm One of Georget's fantastic posters designed for the Spanish tourist board. Three riders in traditional dress, with the ladies riding side-saddle, and one with sherry in hand, pose mounted in front of a red and white striped background. The bold, bright colours make the poster typically Georget. Guy Georget was a commercial designer; most of his poster designs were published in the late 1940s. Hired by the tourist boards in their post-war spree of tourism encouragement, Georget designed posters influenced by the styles of Pablo Picasso and Georges Braque. Condition: generally very good; a few tiny repaired edge tears. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more original vintage travel posters.
  • Coronation Arrangements - Map of London (1953)

      Lithograph 45 x 60 cm (unfolded) Published by London Transport for the Coronation of Elizabeth II, this delightfully-coloured map illustrates the route taken by the Queen when she was crowned in 1953. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Coronation Arrangements - Map of London (1937)

      Lithograph 45 x 60 cm (unfolded) Published by London Transport for the Coronation of George VI, this map illustrates the route the King took in 1936. And best of all, it's just (almost!) as useful in today's London. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Guy Georget (1911 - 1992)

    Espagne - Pilgrims

      Original vintage poster 100 x 62 cm One of the fantastic posters Georget designed for the Spanish tourist board. Two pilgrims progress towards a typically Spanish church; Georget makes uses vibrant tones of bright blue, pink, and yellow to illustrate the scene. Guy Georget was a commercial designer; most of his poster designs were published in the late 1940s. Hired by the tourist boards in their post-war spree of tourism encouragement, Georget designed posters influenced by the styles of Pablo Picasso and Georges Braque. Condition: generally very good; a few repaired edge tears including one at the top c. 80mm, one to left side c. 25 mm. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more original vintage travel posters.
  • Adelboden

      Original vintage poster 104 x 63 cm A fantastic original vintage poster advertising the Swiss ski resort of Adelboden, tucked away in the Bernese Oberland. Printed in Switzerland by Brügger AG. The photograph was taken by the Swiss photographers Emanuel Gyger and Arnold Klopfenstein. The pair were renowned for their captivating skiing images. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more original vintage skiing posters.
  • Gordon House (1932 - 2004)

    Circle E

      Lithograph 86 x 45 cm Signed, numbered 48/75, and titled in pencil below the plate. An excellent example of Gordon House's work: a modern design, influenced by art deco, in blue and yellow. Gordon House was born in Pontardawe, South Wales in 1932 and studied at Luton and St. Albans Schools of Art. He began working for advertising agencies in the 1950s and became a full-time artist in 1961, exhibiting several solo shoes. He designed for several leading London galleries, the Ashmolean Museum in Oxford, and popular bands such as the Beatles and the Rolling Stones. Several dozen Gordon House prints are held by the Tate. Condition: very good; backed to board. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other abstract lithographs by Gordon House.
  • Gordon House (1932 - 2004)

    Triangle D

      Lithograph 86 x 45 cm Signed and titled in pencil below the plate. An excellent example of Gordon House's work: a modern design in tones of green, pink, and blue. Gordon House was born in Pontardawe, South Wales in 1932 and studied at Luton and St. Albans Schools of Art. He began working for advertising agencies in the 1950s and became a full-time artist in 1961, exhibiting several solo shoes. He designed for several leading London galleries, the Ashmolean Museum in Oxford, and popular bands such as the Beatles and the Rolling Stones. Several dozen Gordon House prints are held by the Tate. Condition: very good; backed to board. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other abstract lithographs by Gordon House.
  • Eva Lucy Harwood (1893 - 1972)

    Still Life with Flowers and Glass

      Oil on canvas 49 x 40 cm ( 67 x 57 cm framed) A mid-century still life typical of Harwood's impasto style. Lucy Harwood was a British artist who studied art at the Slade just before the outbreak of the First World War. She had initially intended to be a professional pianist, but turned her attentions to visual art after becoming partially paralysed. She was one of the first students to enrol at Cedric Morris' East Anglian School of Drawing and Painting, where she focused on painting Post-Impressionist landscapes, painting just with her left hand. She moved to Upper Layham in Suffolk and is known for her landscapes of the area. Condition: generally very good. Handsome hand-finished frame. Provenance: Louise Kosman, Edinburgh. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here to view our other still life pictures.
  • Out of stock

    Roberts Dunstan DSO - Tail-end Charlie on Lancaster Bomber

    Original Silver Gelatin photograph, c. 1943 20 x 15 cm The sitting-down war played out in the skies suited amputees who wanted to continue killing the enemy. Douglas Bader famously bailed out of his Spitfire over Germany, leaving behind his artificial legs. There were others who flew with artificial legs, including Dunstan. Dunstan was born in 1922, lying about his age (by three years) in order to join up in June 1940. In January 1941, serving with the Royal Australian Engineers, he was injured in one leg near Tobruk (in Libya) on a night reconnaisance raid. After five operations his leg was amputated; after ten more he was returned to Australia and invalided out of the services in February 1942. A few months later, he caught sight of a poster recruiting for the RAAF, and volunteered his services, enlisting on 23 June 1942 - having spent some time convincing the RAAF that there were roles that he could undertake successfully. Following training at the RAAF Bombing and Gunnery School he was soon on his way to the UK, sailing on 24 August from Sydney. He was soon serving at RAF Breighton in Yorkshire with 460 Sqn RAAF as rear gunner in an Avro Lancaster bomber. As he walked to the aircraft he used his crutches; onboard he would crawl to his post in the tail. On the night of 22/23 October 1943, aboard W4927, his Lancaster left Binbrook for a bombing raid over Germany. Above Kassel, the target, a Lancaster bomber above them dropped its bombs. Two incendiary bombs dropped through W4927; one hitting the flight engineer's jump seat - beside the pilot - the other falling through the middle of the aeroplane and severing the oxygen supply to the rear and mid-upper turrets - the former being Dunstan's. A German night fighter chose this moment to attack W4927.  Befuddled by lack of oxygen the gunners were unable to shoot, W4927 losing its port elevator and receiving holes in its port wing and fuselage - and one cannon shell went into Dunstan's rear turret. However the pilot nursed the plane back to England, where it crash landed at either RAF Elsham Wold, or Bisham - sources vary. On 3/4 November 1943 Dunstan completed his thirtieth mission, to Dusseldorf, the day before his twenty-first birthday. He was gazetted for his DSO on 7 November. In 1944 he returned to Australia and in 1956 was elected to the Victoria State Parliament where he held ministerial posts for water supply, and subsequently for public works.
  • Out of stock

    Lancaster bombers preparing for take-off

    Original Silver Gelatin photograph, c. 1944 9 x 18 cm Ground crew remove the chocks from the wheel of a Lancaster bomber, prior to take-off. A series of Lancaster bombers are visible in the background, all preparing for a bombing raid, deep into occupied enemy territory. The lead aircraft is the veteran of twenty-six previous raids, as indicated by the bombs painted under the pilot's cockpit window. Condition: Generally very good. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes.
  • Out of stock

