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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. -
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. -
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. -
Out of stock
Johannes Kip (1652 - 1722) after R Whitehand
Prospect of Cambridge from the South East (1724)
Engraving 57 x 88 cm A view of the city of Cambridge, replete with college spires, by Johannes ''Jan'' Kip, the Dutch draughtsman, engraver and print dealer. The engraving illustrates an 18th century Cambridge defined by livestock and farmhands, as well as its University. The largest and best view of Cambridge, extremely rare - we have not traced any other copies at auction. Condition: good. Previously folded, occasional small losses and the odd slightly toned patch; two joined sheets. Trimmed to within platemark; very rare. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
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. -
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. -
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. -
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. -
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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. -
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. -
Out of stock
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 -
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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. -
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. -
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. -
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. -
Ebenezer Challis (1806 - 1881)
Sidney Sussex College, Cambridge (1834)
Engraving 27 x 43 cm A 19th century view of Sidney Sussex, complete with Victorian undergraduates in academic dress, horse and cart, and behatted rider. Condition: good. Trimmed. Otherwise generally good with the occasional tiny spot. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more views of Sidney Sussex. -
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)
The First Map of Oxford (1733)
Engraving 47 x 54 cm In 1578, Ralph Agas drew the first ever map of Oxford, studded with the first colleges of the University. In 1733 it was engraved by William Williams for publication in the Oxonia Depicta, a book of illustrations depicting similar views as David Loggan's volume of engravings. Ralph Agas was an English surveyor and cartographer. He was born in Suffolk and lived there throughout his life, although he travelled regularly to London. He began to practise as a surveyor in about 1566, and has been described as "one of the leaders of the emerging body of skilled land surveyors". regular work consisted of drawing up local estate maps and surveys for a variety of clients. He was one of the first estate surveyors to move beyond the traditional practice of compiling purely written descriptions of landed property, and to supplementing them with measured maps. Condition: generally very good; a few marks to margins. Central fold as issued. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other general views of Oxford. -
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. -
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. -
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. -
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. -
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. -
Walter Ernest Spradbery (1889 - 1969)
Temple Church and Library after Bombardment (1944)
Lithograph 66 x 57 cm Walter Spradbery's poster for the London Underground depicting a bombed Temple Church; a rainbow strikes hopefully out of the church's remains, and the sun shines on the golden stone of the building. The full poster bears the legend 'The Proud City' above Spradbery's design, and, beneath it, a quote from Charles Lamb: 'So may the winged horse, your ancient badge and cognisance, still flourish!'. This is a fantastic piece of British and London history, as well as a fantastically designed poster by a notable 20th century artist. The London Transport Museum has a copy of the poster, reference 1983/4/5751. 'The Proud City' was a series of six posters, all designed by Spradbery. They were commissioned by London Transport in 1944 as a defiant celebration of London's surviving the Blitz, and each poster also included a literary quotation. Walter Ernest Spradbery was a designer, painter, and poet who lived through the First and Second World Wars. He produced posters for LNER, Southern Railways, and London Transport, and was noted for his fascination with architecture and landscape. He studied, and later taught, at the Walthamstow School of Art. He was a pacifist and campaigned for nuclear disarmament, serving in the Medical Corps during the First World War and painting scenes of warfare for its duration, as well as during the Second World War. His anti-war stance and the horrors he had witnessed as a medic fed into his post-war poster design, especially 'The Proud City' poster series. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Paul Ayshford Methuen (1886 - 1974)
Barrage Balloons, Regents Park, 9 March 1940
Oil on board 36 x 52 cm Signed lower left and titled and dated lower centre. Lord Methuen's oil painting of Regent's Park on a winter's day, with barrage balloons above. Barrage balloons were set up - stationed at an altitude of around 4,000 ft - as a barrier to enemy aircraft. The steel cables used to tether the balloons would take an enemy aeroplane out of the sky if it were to hit the cable. The UK had thousands of them, filled partly with hydrogen and operated largely by women, to protect significant towns, cities, and military installations. These strange blobs floated over the country, just asking to be captured by artists. Methuen had rejoined his regiment (serving as a Captain) in 1939 but was likely stationed in London for a while, when he might have had the opportunity to capture this scene. When Methuen painted the scene in 1940, Britain was still in the stage of the phoney war. The Battle of Britain did not commence until 10 July, and the Blitz not until 7 September - but Britain's defences were ready. Barrage balloons were important all the way through the War: they defended London against the V2 missiles; they defended the D-Day invasion fleet; and they protected the invasion army for months. Indeed, it was said that the vast amount of material brought into the UK from the States prior to D-Day would have caused Britain to sink under the sea, were it not for the huge number of barrage balloons holding the country up... Condition: excellent. Recently revarnished. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Ken Howard RA (1932 - 2022)
Hampstead Church (St Stephen's Church, Rosslyn Hill)
Oil on board 75 x 91 cm Ken Howard's magnificent view of St Stephen's Church, Hampstead. The artist's rich, deep colour palette and use of impasto underline the neo-gothic style of the church. Howard died in Hampstead and painted several views of the area and its architecture. St Stephen's was designed in the Neo Gothic style by Samuel Sanders Teulon and he considered it the best of the 114 churches he designed, calling it his "mighty church". The building is no longer a church, but wedding ceremonies still take place there; it was made a Grade I listed building in 1974. Kenneth Howard OBE RA was a British artist and painter. He was President of the New English Art Club from 1998 to 2003. He studied at the Hornsey College of Art and the Royal College of Art. In 1958 he won a British Council Scholarship to Florence, and in 1973 and 1978 he was the Official War Artist to Northern Ireland, and 1973 - 80 worked in various locations, including Hong Kong, Cyprus and Canada with the British Army. In 1983 he was elected an Associate of the Royal Academy (ARA). In 1998 he became President of the New English Art Club, a post he held until 2003. In 1991 he was elected a Royal Academician (RA). Howard was given his OBE in 2010. Condition: very good. 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. -
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. -
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. -
Alfred Allan
Clare College, Cambridge