    Lancaster bomber in Green Park

    Original Silver Gelatin photograph, 1946 18 x 25 cm Stamped to reverse: "Photograph Supplied by The Topical Press Agency Ltd 20-21 Red Lion Court, Fleet Street" Press release label to reverse reads: "XH - RAF PLANES ON VIEW IN GREEN PARK, LONDON "In connection with the Victory Day celebrations in London, a number of RAF planes have been put on view in Green Park, London. "11/6/1946" Further typewritten note reads: "Lancaster B.III ND677/G KO-X of 115 Sqn. First Lancaster to have MONICA airborne tail warning device. Served with 460 Sqn RAAF, during 1944, went to 49 Sqn in April 1945 and finally to 113 Sqn in September 1945. Scrapped July 1946." ND677 was a veteran of 59 missions. The /G suffix - visible in the photograph - indicates that it must have an armed guard at all times. It was unceremoniously scrapped within a month of being on display to the crowds. Monica was a tail-borne radar device, designed to give the bomber crew warning of the approach of a German fighter in their blind spot. However following the crash in February 1943 of a Monica-equipped Lancaster (just seven days into Monica's operational life) the Germans developed equipment called 'Flensburg'. Introduced in early 1944 it was a homing device, a passive radar receiver which enabled Flensburg-equipped night fighters to locate Allied bombers. In July 1944 a Flensburg-equipped Junkers Ju88-G1 mistakenly landed at Woodbridge aerodrome in Suffolk, following which Monica was rapidly withdrawn from service. Condition: Generally very good. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes.
  • Out of stock

    Charles E Brown (1896-1982)

    Lancastrian VH742 - The first Jet Airliner

    Original Silver Gelatin photograph, 1940s 19 x 24 cm Stamped to reverse 'Charles E Brown' with address and 6140-2 reference number, together with press release reading: "THE FIRST JET LINER "Captain R T Shepherd, Rolls Royce chief test pilot, demonstrating the remarkable performance of the 62,500 lb Avro LANCASTRIAN on the two NENE jets alone. With the two Merlins and their propellors stopped one is struck by the entire absence of visible moving parts. Even more noticeable is the reduced noise and complete lack of vibration." The Lancastrian was developed from the Lancaster bomber with armaments and armour removed, and a new - streamlined - nose. The first batch were made by converting Lancaster bombers, latter batches made from scratch. The Lancaster had been designed to carry bombs rather than passengers, and so the space available meant that whilst the Lancastrian was not suitable for large numbers of passengers it was admirably suited to carrying mail and other perishable goods.

    First to fly was Lancastrian VH742, delivered to the Rolls-Royce flight development airfield at Hucknall in October 1945. Its outer Merlin engines were removed and the nacelles were also taken away, while the fuel system was completely rebuilt to carry both gasoline for the inner engines and kerosine for the new jets. In the outer positions were added completely new nacelles housing Nene turbojets, then the most powerful jet engines in the world. It flew again on August 14, 1946 with two Merlins and two Nenes.

    On September 19, 1946 this aircraft acted as the world's first jet airliner by making three passenger flights carrying representatives of the Press as well as Ministry officials and other passengers (who were all most impressed and suggested that an airline that could offer jet travel would be the talk of the world). Rolls-Royce also flew a second Nene-Lancastrian, VH737, and two Avon-Lancastrians, VM732 and VL970. The latter The first flight of a jet airliner was reported as follows:

    "The Nene-Lanc, Flies to Paris  "THE flight of the Nene Lancaster from London to Paris last Monday, to play its part in connection with the exhibition, may be said to have marked a historic part in British aircraft development, for it constituted the first time that any jet-powered airliner had flown from one country to another. Moreover, since this particular aircraft has been flying fairly regularly since round about the time of the Radlett exhibition, the flight to Paris was no special performance, but merely one more public demonstration of its inherent reliability. "In the hands of Capt. R. T. Shepherd, chief test pilot for Rolls-Royce, the “Nene-Lanc” landed at Le Bourget at 10.58 a.m., G.M.T., after a 50-minute flight from London Airport, giving an average speed of 247.5 m.p.h. [398.3 kilometers per hour] Two passengers were carried in addition to the crew; they were Mr. Roy Chadwick, the Avro designer, and Mr. R. B. William Thompson, Chief Information Officer of the Ministry of Supply. "Capt. Shepherd said that he was very pleased with the aircraft’s performance and added that, but for having to circle Le Bourget Airport Twice before landing, the flight would have been completed in 43 minutes." FLIGHT and AIRCRAFT ENGINEER, No. 1978. Vol. L., Thursday, November 21st, 1946 at Page 561, Column 2. Charles E Brown was a famous photographer of aircraft whose father was a butcher in Wimbledon, London. Young Charles was given a camera for his 14th birthday and in 1911 photographed an Edwardian gentleman in trouble landing his balloon in neighbouring Southfields. This photograph was published in the Daily Mirror – the fee being half a crown – and Brown was encouraged to join the Daily Mirror’s photography department upon leaving school at 16. Towards the end of the First World War he served with the Royal Air Force at their official London Photographic Centre. Following the war, he took to photographing trains, and captured a famous photograph of a Southern Railway locomotive that was used for the following ten years in railway posters. The income from this allowed him to pursue his passion of aviation photography in the 1920s and 1930s, from which commissions from the Air Ministry and Fleet Air Arm followed. During the war his work included commissions for Aeronautics magazine. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. Condition: Generally very good.
  • Out of stock

    Charles E Brown (1896-1982)

    BSAA Lancastrian G-AGWL 'Star Guide'

    Original Silver Gelatin photograph, 1940s 19 x 24 cm Stamped to reverse 'Charles E Brown' with address and 6337-13 reference number. The Lancastrian was developed from the Lancaster bomber with armaments and armour removed, and a new - streamlined - nose. The first batch were made by converting Lancaster bombers, latter batches made from scratch. The Lancaster had been designed to carry bombs rather than passengers, and so the space available meant that whilst the Lancastrian was not suitable for large numbers of passengers it was admirably suited to carrying mail and other perishable goods. G-AGWL ‘Star Guide’ was registered 28/11/45. Its first flight was on 1/2/46 for the Ministry of Supply & Aircraft Production (MoSAP), being delivered in February to British South American Airlines (BSAA) as ‘Star Guide’. In January 1949 it was bought by Flight Refuelling Ltd subsequently being used on the Berlin Airlift and was scrapped 26/9/51 at Tarrant Rushton. Charles E Brown was a famous photographer of aircraft whose father was a butcher in Wimbledon, London. Young Charles was given a camera for his 14th birthday and in 1911 photographed an Edwardian gentleman in trouble landing his balloon in neighbouring Southfields. This photograph was published in the Daily Mirror – the fee being half a crown – and Brown was encouraged to join the Daily Mirror’s photography department upon leaving school at 16. Towards the end of the First World War he served with the Royal Air Force at their official London Photographic Centre. Following the war, he took to photographing trains, and captured a famous photograph of a Southern Railway locomotive that was used for the following ten years in railway posters. The income from this allowed him to pursue his passion of aviation photography in the 1920s and 1930s, from which commissions from the Air Ministry and Fleet Air Arm followed. During the war his work included commissions for Aeronautics magazine.   Condition: Generally very good.
  • Walter Hoyle (1922 - 2000)