Engraving 24.5 x 17 cm Signed lower left. An atmospheric watercolour depicting Clare College. Alfred Allan has painted several Cambridge colleges and also specialises in coastal scenes. Condition: generally very good; fractional age toning visible to the sky, top right. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Clare College, Cambridge. -
David Loggan (1634 - 1692)
Jesus College, Cambridge (1690)
Engraving 36 x 52 cm Loggan's skilful view of Jesus College from the 'Cantabrigia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: extant portions very good; partly trimmed to within platemark; lacking portions of letters in lower left; also missing 1cm-width section down middle, historically replaced in pen and ink. Backed to laid paper. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Jesus College, Cambridge. -
David Loggan (1634 - 1692)
Trinity College, Cambridge (1690)
Engraving 80 x 50 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally very good; printed on two sheets, folds as issued. A few creases to top area. As a multi-folded plate in the published book, Trinity has normally suffered and is normally trimmed closely and has damage; this particular example has instead good margins outside the platemark and without damage to the folds. A very good copy of Trinity. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
Christ's College, Cambridge (1690)
Engraving 39 x 48 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally even all-over toning; old repair to lower central fold with small loss. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Out of stock
David Loggan (1634 - 1692)
Queen's College, Cambridge (1690)
Engraving 36 x 46 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally good; mostly even over-all toning, fraction lighter down central fold; has previously been washed. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
The Church of St Mary the Virgin, Cambridge (1690)
Engraving 38 x 47 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: has been previously washed; generally good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
Emmanuel College, Cambridge (1690)
Engraving 31 x 47 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally very good; mostly even all-over toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
after Edward Dayes (1763 - 1804)
Oxford (1792)
Hand-coloured engraving 15 x 20 cm Published February 1st 1792 by Harrison & Co, Paternoster Row. A charmingly-coloured Oxford punting scene, with Magdalen Tower and other dreaming spires behind. Edward Dayes was an English watercolour painter and mezzotint engraver. He first exhibited at the Royal Academy in 1786, when he showed a portrait and views of Waltham Cross and Canterbury. In the three following years he exhibited both miniatures and landscapes. He continued to exhibit at the Academy regularly until the year of his death, contributing a total of 64 works. He also exhibited at the Society of Artists, and worked as draughtsman to the Duke of York and Albany. 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 general views of Oxford. -
Henry George Walker (1876 - 1932)
The Radcliffe Camera from All Souls College, Oxford
Etching 20 x 25 cm Signed lower right in pencil. The artist depicts the North Quadrangle of All Souls, with the Radcliffe Camera peeking in. Two fellows contemplate a document as a third approaches. Henry Walker was born in Birmingham and specialised in architectural and landscape etchings. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of All Souls. -
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. -
Louis Osman FRIBA (1914 - 1996)
Architectural Design IV
Pencil, ink, whitening 72 x 106 cm An architectural design for a public building, with room numbers labelled in red. Osman's detailed and precise mark-making makes for an elegant and artistic design. Osman was as much an artist as an architect. He studied at the Bartlett School of Architecture; he was awarded a First Class degree and the Donaldson Medal of the RIBA (for the best result in his year group), and then went on to the Slade School of Art. He subsequently trained with Sir Albert Richardson - we also have several Richardson works in our collection. After the war, Osman busied himself as an architect. His work included contributions to Westminster Abbey, and Lincoln, Exeter, Ely, and Lichfield Cathedrals, Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his folly: the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire, now a National Trust property. At Canons Ashby he established a workshop and had a team of silversmiths and goldsmiths working for him. In 1976 he made the gold enamelled coffin that holds the copy of the Magna Carta on view in the United States Capitol, Washington, DC. Condition: image generally very good; a few repaired short edge tears to margins. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by Louis Osman. -
Louis Osman FRIBA (1914 - 1996)
Architectural Design III
Pencil, ink, whitening 72 x 106 cm An architectural design for a public building, with room numbers labelled in red. Osman's detailed and precise mark-making makes for an elegant and artistic design. Osman was as much an artist as an architect. He studied at the Bartlett School of Architecture; he was awarded a First Class degree and the Donaldson Medal of the RIBA (for the best result in his year group), and then went on to the Slade School of Art. He subsequently trained with Sir Albert Richardson - we also have several Richardson works in our collection. After the war, Osman busied himself as an architect. His work included contributions to Westminster Abbey, and Lincoln, Exeter, Ely, and Lichfield Cathedrals, Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his folly: the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire, now a National Trust property. At Canons Ashby he established a workshop and had a team of silversmiths and goldsmiths working for him. In 1976 he made the gold enamelled coffin that holds the copy of the Magna Carta on view in the United States Capitol, Washington, DC. Condition: image generally very good; a few repaired short edge tears to margins and a tear to top right corner in margin. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by Louis Osman. -
Louis Osman FRIBA (1914 - 1996)
Architectural Design II
Pencil, ink, whitening 72 x 106 cm An architectural design for a public building, with room numbers labelled in red. Osman's detailed and precise mark-making makes for an elegant and artistic design. Osman was as much an artist as an architect. He studied at the Bartlett School of Architecture; he was awarded a First Class degree and the Donaldson Medal of the RIBA (for the best result in his year group), and then went on to the Slade School of Art. He subsequently trained with Sir Albert Richardson - we also have several Richardson works in our collection. After the war, Osman busied himself as an architect. His work included contributions to Westminster Abbey, and Lincoln, Exeter, Ely, and Lichfield Cathedrals, Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his folly: the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire, now a National Trust property. At Canons Ashby he established a workshop and had a team of silversmiths and goldsmiths working for him. In 1976 he made the gold enamelled coffin that holds the copy of the Magna Carta on view in the United States Capitol, Washington, DC. Condition: image generally very good; a few repaired short edge tears to margins. Scuffing to right-hand margin. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by Louis Osman. -
Louis Osman FRIBA (1914 - 1996)
Architectural Design I
Pencil, ink, whitening 72 x 106 cm An architectural design for a public building, with room numbers labelled in red. Osman's detailed and precise mark-making makes for an elegant and artistic design. Osman was as much an artist as an architect. He studied at the Bartlett School of Architecture; he was awarded a First Class degree and the Donaldson Medal of the RIBA (for the best result in his year group), and then went on to the Slade School of Art. He subsequently trained with Sir Albert Richardson - we also have several Richardson works in our collection. After the war, Osman busied himself as an architect. His work included contributions to Westminster Abbey, and Lincoln, Exeter, Ely, and Lichfield Cathedrals, Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his folly: the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire, now a National Trust property. At Canons Ashby he established a workshop and had a team of silversmiths and goldsmiths working for him. In 1976 he made the gold enamelled coffin that holds the copy of the Magna Carta on view in the United States Capitol, Washington, DC. Condition: image generally very good; a few repaired short edge tears to margins. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by Louis Osman. -
Louis Osman FRIBA (1914 - 1996)
A Pavilion in a Private Park
Pen, ink and wash 67 x 100 cm Provenance: the family of the artist. Signed lower right. Osman was as much an artist as an architect. This is likely a portfolio piece from his time studying at the Bartlett School of Architecture, and is as such a piece of architectural history as well as a beautiful Osman design. Osman was awarded a First Class degree and the Donaldson Medal of the RIBA (for the best result in his year group) by the Bartlett, and then went on to the Slade School of Art. He subsequently trained with Sir Albert Richardson – we also have several Richardson works in our collection. After the war, Osman busied himself as an architect. His work included contributions to Westminster Abbey, and Lincoln, Exeter, Ely, and Lichfield Cathedrals, Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his folly: the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire, now a National Trust property. At Canons Ashby he established a workshop and had a team of silversmiths and goldsmiths working for him. In 1976 he made the gold enamelled coffin that holds the copy of the Magna Carta on view in the United States Capitol, Washington, DC. Condition: generally very good to main central area; loss to top left, creasing, soiling, and edge tears to right (10cm at most). If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by Louis Osman. -
Louis Osman FRIBA (1914 - 1996)
Design for the Restoration of the 'Bird Cage' Arbour, Melbourne Hall, Derbyshire
Mixed media, including pen, ink, watercolour, and gold leaf 108 x 63 cm Provenance: the artist's daughter. In 1958 Osman was commissioned to advise on the restoration of a metal arbour, originally designed in 1708 by Robert Blackwell for the grounds of Melbourne Hall in Derbyshire. The arbour is known as the 'Bird Cage' and was originally painted in a dreamy array of vivid colours; Osman extensively researched Blackwell's work and consulted his original plans for the metalwork in order to restore the arbour to its former glory. The paint was stripped and the iron repainted as per Blackwell's original scheme. The ironwork specialists George Lister & Sons Ltd worked with Osman on the project. This large design features watercolour and gold leaf to illustrate the embellishments Osman had in mind. Osman was as much an artist as an architect. This is likely a portfolio piece from his time studying at the Bartlett School of Architecture, and is as such a piece of architectural history as well as a beautiful Osman design. Osman was awarded a First Class degree and the Donaldson Medal of the RIBA (for the best result in his year group) by the Bartlett, and then went on to the Slade School of Art. He subsequently trained with Sir Albert Richardson - we also have several Richardson works in our collection. After the war, Osman busied himself as an architect. His work included contributions to Westminster Abbey, and Lincoln, Exeter, Ely, and Lichfield Cathedrals, Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his folly: the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire, now a National Trust property. At Canons Ashby he established a workshop and had a team of silversmiths and goldsmiths working for him. In 1976 he made the gold enamelled coffin that holds the copy of the Magna Carta on view in the United States Capitol, Washington, DC. Condition: generally very good; one or two small brown spots to periphery. In artist's original lead-edged frame. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Louis Osman FRIBA (1914 - 1996)
Stained glass window
Watercolour 23 x 16 cm On Pioneer Fine laid paper. An intricately-detailed watercolour of a stained glass window, featuring four Biblical figures. Osman was as much an artist as an architect. This is likely a portfolio piece from his time studying at the Bartlett School of Architecture, and is as such a piece of architectural history as well as a beautiful Osman design. Osman was awarded a First Class degree and the Donaldson Medal of the RIBA (for the best result in his year group) by the Bartlett, and then went on to the Slade School of Art. He subsequently trained with Sir Albert Richardson - we also have several Richardson works in our collection. After the war, Osman busied himself as an architect. His work included contributions to Westminster Abbey, and Lincoln, Exeter, Ely, and Lichfield Cathedrals, Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his folly: the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire, now a National Trust property. At Canons Ashby he established a workshop and had a team of silversmiths and goldsmiths working for him. In 1976 he made the gold enamelled coffin that holds the copy of the Magna Carta on view in the United States Capitol, Washington, DC. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Louis Osman FRIBA (1914 - 1996)
Proposed alterations for Stables for Mrs Mallowan (Agatha Christie)
Pencil on tracing paper 41 x 30 cm Signed in red crayon lower right. A smart architectural design to improve famed author Agatha Christie's stable block. Christie became Lady Mallowan when she married her second husband, Sir Max Edgar Lucien Mallowan. The church was bombed in 1941 and gutted by fire; subsequently, the church was a ruin open to the sky for over 20 years. It was saved by Lady Parker of Waddington, who formed the Friends of St John's in 1962 to raise money and restore the church to its former glory - a reconstruction in the style of the church's original architect, Thomas Archer. Osman was as much an artist as an architect. This is likely a portfolio piece from his time studying at the Bartlett School of Architecture, and is as such a piece of architectural history as well as a beautiful Osman design. Osman was awarded a First Class degree and the Donaldson Medal of the RIBA (for the best result in his year group) by the Bartlett, and then went on to the Slade School of Art. He subsequently trained with Sir Albert Richardson - we also have several Richardson works in our collection. After the war, Osman busied himself as an architect. His work included contributions to Westminster Abbey, and Lincoln, Exeter, Ely, and Lichfield Cathedrals, Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his folly: the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire, now a National Trust property. At Canons Ashby he established a workshop and had a team of silversmiths and goldsmiths working for him. In 1976 he made the gold enamelled coffin that holds the copy of the Magna Carta on view in the United States Capitol, Washington, DC. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Louis Osman FRIBA (1914 - 1996)
Proposal for St John's Smith Square (1953)
Watercolour 70 x 52 cm Signed in red crayon lower right. Louis Osman's proposal for the post-war, post-bombing redevelopment of St John's church on Smith Square. Osman had envisioned an interior with a ceiling painted by Picasso; sadly, this project was never executed. The church was bombed in 1941 and gutted by fire; subsequently, the church was a ruin open to the sky for over 20 years. It was saved by Lady Parker of Waddington, who formed the Friends of St John's in 1962 to raise money and restore the church to its former glory - a reconstruction in the style of the church's original architect, Thomas Archer. Osman was as much an artist as an architect. This is likely a portfolio piece from his time studying at the Bartlett School of Architecture, and is as such a piece of architectural history as well as a beautiful Osman design. Osman was awarded a First Class degree and the Donaldson Medal of the RIBA (for the best result in his year group) by the Bartlett, and then went on to the Slade School of Art. He subsequently trained with Sir Albert Richardson - we also have several Richardson works in our collection. After the war, Osman busied himself as an architect. His work included contributions to Westminster Abbey, and Lincoln, Exeter, Ely, and Lichfield Cathedrals, Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his folly: the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire, now a National Trust property. At Canons Ashby he established a workshop and had a team of silversmiths and goldsmiths working for him. In 1976 he made the gold enamelled coffin that holds the copy of the Magna Carta on view in the United States Capitol, Washington, DC. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Louis Osman FRIBA (1914 - 1996)