    King's College, Cambridge (Cambridge Series 1956 - 66)

      Linocut 61 x 80 cm Numbered 37/75 lower left, titled below, marked as artist's proof, and signed lower right, all in pencil. A blue- and grey-hued linocut of King's. A version of this print, owned by the Government Art Collection, hangs in the British Embassy in Tunis. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Provenance: ex the Arthur Andersen collection. Condition: generally very good; some gentle and even age toning to paper. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of King's College, Cambridge.
  • Out of stock

    Charles E Brown (1896-1982)

    AVRO Lancasters of 35 Sqdn in Flight 

    Original Silver Gelatin photograph, 1940s 19 x 27 cm Formed in 1916, the Squadron spent 1917 and 1918 in France flying the FK8. In support of the Spring Offensive of March 1918, it dropped 118 25lb bombs - which would have made up one third of the bombing load of a Lancaster. In 1940 the Squadron was reformed as the first Halifax squadron, pilots including Leonard Cheshire and James Brian Tait - both subsequently of 617 'Dambusters' Squadron. In 1944 the Squadron converted to the Lancasters to be seen in this photograph. Sqd Ldr Alec Panton Cranswick DFC DSO was shot down in 1944 on his 107th bombing mission - a record for any British airman. Following the War, the Squadron engaged in both the Victory flypast over London and a goodwill tour of the United States. Subsequently disbanded and reformed several times, it operated the Boeing Washington, the Canberra, and for twenty years the Vulcan. Charles E Brown was a famous photographer of aircraft whose father was a butcher in Wimbledon, London. Young Charles was given a camera for his 14th birthday and in 1911 photographed an Edwardian gentleman in trouble landing his balloon in neighbouring Southfields. This photograph was published in the Daily Mirror – the fee being half a crown – and Brown was encouraged to join the Daily Mirror’s photography department upon leaving school at 16. Towards the end of the First World War he served with the Royal Air Force at their official London Photographic Centre. Following the war, he took to photographing trains, and captured a famous photograph of a Southern Railway locomotive that was used for the following ten years in railway posters. The income from this allowed him to pursue his passion of aviation photography in the 1920s and 1930s, from which commissions from the Air Ministry and Fleet Air Arm followed. During the war his work included commissions for Aeronautics magazine. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. Condition: Marginal creases, losses, short tear to left edge, very short tear to right edge, generally good,
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    AVRO Lancaster EN-A in Flight 

    Original Silver Gelatin photograph, 1940s An aircraft of No. 27 Operational Training Unit which was based at RAF Lichfield. The OTUs were the last stage of aircrew training prior to transfer to an operational unit. Crews had already been formed up, and were trained to fly as a crew in the aircraft type they were to fly in combat. Occasionally the OTUs provided aircraft and crews for offensive operations, for example in the first 'Thousand Bomber Raid' on Cologne in May 1942. Loss rates in OTUs were high owing to the combination of the British weather, the crowded airspace, inexperienced crews - and even enemy action. 16 x 21 cm Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. Condition: Very good.
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    Charles E Brown (1896-1982)

    Three AVRO Lancaster Bombers in Flight 

    Original Silver Gelatin photograph, c. 1944 16 x 21 cm Photograph 20 June 1942 above Cranwell EM-A EM-C and EM-F of 207 Squadron The RAF info website details the various Lancaster bombers of 207 Squadron. EM-C was a Lancaster I with serial number R5695 . It took off on 25 November 1942 from Langar, on a mission to Haselunne. The pilot was an Alfred Parkyn of the RCAF - whose parents lived in New Jersey. The aircraft was lost without trace and the crew are commemorated on the Runneymede Memorial. EM-A was another Lancaster I with serial number ED604. It took off from Langar on 12 March 1943 on a night mission (with 42% moon) to Essen, piloted by the 22-year-old F/O Michael Doble DFC. It crashed near Bottrop on the outskirts of Essen, with the loss of all its crew who are buried in the Reichswald Forest War Cemetery.  Doble's DFC was gazetted on 31 July 1942, following an action in which 12 DFCs and one DSO were awarded. The citation reads: "The KING has- been graciously pleased to approve the following awards in recognition of gallantry displayed in flying operations against the enemy: —On 11th July, 1942, a force of bombers was detailed to make an attack on the submarine works at Danzig. The operation, which necessitated a high degree of skill and fortitude, was undertaken in extremely adverse weather. Despite this, the objective was reached by dusk, carefullyidentified and, in the face of strong oppositionfrom the ground defences, subjected to a most determined attack. Bombs were released at varying heights, some as low as 1,000 feet. Many hits were obtained. Searchlight posts were also machine-gunned and many searchlights extinguished. The success achieved reflects the greatest credit on the following personnel who participated in various capacities as leaders and members of aircraft crews." EM-F was a Lancaster I serial number R5694, piloted by Flight Lieutenant Raymund Joseph Hannan DFC which hit high ground in bad visibility at Easton, Lincs, home-bound from Bad Zwischenahn (Vechta) killing all the crew on 25 November 1942. Hannan was a New Zealander who had served for a year with the RNZAF prior to volunteering in September 1939 for the RAF. Following training he undertook a tour of 29 operations with 49 Squadron in the Handley Page Hampden, and after this served as an instructor in 25 Operational Training Unit. His DFC was gazetted on 24 October 1941. In September 1942 he was posted to 207 Squadron, flying four missions prior to that of 25 November 1942. This latter mission lasted only three hours - probably long enough to reach the Dutch coast and return to the UK, and certainly not long enough for the Luftwaffe aerodrome at Bad Zwischenahn. Upon return to base the aeroplane was unable to land owing to bad weather. It crashed near Goadby Marwood, the local history society of which have published an extensive history of the crew members at https://www.goadby-marwood-history.co.uk/the-crew-of-r5694-em-f . Five of the crew, including Hannan, are buried in St Mary's Churchyard in Bottesford. The crash site was discovered in 2021, a full report here: https://www.goadby-marwood-history.co.uk/_files/ugd/bc525f_aedab371f8794f2eab2c0c9ea9721720.pdf The grave sites of the crew members are detailed here https://aviationtrails.wordpress.com/tag/r5694/ Charles E Brown was a famous photographer of aircraft whose father was a butcher in Wimbledon, London. Young Charles was given a camera for his 14th birthday and in 1911 photographed an Edwardian gentleman in trouble landing his balloon in neighbouring Southfields. This photograph was published in the Daily Mirror – the fee being half a crown – and Brown was encouraged to join the Daily Mirror’s photography department upon leaving school at 16. Towards the end of the First World War he served with the Royal Air Force at their official London Photographic Centre. Following the war, he took to photographing trains, and captured a famous photograph of a Southern Railway locomotive that was used for the following ten years in railway posters. The income from this allowed him to pursue his passion of aviation photography in the 1920s and 1930s, from which commissions from the Air Ministry and Fleet Air Arm followed. During the war his work included commissions for Aeronautics magazine. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. Condition: Generally very good.
  • Out of stock