Proposal details for St John's Smith Square (1953)
Watercolour 74 x 46 cm Signed in red crayon lower right. Details from Louis Osman's proposal for the post-war, post-bombing redevelopment of St John's church on Smith Square. Osman had envisioned an interior with a ceiling painted by Picasso; sadly, this project was never executed. The church was bombed in 1941 and gutted by fire; subsequently, the church was a ruin open to the sky for over 20 years. It was saved by Lady Parker of Waddington, who formed the Friends of St John's in 1962 to raise money and restore the church to its former glory - a reconstruction in the style of the church's original architect, Thomas Archer. Osman was as much an artist as an architect. This is likely a portfolio piece from his time studying at the Bartlett School of Architecture, and is as such a piece of architectural history as well as a beautiful Osman design. Osman was awarded a First Class degree and the Donaldson Medal of the RIBA (for the best result in his year group) by the Bartlett, and then went on to the Slade School of Art. He subsequently trained with Sir Albert Richardson - we also have several Richardson works in our collection. After the war, Osman busied himself as an architect. His work included contributions to Westminster Abbey, and Lincoln, Exeter, Ely, and Lichfield Cathedrals, Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his folly: the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire, now a National Trust property. At Canons Ashby he established a workshop and had a team of silversmiths and goldsmiths working for him. In 1976 he made the gold enamelled coffin that holds the copy of the Magna Carta on view in the United States Capitol, Washington, DC. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Louis Osman FRIBA (1914 - 1996)
Proposal for St John's Smith Square (1953)
Watercolour 62 x 37 cm Signed in red crayon lower right. Louis Osman's proposal for the post-war, post-bombing redevelopment of St John's church on Smith Square. Osman had envisioned an interior with a ceiling painted by Picasso; sadly, this project was never executed. The church was bombed in 1941 and gutted by fire; subsequently, the church was a ruin open to the sky for over 20 years. It was saved by Lady Parker of Waddington, who formed the Friends of St John's in 1962 to raise money and restore the church to its former glory - a reconstruction in the style of the church's original architect, Thomas Archer. Osman was as much an artist as an architect. This is likely a portfolio piece from his time studying at the Bartlett School of Architecture, and is as such a piece of architectural history as well as a beautiful Osman design. Osman was awarded a First Class degree and the Donaldson Medal of the RIBA (for the best result in his year group) by the Bartlett, and then went on to the Slade School of Art. He subsequently trained with Sir Albert Richardson - we also have several Richardson works in our collection. After the war, Osman busied himself as an architect. His work included contributions to Westminster Abbey, and Lincoln, Exeter, Ely, and Lichfield Cathedrals, Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his folly: the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire, now a National Trust property. At Canons Ashby he established a workshop and had a team of silversmiths and goldsmiths working for him. In 1976 he made the gold enamelled coffin that holds the copy of the Magna Carta on view in the United States Capitol, Washington, DC. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Louis Osman FRIBA (1914 - 1996)
Staunton Harold: Restoration of the Organ (1953)
Pen, ink, and watercolour 63 x 63 cm Titled below, signed lower right, and labelled in Osman's hand. Osman's architectural design for the restoration of the organ at Staunton Harold Church, part of the Staunton Harold estate. The church, known as the Chapel of the Holy Trinity, is a 1653-built Gothic chapel. It was commissioned by Sir Robert Shirley (the Shirley family were Anglicans and Royalists, and the ornate design of the church is likely why Sir Robert was imprisoned under Oliver Cromwell). Osman was as much an artist as an architect. This is likely a portfolio piece from his time studying at the Bartlett School of Architecture, and is as such a piece of architectural history as well as a beautiful Osman design. Osman was awarded a First Class degree and the Donaldson Medal of the RIBA (for the best result in his year group) by the Bartlett, and then went on to the Slade School of Art. He subsequently trained with Sir Albert Richardson - we also have several Richardson works in our collection. After the war, Osman busied himself as an architect. His work included contributions to Westminster Abbey, and Lincoln, Exeter, Ely, and Lichfield Cathedrals, Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his folly: the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire, now a National Trust property. At Canons Ashby he established a workshop and had a team of silversmiths and goldsmiths working for him. In 1976 he made the gold enamelled coffin that holds the copy of the Magna Carta on view in the United States Capitol, Washington, DC. Condition: some age toning, and signs of having been a working drawing. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
William Nicholson (1872 - 1949)
Mells Window (1930)
Photographic collage 57 x 33 cm Titled below and signed lower right in ink. Nicholson's original photographic collage of his magnificent stained glass window at St Andrew's Church in Mells. It depicts St Francis of Assisi preaching to the fish and the birds, with a Madonna and Child in the central panel. The window was commissioned by Lady Frances Horner as a memorial to her husband Sir John Horner, a barrister whose family seat was Mells Manor, a grand country house and park near Frome in Somerset. Lady Horner was a great patron of the arts and commissioned by artists including Eric Gill, Edwin Lutyens, and Edward Burne-Jones, as well as Nicholson. Nicholson was a regular visitor to Mells from the early 1920s, and designed the window in 1930. Burne-Jones had already designed a memorial in the church (to a different member of the family) in 1886. Sir William Nicholson was a British painter and printmaker. He is also known as an illustrator, author of children’s books, stained glass designer, and theatre set designer. Condition: a small stain to bottom of central panel - otherwise very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more stained glass designs. -
1943 Army World War II USA (1942)
Original aeroplane recognition poster 44 x 59 cm A summary of US aeroplanes from the series of US Navy identification posters that we have in stock. Fighters: P38 Lightning; P39 Airacobra; Curtiss P40E Warhawk; P47 Thunderbolt; P51 Mustang; A31 Vengeance. Bombers: A20 Boston; B25 Mitchell; B26 Marauder; Lockheed Hudson; Boeing B17E Flying Fortress; B24 Consolidated Liberator. Transports: C45 Voyager; C46 Commando; C47 Douglas Skytrain; Lockheed Lodestar; C76 Caravan; C54 Douglas Skymaster. Condition: generally very good, occasional handling marks. Folds as issued. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
after Samuel Buck (1696 - 1779) and Nathaniel Buck (active 1724 - 1759)
View of Durham Castle being the Bishops Palace (1769)