    Charles E Brown (1896-1982)

    AVRO Lancaster Bomber in Flight from Tail

    Original Silver Gelatin photograph, c. 1944 16 x 21 cm Charles E Brown was a famous photographer of aircraft whose father was a butcher in Wimbledon, London. Young Charles was given a camera for his 14th birthday and in 1911 photographed an Edwardian gentleman in trouble landing his balloon in neighbouring Southfields. This photograph was published in the Daily Mirror – the fee being half a crown – and Brown was encouraged to join the Daily Mirror’s photography department upon leaving school at 16. Towards the end of the First World War he served with the Royal Air Force at their official London Photographic Centre. Following the war, he took to photographing trains, and captured a famous photograph of a Southern Railway locomotive that was used for the following ten years in railway posters. The income from this allowed him to pursue his passion of aviation photography in the 1920s and 1930s, from which commissions from the Air Ministry and Fleet Air Arm followed. During the war his work included commissions for Aeronautics magazine. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. Condition: Very good, old glue marks to reverse
  • Out of stock

    Charles E Brown

    AVRO Lancaster bomber Radio Operator

    Original Silver Gelatin photograph, c. 1944 Stamped to reverse 'Charles E Brown' with address etc. and serial number 14 x 21 cm Charles E Brown was a famous photographer of aircraft whose father was a butcher in Wimbledon, London. Young Charles was given a camera for his 14th birthday and in 1911 photographed an Edwardian gentleman in trouble landing his balloon in neighbouring Southfields. This photograph was published in the Daily Mirror – the fee being half a crown – and Brown was encouraged to join the Daily Mirror’s photography department upon leaving school at 16. Towards the end of the First World War he served with the Royal Air Force at their official London Photographic Centre. Following the war, he took to photographing trains, and captured a famous photograph of a Southern Railway locomotive that was used for the following ten years in railway posters. The income from this allowed him to pursue his passion of aviation photography in the 1920s and 1930s, from which commissions from the Air Ministry and Fleet Air Arm followed. During the war his work included commissions for Aeronautics magazine. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. Condition: Very good
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    Lancaster bomber

    Original Silver Gelatin photograph, 1944 19 x 24 cm Published in Aeroplane Magazine August 18 1944 p175 Press release label to reverse reads: "CL 561 British Official Photograph: Crown Copyright Reserved. "RAF Bomber Command Lancasters Attack Flying Bomb Bases. On 27.4.44 Lancasters of RAF Bomber Command attacked flying bomb bases in Norther France. Picture shows:- RAF Lancaster flies back to base after bombing flying bomb sites in Northern France." Condition: Generally very good, small loss to top outside image
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    Lancastrian airliner G-AGLF

    Original Silver Gelatin photograph, c. 1945 20 x 29 cm Stamped to reverse 'Daily Herald, 2 Chester Street, Oxford Road, Manchester; Copyright photo' In 1945, deliveries commenced of 30 British-built Lancastrians for BOAC. On a demonstration flight on 23 April 1945, G-AGLF flew 13,500 mi (21,700 km) from England to Auckland, New Zealand in three days, 14 hours at an average speed of 220 mph (354 km/h). G-AGLF's last flight was on Sunday 11 May 1947 when it crashed while landing at a pipeline station in the desert between Cairo and Busreh. The Lancastrian was fast, had a long range, and was capable of carrying a heavy load, but space inside was very limited as the Lancaster had been designed with space for its seven crew dispersed throughout the fuselage, and with the majority of the load being carried in the 33 ft (10.05 m) long bomb bay. Consequently, as passengers are bulky but low in weight, it was not suited to carry large numbers of passengers, but was suitable for mail and a small number of VIP passengers. BOAC used it for flights between England and Australia from 31 May 1945. It also served with the RAF; RAF Lancaster I serial number PD328, was converted to a Lancastrian and renamed Aries, as well as serving with Qantas and Flota Aérea Mercante Argentina. Lancastrians were used during the Berlin Airlift to transport petrol; 15 aircraft made over 5,000 trips. In 1946 a Lancastrian operated by BSAA was the first aircraft to make a scheduled flight from the then-newly opened London Heathrow Airport. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. Condition: Marginal creases, a little foxing to reverse
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    Lancaster Bomber W4113 GP-J

    Original Silver Gelatin photograph, c. 1944 19 x 24 cm Published in Aeroplane Magazine, 4 February 1944. Stamped to reverse 'Wanted by 31 Janary' making this the original photograph used by the editing team at Aeroplane; and 'T[emple] P[ress] Ltd'. Photograph in official Air Ministry Second World War Collection, glass plate negative taken by F/O S A Devon. Lancaster B Mark I, W4113 ‘GP-J’, of No. 1661 Heavy Conversion Unit based at Winthorpe, Nottinghamshire, in flight. W4113 was a veteran aircraft having flown on a number of raids with Nos. 49 and 156 Squadrons RAF in 1942 and 1943, and was sent to a Heavy Conversion Unit where airmen were trained to operate the Lancaster. Became 4969M on 9/12/44, being reclassified as a ground instruction aircraft. W4113 took part in the following bombing raids: No. 49 Squadron; 1) Düsseldorf, 15-16/08/42; 2) Osnabrück, 17-18/08/42; 3) Flensburg, 18-19/08/42; 4) Gardening, Bornholm, 20-21/08/42; 5) Kassel, 27-28/08/42; 6) Saarbrücken, 01-02/09/42; 7) Duisburg, 06-07/09/42; 8.) Frankfurt, 08-09/09/42; 9) Bremen, 13-14/09/42; 10) Wilhelmshaven, 14-15/09/42; 11) Gardening, Kattegatt, 18-19/09/42; 12) Wismar, 01-02/10/42; 13) Aachen, 05-06/10/42; 14) Wismar, 12-13/10/42; 15) Kiel, 13-14/10/42; 16) Cologne, 15-16/10/42; 17) Genoa, 22-23/10/42; 18.) Genoa, 07-08/11/42; 19) Hamburg, 09/10/11/42; 20) Genoa, 15-16/11/42; 21) Stuttgart, 22-23/11/42; 22) Turin, 28-29/11/42; 23) Mannheim, 06-07/12/42, 24) 20-21/12/42. No. 156 Squadron.: a) Nuremburg, 25-26/02/43. It was produced in the third production batch of 207 aircraft ordered from A. V. Roe Co., Ltd., as part of Contract No. B69274/40 (as extended) under Works Order No. 7671, W4102-W4140, W4154-W4201, W4230-4279, W4301-W4340 and W4355-W4384. Deliveries commenced 07/42, completed 11/42 (average rate of production, approximately 13 aircraft per week). Merlin XX and XXII engines. Original Contract covered 453 aircraft in this batch but 243 were cancelled (W4385-W4900, W4414-4463, W4481-W4524, W4537-W4385, W4600-W4641 and W4655-W4700). Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. Condition: a couple of old edge tears and creases, visible in image.
  • Margaret Souttar (1914 - 1987)

    Trinity Hall, Cambridge I

      Acrylic paint 55 x 76 cm Signed in pencil lower right. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. Trinity Hall was one of the first Cambridge colleges to admit women as students - it did not do so until 1976. Provenance: the artist's studio sale. Condition: generally very good, a few handling marks. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity Hall.
  • Margaret Souttar (1914 - 1987)

    Trinity Hall, Cambridge

      Lithograph 76 x 56 cm Signed and numbered 4/50 in pencil. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. Trinity Hall was one of the first Cambridge colleges to admit women as students - it did not do so until 1976. Provenance: the artist's studio sale. Condition: generally very good; a few handling marks. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity Hall.
  • Hugh Casson (1910 - 1999)

    Trinity College, Oxford (1990)

      Watercolour 20 x 33 cm (38 x 50 cm framed) Casson's marvellous watercolour of Trinity and its perfectly manicured lawns, adorned with strolling undergraduates. Sir Hugh Casson was educated at Eastbourne College; St John’s College, Cambridge; and the Bartlett School of Architecture. Trained in the 1930s in the early modernist style, he taught at the Cambridge School of Architecture. After employment as a camoufleur during World War 2 by the Air Ministry, in 1948 he was appointed as director of architecture for the Festival of Britain. A close friend of the Royal Family, he undertook designs for the 1953 coronation, designed the interior of the Royal Yacht Britannia (“The overall idea was to give the impression of a country house at sea”), and taught the young Charles III to paint in watercolours. Amongst his architectural achievements are the Elephant House at London Zoo, the 1978 redevelopment of Bristol Docks, the Raised Staff Building for The University of Cambridge, and a building for the Royal College of Art. He published a number of illustrated books, of which Casson’s Oxford and Casson’s Cambridge are probably the best known. A limited edition series of prints was produced from the paintings. Condition: excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity College, Oxford.
  • George Pyne (1800 - 1884) The High, Oxford

    Watercolour 15 x 21 cm Signed and dated indiscriminately lower left. A 19th-century view of the High Street, Oxford. The spire of the University Church of St Mary the Virgin towers over the street; a horse and cart and brightly-dressed pedestrians pass by. George Pyne was related to two founders of the Society of Painters in Watercolours – William Henry Pyne was his father, and John Varley his father-in-law. Pyne trained as an architectural draughtsman and lived in Oxford from the 1850s until his death in 1884, specialising in views of the city and its colleges. His Oxford pictures are both architecturally-minded and romantically creative, often combining intensely detailed depictions of college buildings with imagined pedestrian scenes. Pyne was also noted for his views of Cambridge and Eton, and for his drawing manuals ‘A Rudimentary and Practical Treatise on Perspective for Beginners’ (1848) and ‘Practical Rules on Drawing for the Operative Builder, and Young Student in Architecture’ (1854); the latter texts offer an insight into his method of depicting architecture and its surroundings. Condition: generally good; some spotting and toning to sky. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Keep It Dark (1939 - 1945)

      Lithographic poster 25 x 31 cm Sponsored by Her Majesty's Stationery Office; printed by Perry Colourprint. A copy of this poster is held by the Imperial War Museum. This poster, bearing lyrics designed to be sung to the tune of "She'll be coming round the mountain", was designed for the Ministry of Information during the Second World War. It urges the population to avoid talking carelessly about details of Britain's operational movements, which might unwittingly end up in the wrong hands. Condition: good. Some small losses to extreme margins. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • John D Paxton

    The Leaning Tower, Pisa

      Pencil and white chalk 75 x 50 cm Stamped bottom left indistinctly "Edinburgh School of Art, School of Architecture". An architectural drawing of Pisa's famous Leaning Tower.
  • Bernard Cecil Gotch (1876-1964)

    Queen's College, Oxford

      Watercolour 28 x 39 cm (51 x 64 cm framed) Signed lower right. Queen's College in all its leafy glory. The dreaming spires of the University Church of St Mary the Virgin, the Radcliffe Camera, and All Souls peep over the quad. Bernard Cecil Gotch was a Winchester-born artist who is best known for his atmospheric watercolours of Britain's towns and cities (most notably Oxford). He moved to Oxford in 1927, painting many watercolours of the interiors and exteriors of Oxford’s many buildings. His works concentrate on the grand exteriors and interiors of the University's colleges, and he exhibited frequently - including an exhibition every term at Oriel College. His first notable commission was for the publisher Methuen, illustrating 'A Shepherd’s Life' by W H Hudson. Whilst in London he was invited to illustrate a book on the Public Schools of England (which was sadly never completed). He exhibited watercolours at the Fine Art Society and Lincolns Inn, and also exhibited at the Royal Academy. In 1952 Gotch was given an Honorary MA by the University of Oxford, and, after his death in 1963, a memorial was held for him at Oriel. Condition: very good; original frame & mount (some ageing to the latter). If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Queen's College, Oxford.
  • Craigie Aitchison (1926 - 2009)

    Yellow Crucifixion

    Screenprint 76 x 63 cm Published by Advanced Graphics Limited (2000). Craigie Aitchison’s iteration of the crucifixion sees Christ upon a Cross with no patibulum (horizontal beam). Jesus becomes part of the stipes (vertical beam), a willing participant in his own martyrdom. The star above his head is the Star of Bethlehem, and the sheep or goat at his feet the Lamb of God. These symbols of divinity, set against the backdrop an empty yellow-soaked landscape, transform this picture of the crucifixion into an image of resurrection. Condition: excellent. Magnificently framed.
  • David Loggan (1634 - 1692)

    Trinity College, Cambridge (1690)

    Engraving 80 x 50 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally very good; printed on two sheets, folds as issued. A few creases to top area. As a multi-folded plate in the published book, Trinity has normally suffered and is normally trimmed closely and has damage; this particular example has instead good margins outside the platemark and without damage to the folds. A very good copy of Trinity. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Cyril Kenneth Bird ‘Fougasse’ (1887 - 1965)

    Careless Talk Costs Lives (circa 1940)