Engraving 18 x 26 cm An engraved view of Durham Castle, complete with engraved frame in the plate. Empty of any inhabitants, the magnificence of the castle's architecture, is made all the more evident. This engraving was produced for 'England Displayed, published in London in 1769 or 1770 by Adlard and Brown; it was made after the original by Samuel and Nathaniel Buck, originally published in their 'Views of Ruins of Castles & Abbeys in England', created between 1726 and 1742. Durham Castle is a Norman castle in Durham, England, which has been occupied since 1837 by Castle - that is, University College, Durham. Previously, it was the residence of the Bishops of Durham; it stands on top of a hill above the River Wear on Durham's peninsula, opposite Durham Cathedral. Samuel and Nathaniel Buck were brothers and notable 18th century architectural artists, best known for their depictions of ancient castles and monasteries entitled 'Buck's Antiquities' and those of townscapes of England and Wales, ''Sea-Ports and Capital Towns''. LIttle is known about the brothers' lives. Samuel was born in Yorkshire and died in penury in London in 1779, and was buried in the churchyard of St Clement Danes. Nathaniel pre-deceased him, dying between 1759 and 1774. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Barnicoat MA ARCA (1924 - 2013)
Untitled abstract composition (1968)
Tempera on board 27 x 26 cm Initialled and dated lower right. 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). Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Robert Woodlark, Founder of Catherine Hall, Cambridge from a Picture at the Hall (1815)
Hand-coloured aquatint 24 x 20 cm Published by Rudolph Ackermann (1764 - 1834). A copy of this engraving is held by the National Portrait Gallery, reference NPG D4871. Robert Woodlark (also spelt Wodelarke) was an English academic and priest. He was the Provost of King's College, Cambridge, and the founder of St Catharine's College, Cambridge. He drew up the original statutes for the governance of the college and obtained a charter from Edward IV, 16 August 1475. Woodlark was a professor of sacred theology at the University and served as Chancellor of the University of Cambridge from 1459 to 1460, and again from 1462 to 1463. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some gentle age toning. Handsome gilded frame with elaborate wash line mount. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Joseph Constantine Stadler (1755 - 1828) after William Westall (1781 - 1850)
Entrance to the Avenue, from Clare Hall Piece (1815)
Hand-coloured aquatint 25 x 30 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the gates of Clare College, formerly known as Clare Hall. The River Cam winds its way through the scene; we can see the New Buildings of King's College, Cambridge on the far bank. Victorian figures, several with parasols, picnic or promenade in the foreground. Joseph Constantine Stadler was a prolific German émigré engraver of images after his contemporaries - here, 18th-century English landscape painter and diarist Joseph Farington. Stadler's engravings are wide-ranging in subject matter and include landscapes, seascapes and portraits, as well as military, sporting and decorative subjects. Stadler was employed by the leading print publisher of the time, John Boydell. Stadler lived in Knightsbridge when he died at the age of 73. William Westall was a British landscape artist. He was born in Hertford and enrolled at the Royal Academy schools in 1799. He later became the draughtsman for a voyage to Australia and the South Seas. After being shipwrecked, he travelled to Canton in China and to India, staying in Bombay for several months. He returned to England in 1805 but later set off for Madeira and Jamaica. He became a member of the Society of Painters in Water Colours (1811) and an associate of the Academy (1812). Following a mental breakdown, he regularly visited the Lake District and published ‘Views of the Valley and Vale of Keswick’ (1820). His series of aquatints of the Thames, the great universities, and England's public schools for Ackermann are among his most popular works. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some gentle age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Brendan Neiland (b. 1941) RA (Expelled)
Leeds (1991)
Lithographic poster 101 x 71 cm Signed 'Brendan Neiland 1991' and inscribed 'to Alan best wishes', both in pencil. Proof copy poster complete with large margins and printer's colour bars etc, which can be hidden under mount when framed. 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. -
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. -
Brendan Neiland (b. 1941) R.A. (Expelled)
Cherwell Bridge
Screenprint 53 x 34 cm Signed, titled, and numbered 43 / 175 in pencil. A screenprint of Oxford’s beauteous Cherwell Bridge in University Parks, reflected in the glassy surface of the river. 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’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Louis Osman (1914 - 1996)
Queen Street, Exeter
Watercolour 25 x 33 cm Inscribed in Osman's hand on old mount (visible in the gallery of photographs). Osman's view of Queen Street in Exeter, complete with modish pedestrians and vehicles typical of the 1930s. Osman was as much an artist as an architect. This is likely a portfolio piece from his time studying at the Bartlett School of Architecture, and is as such a piece of architectural history as well as a beautiful Osman design. Osman was awarded a First Class degree and the Donaldson Medal of the RIBA (for the best result in his year group) by the Bartlett, and then went on to the Slade School of Art. He subsequently trained with Sir Albert Richardson - we also have several Richardson works in our collection. After the war, Osman busied himself as an architect. His work included contributions to Westminster Abbey, and Lincoln, Exeter, Ely, and Lichfield Cathedrals, Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his folly: the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire, now a National Trust property. At Canons Ashby he established a workshop and had a team of silversmiths and goldsmiths working for him. In 1976 he made the gold enamelled coffin that holds the copy of the Magna Carta on view in the United States Capitol, Washington, DC. 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. -
Mabel Oliver Rae (1868 - 1956)
The Bridge of Sighs, St John's College, Cambridge (circa 1920)
Etching 13 x 18 cm Hand-signed in pencil lower left, and titled in pencil lower right. Initialled 'MR' in plate lower left. The Bridge of Sighs is an iconic feature of St John’s College, and one of the most recognisable pieces of architecture in Cambridge. It was built in 1831 by the architect Henry Hutchinson and crosses the River Cam between the college's Third Court and New Court. It is the only covered bridge to cross the River Cam, and the only College bridge built in the Victorian Gothic style. Mabel Oliver Rae was born in Cambridge, Cambridgeshire, and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works with the pseudonym 'M.Oliver Rae', a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. Condition: even age toning, a little spotting, generally good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
FHK Henrion (1914 - 1990)
Where Coal Comes From (circa 1945)
Original vintage poster 51 x 76 cm Signed in plate. Issued by the Ministry of Fuel and Power; printed for HM Stationery Office by Field Sons & Co Ltd, Bradford. We have been unable to identify any other copy of this poster by this renowned designer in any public collection - it is possibly the only remaining copy. A Ministry of Fuel poster encouraging the public to use less fuel. FHK Henrion was a German graphic designer who moved to Paris after leaving school, studying with the poster designer Paul Colin and then moving to London in 1936. Interned in the Isle of Man during the Second World War, he went on to design posters for the Ministry of Information and the US Office of War Information. After the War he started his own design agency, pioneering the concept of corporate identity. Clients included KLM, Giro, The Post Office, Tate & Lyle. The Ministry of Power and Fuel existed from 1942 to 1957 to control the nation's use of the scarce resources during and after the Second World War. Condition: centre folds as issued with a little wear to the extremities of the folds; generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
FHK Henrion (1914 - 1990)
What Comes from Coal (circa 1945)
Original vintage poster 51 x 76 cm Signed in plate. Issued by the Ministry of Fuel and Power; printed for HM Stationery Office by Field Sons & Co Ltd, Bradford. We have been unable to identify any other copy of this poster by this renowned designer in any public collection - it is possibly the only remaining copy. A Ministry of Fuel poster encouraging the public to use less fuel. FHK Henrion was a German graphic designer who moved to Paris after leaving school, studying with the poster designer Paul Colin and then moving to London in 1936. Interned in the Isle of Man during the Second World War, he went on to design posters for the Ministry of Information and the US Office of War Information. After the War he started his own design agency, pioneering the concept of corporate identity. Clients included KLM, Giro, The Post Office, Tate & Lyle. The Ministry of Power and Fuel existed from 1942 to 1957 to control the nation's use of the scarce resources during and after the Second World War. Condition: centre folds as issued with a little wear to the extremities of the folds; generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Navy and Army Consolidated Aircraft "B-24E" "Liberator II"
US Naval Aviation Training Division Original aeroplane recognition poster (1942) 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. The Consolidated B-24 Liberator is an American heavy bomber, designed by Consolidated Aircraft of San Diego, California. Early RAF Liberators were the first aircraft to cross the Atlantic Ocean as a matter of routine. The B-24 was used extensively in World War II. It served in every branch of the American armed forces as well as several Allied air forces and navies, and was used in every theatre of war operations. In comparison with its contemporaries, the B-24 was relatively difficult to fly and had poor low-speed performance; it also had a lower ceiling and was less robust than the Boeing B-17 Flying Fortress. While aircrews tended to prefer the B-17, General Staff favoured the B-24 and procured it in huge numbers for a wide variety of roles. At approximately 18,500 units – including 8,685 manufactured by Ford Engine Company – it holds records as the world's most produced bomber, heavy bomber, multi-engine aircraft, and American military aircraft in history. Condition: Generally very good, occasional handling marks. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Royal Air Force Bristol Blenheim
US Naval Aviation Training Division Original aeroplane recognition poster (1942) 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. The Bristol Blenheim is a British light bomber aircraft designed and built by the Bristol Aeroplane Company which was used extensively in the first two years of the Second World War. Condition: Generally very good, occasional handling marks or folds. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Bristol Beaufort Torpedo Bomber
US Naval Aviation Training Division Original aeroplane recognition poster (1942) 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. The Bristol Beaufort (manufacturer designation Type 152) was a British twin-engined torpedo bomber designed by the Bristol Aeroplane Company, and developed from experience gained designing and building the earlier Blenheim light bomber. At least 1,180 Beauforts were built by Bristol and other British manufacturers. The Australian government''s Department of Aircraft Production (DAP) also manufactured variants of the Beaufort. These are often known collectively as the DAP Beaufort. More than 700 Australian-built Beauforts saw service with the Royal Australian Air Force in the South West Pacific theatre, where they were used until the end of the war. Beauforts first saw service with Royal Air Force Coastal Command and then the Royal Navy Fleet Air Arm from 1940. They were used as torpedo bombers, conventional bombers and mine-layers until 1942, when they were removed from active service and were then used as trainer aircraft until being declared obsolete in 1945. Beauforts also saw considerable action in the Mediterranean; Beaufort squadrons based in Egypt and on Malta helped interdict Axis shipping supplying Rommel's Deutsches Afrikakorps in North Africa. Although it was designed as a torpedo-bomber, the Beaufort was more often used as a medium day bomber. The Beaufort also flew more hours in training than on operational missions and more were lost through accidents and mechanical failures than were lost to enemy fire. The Beaufort was adapted as a long-range heavy fighter variant called the Beaufighter, which proved to be very successful and many Beaufort units eventually converted to the Beaufighter. Condition: good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
B-17E Boeing "Super Flying Fortress"
World War II US and UK heavy bomber plane Original aeroplane recognition poster (1942) 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. The Boeing B-17 Flying Fortress is a four-engined heavy bomber developed in the 1930s for the United States Army Air Corps. From its introduction in 1938, the B-17 Flying Fortress evolved through numerous design advances, becoming the third-most produced bomber of all time. The B-17 was primarily employed by the United States Army Air Forces in the daylight strategic bombing campaign of World War II against German industrial, military and civilian targets. The B-17 also participated to a lesser extent in the Pacific War, early in World War II, where it conducted raids against Japanese shipping and airfields. In 1935 it was simply known as the Model 299. Seattle Times reporter Richard Smith dubbed the new plane, with its many machine-gun mounts, the “Flying Fortress,” and Boeing quickly adopted and trademarked the name. Condition: generally very good, occasional handling marks. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
1943 Blohm und Voss "Ha. 138B"
World War II German Reich reconnaissance plane Original aeroplane recognition poster (1943) 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. Condition: generally very good, occasional handling marks. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Silhouette (circa 1870)
Miss Chapman
Gouache, pen, and ink 52 x 44 cm One of the daughters of David Barclay Chapman - either Ella Maria or Eugenia Susannah. His other daughter, Adeline Mary, appears in another silhouette from this particular set. David Barclay Chapman was a partner in the bank which in 1896 became the Limited Company Barclay & Co, known today as Barclay's. Prior to photography, silhouettes were the easiest way of recording a person's appearance. This set might record the group present at a country house party, a wedding, or other similar convivial occasion. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Silhouette (circa 1870)
Lennox
Gouache, pen, and ink 52 x 44 cm Prior to photography, silhouettes were the easiest way of recording a person's appearance. This set might record the group present at a country house party, a wedding, or other similar convivial occasion. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Silhouette (circa 1870)
Miss Dodo Guinness
Gouache, pen, and ink 52 x 44 cm Adelaide Maud Guinness, nicknamed 'Dodo', was descended from the banking line of Guinnesses. Her father was the barrister and MP Richard Samuel Guinness. Dodo married Edward Cecil Guinness, the 1st Earl of Iveagh and her third cousin, in 1873. Edward's father had died in 1868, after which Edward inherited a share of the famous Guinness brewery. The Guinness family seat is Elveden Hall in Suffolk. Prior to photography, silhouettes were the easiest way of recording a person's appearance. This set might record the group present at a country house party, a wedding, or other similar convivial occasion. Condition: generally good; some staining to upper edge. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Silhouette (circa 1870)
The Hon Mrs F Byron
Gouache, pen, and ink 52 x 44 cm Likely Mary Jane Wescomb, the daughter of the daughter of Reverend William Wescomb. She married the Hon Frederick Byron in 1851; Byron was a cricketer educated at Westminster and Balliol College, Oxford, and became a fellow at All Souls College in 1843. The couple moved in to Langford Grove together after their marriage. Prior to photography, silhouettes were the easiest way of recording a person's appearance. This set might record the group present at a country house party, a wedding, or other similar convivial occasion. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Piper (1903-1992)