      Lithographic poster 32 x 20 cm (12.5 x 8 in) Version printed on thinner paper. Fougasse was a British cartoonist. He was art editor of Punch between 1937 and 1949, and subsequently editor until 1953. He is best known for his ‘Careless Talk Costs Lives’ series of posters, and the other posters for the Ministry of Information and London Transport. As the Second World War progressed, the Ministry of Information’s poster campaign had become less and less effective. There were posters instructing the population to save old clothes for rags, turn off the lights, save food, dig for victory, watch out for spies, and keep calm and carry on. With this instruction overload, the population had ceased paying attention to the posters. Fougasse noticed this, and offered his services unpaid to the Ministry of Information, with a view to bringing a touch of humour to the posters. His amusing designs with pithy captions, reminiscent of newspaper cartoons, helped to get the Ministry's messages across in a novel way. Fougasse's distinctive poster style, with the red border, was subsequently adopted by other Ministry artists. Condition: if you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Emery Walker (1851 - 1933) after Edmund Hort New (1871 - 1931)

    Wadham College, Oxford

      Photogravure 27 x 41 cm New produced a series of pen-and-ink drawings of Oxford colleges, of which this is one. They paid homage to the artist David Loggan, often using the same aerial viewpoint as him, but showing the colleges two hundred years later. Emery Walker turned New's drawings into photoengravings in the early 20th century. Probably no more than two hundred prints of each engraving were produced, and the plates were destroyed in the blitz. Edmund Hort New was an English artist. He was a member of the Birmingham Group of Arts and Crafts-associated painters and craftsmen, and is known as a leading illustrator of his period. He specialised in pen and ink drawings of rural and urban landscapes, old buildings and their interiors, architectural features, and also designed bookplates. He provided illustrations for the English Illustrated Magazine and was commissioned by Bodley Head publishers to illustrate critically acclaimed editions of books, such as Walton's The Compleat Angler. In 1895, New met William Morris and began designing for the Kelmscott Press. He also taught drawing to T E Lawrence. In 1905, he began his drawings of the Oxford colleges, and spent the rest of his life working on the (sadly unfinished) project. In 1921 he exhibited at the first exhibition of the Society of Graphic Art. Sir Emery Walker FSA was an English engraver, photographer, and printer. He was very involved with the Arts and Crafts movement, a Master of the Art Workers' Guild, President of the Arts and Crafts Exhibition Society, a Trustee of the Wallace Collection, and a Fellow of the Society of Antiquaries. He was also a close friend of William Morris. Walker's expertise and his collection of 16th-century typefaces inspired Morris to create the Kelmscott Press. In 1910, Walker photographed the notable Rice portrait of Jane Austen. He was knighted in 1930. Condition: very good; modern printing. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Wadham.
  • John Doyle (born 1928)

    Trinity College, Oxford

      Watercolour 24 x 46 cm Signed lower left. Doyle's striking portrayal of Trinity's architecture, complete with undergraduates variously strolling, sitting, and reading in the foreground. Afternoon sun slants over the immaculately mown lawns. John Doyle was born in London and works in watercolours, pastels, and oils. He studied at the Maidstone School of Art in his 30s, later showing at the Royal Academy Summer Exhibition. Much of his work focuses on landscape and architecture; he has produced a series of views of Oxford and its colleges. Condition: excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more views of Trinity College, Oxford.
  • Oriel College, Oxford (1736)

      Engraving 35 x 43 cm This fantasia on Oriel, featuring a sublime rendering of the College's architecture and a parade of sound Oriel men, was featured in the 1736 edition of the Oxford Almanack. The Oxford Almanack was an annual almanack published by the Oxford University Press for the University of Oxford from 1674 through 2019 (when printing sadly ceased due to "dwindling interest"). The almanack traditionally included engravings or lithographs of the University and information about the upcoming year. Other almanack artists have included Michael Burghers, J. M. W. Turner, and John Piper. Basire and Dayes collaborated on several views of Oxford during the courses of their careers. Floreat Oriel! Condition: good. Trimmed. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more views of Oriel.
  • 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.
  • Cyril Kenneth Bird ‘Fougasse’ (1887 - 1965)

    Careless Talk Costs Lives (circa 1940)

      Lithographic poster 32 x 20 cm (12.5 x 8 in) Version printed on thinner paper. Fougasse was a British cartoonist. He was art editor of Punch between 1937 and 1949, and subsequently editor until 1953. He is best known for his ‘Careless Talk Costs Lives’ series of posters, and the other posters for the Ministry of Information and London Transport. As the Second World War progressed, the Ministry of Information’s poster campaign had become less and less effective. There were posters instructing the population to save old clothes for rags, turn off the lights, save food, dig for victory, watch out for spies, and keep calm and carry on. With this instruction overload, the population had ceased paying attention to the posters. Fougasse noticed this, and offered his services unpaid to the Ministry of Information, with a view to bringing a touch of humour to the posters. His amusing designs with pithy captions, reminiscent of newspaper cartoons, helped to get the Ministry's messages across in a novel way. Fougasse's distinctive poster style, with the red border, was subsequently adopted by other Ministry artists. Condition: if you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Colin Moss (1914 - 2005)

    The Cedars, Kensington

      Watercolour and gouache 57 x 40 cm Signed and dated '50 lower right. Moss' view of the Cedars, complete with passers-by and a stormy, jagged sky. Colin Moss was a noted British painter, draughtsman, printmaker, and teacher who served as a camoufleur during the Second World War. Moss was born in Ipswich but grew up in Plymouth following the death of his father at the Battle of Passchendaele in 1917. Moss studied at the Plymouth Art School from 1930 to 1934 and then went on to the Royal College of Art, where he studied under Gilbert Spencer and Charles Mahoney. He worked on murals for the British Pavilion at the 1939 New York World's Fair. During the war, Moss made a series of watercolours depicting his time as a camoufleur. He had designed the camouflage scheme for Stonebridge Power Station in Wembley, and produced several watercolours of the camouflaged structure. These pictures, as well as several others painted during his WWII deployment, are now held by the Imperial War Museum, having been purchased by the War Artists' Advisory Committee. In 1947 Moss' military service ended, and he became a teacher at the Ipswich School of Art. He had solo exhibitions at the Kensington Art Gallery in 1951 and the Zwemmer Gallery in 1955, and his work began to be acquired by the national collections. He became a founder member of the New Ipswich Art Group in 1958, and the Six in Suffolk Group in 1976. In the 1970s he exhibited at the Royal Academy and the Royal Watercolour Society, and retrospective exhibitions of his work were held at various British art galleries throughout the 1980s. He continued to hold numerous solo exhibitions after his retirement, and taught artists Brian Eno and Maggi Hambling. Provenance: "Britain in Watercolours" exhibition. Condition: excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Tony Broderick (late 20th century) Chapel of Corpus Christi College, Cambridge