Westminster School II (1961)
42 x 59 cm Signed lower right and numbered 86/100 lower left in pencil. Piper’s second view of Westminster School; both views were commissioned by the school in 1981. Here he depicts Grant's House, with College on the far left and Rigaud’s House on the right. The view is serene and silent, set against a night sky the colour of stone, mimicking the buildings below. 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: generally very good; a little age toning. A few spots to margins. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by John Piper CH. -
John Piper (1903-1992)
Westminster School I (1961)
49 x 63 cm Signed lower right and numbered 66/100 lower left in pencil. Piper's skilled and characterful rendering of Westminster School's gateway, sometimes known as Burlington's Arch. The historic entrance to the school dates from 1734 and is carved with the names of former pupils. 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: Generally very good, gentle even toning to the paper. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Sutton Nichols (1668 - 1729)
Map of Cambridgeshire
Engraving 43 x 36 cm Signed in plate lower left. A beautifully coloured 18th century map engraving of Cambridgeshire. The map was produced by Robert Morden for publication in Edward Gibson's 1695 translation of William Camden's Britannia, a topographical and historical survey of Great Britain and Ireland produced to "restore antiquity to Britaine, and Britain to his antiquity" - a most noble aim. William Camden (1551 - 1623) was an English antiquarian, historian, topographer, and herald, best known as the author of Britannia, the first chorographical survey of the islands of Great Britain and Ireland, and the Annales, the first detailed historical account of the Queen Elizabeth I's reign. Sutton Nicholls was a draughtsman and engraver best known for his panoramic views of the cities of London and Westminster. Almost all of his engravings were commissioned by publishers. Nicholls specialised in topographical and architectural designs; he also produced many maps, notably illustrating John Strype’s edition of John Stowe’s ‘Survey of London’ in 1720. Condition: good. Mounted to board. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Pieter van den Keere (1571 - circa 1646) after John Speed (1551 or 1552 - 1629)
Map of Cambridgeshire (1627)
Engraving 8 x 12 cm A beautifully coloured map of Cambridgeshire, with an antique description of the county to the reverse. The map, along with many others, was published in Speed's atlas, 'The Theatre of the Empire of Great Britaine', first published in 1611. This particular miniature edition of the 'Theatre' was published in miniature by George Humble in 1627, entitled 'England Wales Scotland and Ireland Described and Abridged With ye Historic Relation of things worthy memory from a farr larger Voulume. Done by John Speed.’ Speed's original map was likely engraved for this edition by Peter van den Keere. van den Keere's maps soon came to be known as "Miniature Speeds". John Speed was an English cartographer, chronologer and historian. The son of a citizen and Merchant Taylor in London, he rose from his family occupation to accept the task of drawing together and revising the histories, topographies and maps of the Kingdoms of Great Britain as an exposition of the union of their monarchies in the person of King James I and VI. He accomplished this with remarkable success, with the support and assistance of the leading antiquarian scholars of his generation. He drew upon and improved the shire maps of Christopher Saxton, John Norden and others, being the first to incorporate the hundred-boundaries into them, and he was the surveyor and originator of many of the town or city plans inset within them. His work helped to define early modern concepts of British national identity. His Biblical genealogies were also formally associated with the first edition of the King James Bible. He is among the most famous of English mapmakers. George Humble (1572 - 1640) was an English publisher, known for his publication of John Speed's 'The theatre of the empire of Great Britaine,' the first comprehensive atlas depicting the British Isles, and his later 'A prospect of the most famous parts of the World,' the first English world atlas. Pieter van den Keere was a Flemish engraver, publisher, and globe maker who worked in England and the Dutch Republic. Condition: generally very good; some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Out of stock
Edmund J Thring (1906-1985)
Architectural Perspective Design for a Building in Salisbury
38 x 60 cm Watercolour / gouache Framed. We are informed that the building still exists on Chichester High Street, though in slightly different form from the way it is painted here. Click here for other works by Thring. -
Edward Burra (1905 - 1976)
Café
(1928 - 1929, this edition published 1971) Woodcut 10 x 15 cm; sheet size 24 x 34 cm Numbered 15/45 lower left and initialled EB lower right. Published by the Nicholas Treadwell Gallery in 1971. Burra's woodcut of a male and a female figure, entitled 'Café'. The two figures, seemingly a couple, gaze at one another intensely and intimately, giving the impression of having been interrupted by the viewer. Both figures' faces bear tattoo-like markings: he a star and the moon, she a geometric design resembling a noughts-and-crosses board. The "café" in which they sit is a dreamily abstract landscape full of palms and other plants from the tropics. Edward Burra was an English painter, draughtsman, and printmaker. He travelled to Italy in 1925, the same year he met the noted British Surrealist Paul Nash, and both of these influences are evident in this woodcut. Nash introduced Burra to woodcut-making in 1928, the same year that Burra began this woodcut series. His first solo show was held at the Leicester Galleries in April 1929, and he exhibited with the English Surrealists in the 1930s. Condition: Excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Edward Burra (1905 - 1976)
The Guitar Player
(1928 - 1929, this edition published 1971) Woodcut 15 x 10 cm; sheet size 34 x 24 cm Numbered 15/45 lower left and initialled EB lower right. Burra's woodcut of a female guitar player surrounded by a landscape of cacti. A bunch of grapes is pendent beside her triangular earring, and a male figure in a wide-brimmed hats stands in the field nearby. Edward Burra was an English painter, draughtsman, and printmaker. He travelled to Italy in 1925, the same year he met the noted British Surrealist Paul Nash, and both of these influences are evident in this woodcut. Nash introduced Burra to woodcut-making in 1928, the same year that Burra began this woodcut series. His first solo show was held at the Leicester Galleries in April 1929, and he exhibited with the English Surrealists in the 1930s. Condition: Excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Angela Stones (1914 - 1995)
Old London Bridge Fantasia (1968)
Oil on board 56 x 43 cm Signed lower left. A fantasia inspired by Old London Bridge on the Thames. The grey dome of St Paul's peeps over the bridge; bright lights burn in the background, throwing yellows and red reflections onto the water. Moored boats bob gently in the foreground. 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. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Dower (1825 - 1901)
Map of Berkshire from an actual survey made in the years 1822 & 1823
Engraving 57 x 69 cm A large antique engraved map of Berkshire. Condition: good; some light staining. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
New College, Oxford (1705)
Engraving 31 x 49 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: repaired tear to central fold; has been washed. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Chapel Interior (circa 1800)
Engraving 49 x 40 cm An engraving of a magnificent chapel interior. Two men tour the chapel, one gesticulating towards the spectacular design of the chancel window. Condition: good. Some gentle discolouration; in faux burr-maple frame. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Angela Stones (1914 - 1995)