      Print 37 x 25 cm A Lincoln-based artist known for his pictures of Lincoln and also of Cambridge's colleges. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Corpus Christi.
  • Richard Beer (1928 - 2017)

    Dieppe Cathedral

      Oil on canvas 66 x 76 cm A mountaintop cathedral and surrounding houses; broad blue sky fills the rest of the canvas. This oil painting is a fantastic example of Beer's focus on architecture, the central and recurring theme of his pictorial idiom. Born in London in 1928, just too late to serve in the Second World War, Richard Beer studied between 1945 - 1950 at the Slade School. Subsequently, a French Government scholarship allowed him to spend time in Paris at Atelier 17, working under Stanley William Hayter (1901 - 1988), one of the most significant print makers of the 20th Century – having spent the War in New York, advising as a camofleur, Hayter only returned to Paris in 1950. Subsequently Beer studied at the École des Beaux Arts, Paris. Working for John Cranko, choreographer for the Royal Ballet, Beer designed the sets and costumes for his The Lady and the Fool at Covent Garden, subsequently working for him following his move in 1961 to Stuttgart Ballet. Additionally he produced book illustrations and designed book jackets. Beer later taught print-making at the Chelsea School of Art, where he was a popular teacher. Probably his greatest work was a collaboration with John Betjeman to produce a portfolio of prints of ten Wren Churches in the City for Editions Alecto, copies of which are in The Government Art Collection. That collection contains a total of 54 prints by Beer, and the Tate Gallery’s collection holds seven. His Oxford series was also produced for Editions Alecto as was a series of predominantly architectural views in Southern Europe. Most of his prints are of architectural subjects. Condition: excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views by Richard Beer.
  • Paul Salomonsen (active 1960s) Y Chair (1964)

    Lithographic poster (2014) 99 x 61 cm The poster features Hans J Wegner's famous 'Y chair', also known as the 'Wishbone chair'. Carl Hansen & Søn commissioned the poster from a photograph by Salomonsen, a 1960s photographer. The stylish and typically Danish woman examining the chair marks it as a piece of typically Danish design. The chair was known as "The Chair" when it was used in the TV-transmitted debate between John F Kennedy and Richard Nixon in 1959. The Chair subsequently became an icon of Danish mid-century furniture design. Condition: Excellent. If you’d like to know more, 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.
  • Anna Zinkeisen (1901 - 1976)

    Wembley Cup Final (1934)

     

    Lithographic poster 40 x 50 cm Signed in plate lower left, numbered 34/760, and printed by the  DPC (Dangerfield Printing Company) for London Transport. Anna Zinkeisen created this design in 1934 for London Transport as a panel poster (12.5 x 10", for display within underground carriages or on buses). The Cup Final that year was between Manchester City and Portsmouth; Manchester City triumphed with a 2-1 scoreline. This particular lithograph from the same time was produced to a slightly larger scale than the panel poster, and is not recorded in the London Transport Museum archives. The process of lithography requires a skilled operator to draw a negative image on a stone plate (the Greek word 'lithos' meaning 'stone') - one plate for each colour in the image. The stone is then treated with acid and etched in a way as to produce a printing plate which can then be inked. Printing at different sizes therefore required the manual creation of new plates, and small differences between different sized versions are thus visible. Anna Zinkeisen won a scholarship to the Royal Academy Schools in 1916, focusing on sculpture and exhibiting at the Royal Academy in 1919. She was awarded the Landseer Award in 1920 and 1921, and went on to become an esteemed portrait artist, often of society ladies. She produced a series of posters for London Transport in the inter-war period. During the Second World War, Zinkeisen became a nurse, and was profoundly affected by the suffering she saw during her time working in St Mary's Hospital. This is arguably the point at which she and her sister Doris reached the pinnacle of their careers, producing some of the finest and most affecting depictions of the world at war made during this period. Condition: good. Backed to conservation paper; small loss to bottom left-hand corner and slight toning to extremities. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Selina Thorp (born 1968)

    View Through an Archway, Sienna (1993)

      Pastel 47 x 26 cm A view of the Duomo di Siena. Sienna has been defined architecturally by this cathedral since it was built in mediaeval times; Thorp's view of it through an archway emphasises its status as a seen symbol of the city, an object of cultural, religious, and aesthetic significance. Selina Thorp was born in Leeds in 1968 and studied at the Edinburgh College of Art. Much of her work focuses on architecture and landscape. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Trevor Bell (1930 - 2017)

    Way Out Blue (1961)

      Acrylic on paper 35 x 43 cm Signed and dated lower right. Bell's rosy-hued abstract composition is perhaps evoking an interior with window and curtains. The deep azure blue of the picture's title appears at the top right of the composition, curving away from the rest of the image. A sunny golden yellow drips in through the window panes, imbuing the scene with a hot, heady romanticism. Bell's idiosyncratic pictorial language allows us to experience the scene's hazy summer heat via the forms of sun, window, and wall. Bell was born in Leeds in 1930 and attended Leeds College of Art from 1947 to 1952 in a scholarship. The artist Terry Frost encouraged him to move to Cornwall, where he soon became a leading figure in the younger generation of the St Ives school. His first solo exhibition came in 1958, and the year after he was awarded the Paris Biennale International Painting Prize. The Tate began collecting his work in the 1960s, and Bell spent more time working and teaching in America. The Tate's 1985 St Ives exhibition featured Bell's work, and he was also included in the Tate St Ives' inaugural show. He returned from America in 1996 and settled down in isolated barn- and farmhouse-conversion studios near Penzance in Cornwall. He exhibited across England and America for the rest of his life, notably with his major solo exhibition at the Tate St Ives in 2004. Much of his work considers form and landscape via a dramatic use of colour and often on unusually-shaped (and sometimes multi-part) canvases. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Wilhelmina Barns-Graham (1912 - 2004)

    Card for Sandra Blow's 75th birthday (1995)

      Gouache and collage 34 x 21 cm Inscribed to reverse "For Sandra, Happy Birthday, with love Willie, 13/9/95". Barns-Graham's modern design features 70 vividly coloured circles; each one is different from the last, but all are geometrically aligned in neat rows and columns. Sandra Blow's initials appear separately as "S" and "B" in the design. Blow and Barns-Graham became friends in the 1950s; both spent lengthy periods of time in St Ives, and made major contributions to Britain's catalogue of post-war art. Wilhelmina Barns-Graham, known as Willie, was born in St Andrews, Fife, on 8 June 1912. Her parents were second cousins, and their respective families were well established representatives of minor Scottish gentry from both the east and west of the country. As a child, Barns-Graham showed very early signs of creative ability. It was at school that Wilhelmina decided that she wanted to be an artist, stating later in life that "painting chose me, not I it". After school she set her sights on Edinburgh College of Art where, after some dispute with her father (who was an emotional man prone to uncontrolled anger), she enrolled in 1931. During her time at Edinburgh College, Barns-Graham was taught by tutors including portrait painter David Alison and painter William MacTaggart. Her friends there included the influential Scottish painters Robert MacBryde, Robert Colquhoun, and William Gear. After her education, Barns-Graham made study trips to Paris, London, and St Tropez before moving to St Ives, Cornwall, in 1940 (at the suggestion of the Edinburgh College of Art's Principal Hubert Wellington). Barns-Graham moved near to where a group of modernist artists had settled, at Carbis Bay - this was a pivotal moment in her life. On one of her first evenings there she met the sculptor Barbara Hepworth, who made an immediate and lasting impression on her. She then went on to meet Borlase Smart, Alfred Wallis, and Bernard Leach, as well as the painter Ben Nicholson and the sculptors Naum Gabo and Margaret Mellis. After two weeks in St Ives, Barns-Graham acquired her first studio, directly below the Porthmeor Gallery which was the administrative headquarters of the St Ives Society of Artists. Her paintings at the time were heavily influenced by the Cornish landscapes and the St Ives harbour. During 1940 and 1941, Barns-Graham contributed to the war effort by volunteering in a factory making camouflage nets. In 1942 Barns-Graham became a member of the Newlyn Society of Artists, in which she exhibited with every year, and the St Ives Society of Artists. Whilst establishing herself in St Ives, Barns-Graham also continued to send work back to Scotland for major exhibitions held there such as the Royal Scottish Academy's 117th Exhibition in 1943. The 1940s were an active time for the St Ives Society of Artists who received a number of invitations to send exhibitions and groups of works to galleries in the UK and abroad, Barns-Graham's work was always included in these as the Society's secretary, Borlase Smart, thought highly of her work. Barns-Graham's first opportunity to exhibit in London came when her work was included in a group exhibition of six at the Redfern Gallery. This was due to the introduction and support of Patrick Heron, who had visited Barns-Graham's studio in St Ives and was excited by her work. Barns-Graham would later have her first one-person exhibition in London at Redfern in 1952. After a few years of tension, Barns-Graham eventually left the St Ives Society of Artists in 1949, becoming one of the founding members of a new breakaway group named Penwith Society of Arts. The first Penwith Society exhibition opened in June 1949 to huge success - 2755 paying visitors came to see it. Provenance: the Jonathan Grimble Estate; the Sandra Blow Estate. Condition: very good; in original frame. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Richard Beer (1928 - 2017)

    Volterra

      Etching and aquatint 60 x 45 cm Titled and numbered 4/70 lower left, and signed lower right, both in pencil. Beer's yellow-hued view of Volterra, a mountain town in Tuscany. Overseen by the beating Italian sun, a church perches atop a hill marked by trees and rocky outcrops. Born in London in 1928, just too late to serve in the Second World War, Richard Beer studied between 1945 - 1950 at the Slade School. Subsequently, a French Government scholarship allowed him to spend time in Paris at Atelier 17, working under Stanley William Hayter (1901 - 1988), one of the most significant print makers of the 20th Century – having spent the War in New York, advising as a camofleur, Hayter only returned to Paris in 1950. Subsequently Beer studied at the École des Beaux Arts, Paris. Working for John Cranko, choreographer for the Royal Ballet, Beer designed the sets and costumes for his The Lady and the Fool at Covent Garden, subsequently working for him following his move in 1961 to Stuttgart Ballet. Additionally he produced book illustrations and designed book jackets. Beer later taught print-making at the Chelsea School of Art, where he was a popular teacher. Probably his greatest work was a collaboration with John Betjeman to produce a portfolio of prints of ten Wren Churches in the City for Editions Alecto, copies of which are in The Government Art Collection. That collection contains a total of 54 prints by Beer, and the Tate Gallery’s collection holds seven. His Oxford series was also produced for Editions Alecto as was a series of predominantly architectural views in Southern Europe. Most of his prints are of architectural subjects. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • David Loggan (1634 - 1692)

    University College, Oxford (1675)

      Engraving 29 x 40 cm Loggan's view of Univ from the 'Oxonia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • David Loggan (1634 - 1692)

    Trinity College, Oxford (1705)

      Engraving 32 x 41 cm Loggan's view of Trinity from the second edition of the 'Oxonia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally very good; second edition. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • David Loggan (1634 - 1692)

    The University of Oxford Botanic Garden (1675)

      Engraving 40 x 50 cm An eighteenth-century view of one of Oxford's dreamiest spaces: the Botanic Garden, engraved by David Loggan, the noted engraver, draughtsman, and painter. The University of Oxford Botanic Garden was founded in 1621 and is the oldest botanical garden in Great Britain. Loggan's engraving focuses on its architectural qualities, with four features of the garden highlighted for their beauty, symmetry, and prowess of design. Of particular interest in this etching are the six trompe l'oeil pieces: four gently curling pieces of paper which frame the gates of the garden, and two heraldic banners borne by cherubs and sporting legends about the garden's foundation. The Danby Gate (bottom left) at the front entrance to the garden is one of the three entrances designed by Nicholas Stone between 1632 and 1633. The gateway consists of three bays, each with a pediment; the niches contain statues of Charles I and Charles II in classical pose, and the niche in the the central pediment contains a bust of the Earl of Danby (hence the gate's name). Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: slight toning to central margin, odd marginal losses. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • David Loggan (1634 - 1692)

    St Catharine's College, Cambridge (1690)

      Engraving 35 x 46 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: has previously been washed, otherwise generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • David Loggan (1634 - 1692)

    Magdalene College, Cambridge (1690)

      Engraving 38 x 43 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: enerally even all-over toning; old repair to lower central fold with small loss. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • David Loggan (1634 - 1692)

    Christ's College, Cambridge (1690)

      Engraving 39 x 48 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally even all-over toning; old repair to lower central fold with small loss. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
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    David Loggan (1634 - 1692)

    Queen's College, Cambridge (1690)

      Engraving 36 x 46 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally good; mostly even over-all toning, fraction lighter down central fold; has previously been washed. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • David Loggan (1634 - 1692)

    The Church of St Mary the Virgin, Cambridge (1690)

      Engraving 38 x 47 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: has been previously washed; generally good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • David Loggan (1634 - 1692)

    Emmanuel College, Cambridge (1690)

      Engraving 31 x 47 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally very good; mostly even all-over toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
  • Samuel Sparrow (active 1800) after John Kirby Baldrey (1750 - 1823)

    Emmanuel College, Cambridge

      Engraving 35 x 49 cm An engraving of Emmanuel College's neoclassical facade, complete with strolling undergraduates in pairs. The engraving was printed in the Cambridge Almanack in 1806. Samuel Sparrow was a British engraver of landscapes and architectural scenes after his fellow artists, often published as bookplates. John Kirkby Baldrey was a draughtsman and engraver who provided designs for the Cambridge University Almanack between 1803 and 1810. Condition: generally very good; some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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