Still Life with Pineapple
Oil on board 41 x 51 cm Signed lower left. Provenance: the family of the artist. A dark, characterful mid-century still life in oils, characterised by Stones' textured brushwork and rich use of colour. 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. 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 more still lifes. -
Angela Stones (1914 - 1995)
Still Life with Mushrooms
Oil on board 41 x 51 cm Signed lower right. Provenance: the family of the artist. A dark, characterful mid-century still life in oils, characterised by Stones' textured brushwork and rich use of colour. 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. 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 more still lifes. -
Angela Stones (1914 - 1995)
Still Life with Coffee Pot and Fruit
Oil on board 41 x 51 cm Signed lower right. Provenance: the family of the artist. A mid-century still life in oils, characterised by Stones' textured brushwork, inventive composition, and rich use of colour. 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. 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 more still lifes. -
Angela Stones (1914 - 1995)
Irises
Oil on board 56 x 41 cm Signed lower right. A glass jar of irises, with two shells, on a pale pink and peach backdrop. Stones'' impasto technique brings texture to the shells and petals, and shades of purple offset the greens and pinks of the composition. 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. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Angela Stones (1914 - 1995)
Still Life with Fruit and Milk Bottle
Oil on board 41 x 51 cm Signed lower left. A mid-century still life in oils, characterised by Stones' textured brushwork and use of vivid colours. 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. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Angela Stones (1914 - 1995)
From Battersea Bridge (before Redevelopment)
Oil on board 40 x 50 cm Stones' view of the Thames and Chelsea Bridge, painted from Battersea Bridge. The artist's use of impasto, particularly evident in her depiction of the rambunctious white clouds above the bridge, lends a liveliness to the painting. 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. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Angela Stones (1914 - 1995)
Still Life with Fruit and Coffee Pot
Oil on board 41 x 51 cm Signed lower right. A sophisticated mid-century still life, characterised by gleaming coffee pot and brimming fruit bowl. The rich red of the apples communicates with the scarlet of the draperies and Stones' signature, just as the bluish-purple hues of the grapes do with the glinting metal of the coffee pot and the blue book on which it stands. 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. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Angela Stones (1914 - 1995)
Still Life with Fruit and Jug
Oil on board 40 x 50 cm Signed lower left. A stylish mid-century still life, characterised by Stones' lively brushwork and rich use of colour. 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. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Angela Stones (1914 - 1995)
French Street Scene
Oil on board 56 x 41 cm A delightful mid-century oil painting. A couple and their dog meander down a cobbled French lane under a bright blue sky. 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. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Gerald Mac Spink (flourished 1920 - 1940)
For Theatres, Kinemas, Cabarets, Dances, Concerts, Travel by Underground (c. 1930)
Gouache 30 x 19 cm Original design for a London Transport poster. Framed. A fantastic gouache design by Spink for a London Underground poster. The artist's striking Art Deco design and heady use of colour advertises the glamour of travelling by Tube to various evening entertainments around London. Spink was a skilled artist and designer who produced a series of posters in the inter-war period for companies including the London Underground, Southern Railways, LNER, Hawker Engineering, and British Steel. He won a prize in 1933 from the Imperial Institute for his poster artwork. He also worked as an aeronautical engineer in Kingston-on-Thames for Hawker Engineering; his greatest achievement was the creation of the 'Squanderbug', a 500cc racing car which he built in 1947, and which races even to this day. Provenance: the artist's estate. Condition: good; a few small scuffs to gouache, as visible in photographs. Handsomely framed. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Gerald Mac Spink (flourished 1920 - 1940)
For Pleasure, Travel by Underground (c. 1930)
Gouache 26 x 18 cm Original design for a London Transport poster. Framed. A dynamic Art Deco poster design by Mac Spink. A boldly-coloured harlequin figure encourages travel via the London Underground. Spink was a skilled artist and designer who produced a series of posters in the inter-war period for companies including the London Underground, Southern Railways, LNER, Hawker Engineering, and British Steel. He won a prize in 1933 from the Imperial Institute for his poster artwork. He also worked as an aeronautical engineer in Kingston-on-Thames for Hawker Engineering; his greatest achievement was the creation of the 'Squanderbug', a 500cc racing car which he built in 1947, and which races even to this day. Provenance: the artist's estate. Condition: good; a few small scuffs to gouache, as visible in photographs. Handsomely framed. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Out of stock
Bernard Myers (1925 - 2007)
South London Park
Oil on board 38 x 64 cm Myers' abstract oil of a London park. Blocks of colour make up the forms of the landscape, textured by the artist's thick, lateral brushstrokes. 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. Condition: very good. Recently cleaned and revarnished. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Ken Messer (1931 - 2018)
Dreaming Spires
Watercolour 30 x 38 cm Signed lower left. Oxford's skyline, including the Radcliffe Camera, the spire of University Church of St Mary the Virgin, and Magdalen Tower, is silhouetted against the grey sky of a winter day. The trees in the foreground are stark and black. Messer's depiction of Oxford's dreaming spires is an outstanding architectural record of the city's - and University's - most remarkable buildings. The painter and draughtsman Ken Messer is closely related to Oxford and its architecture in several ways. Born in Newport, South Wales, he was educated at the City of Oxford High School for Boys in Oxford, and then spent six years working as an accountant in Oxford. He then joined British Overseas Airways Corporation (BOAC) as a steward, flying internationally. Injury due to a car accident during the 1960s meant that he joined the design department of Pergamon Press in Oxford at the age of 33. Six years later, he was appointed to the position of studio manager, in charge of art and design. In 1974, Messer left Pergamon Press to become a freelance graphic designer. He started painting more watercolours, becoming a full-time artist. During the 1980s, his ink drawings were regularly published in the Oxford Times. He has sometimes been called "The Oxford Artist" because of his large number of works depicting Oxford. He and his wife Dilys lived at first in Richmond upon Thames and then in Abingdon, just south of Oxford. Messer's work has been shown at the Mall Galleries for the annual exhibitions of the Royal Institute of Painters in Water Colours annual exhibitions. Condition: excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
Jesus College, Oxford (1705)
Engraving 29 x 41 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. Slight time staining. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Ernest William Haslehurst (1866 - 1949)
The Market Place, Cambridge, with a view of Great St Mary’s Church and King's College Chapel
Watercolour 33.5 x 23 cm Haslehurst's watercolour of Cambridge's marketplace, overlooked by the spires of King's College Chapel and Great St Mary's. Ernest William Haslehust was an English landscape painter and book illustrator who worked in watercolours. He was a member of the Royal Institute of Painters in Water Colours (RI), Royal Society of British Artists (RBA), Royal West of England Academy (RWA) and Royal British Colonial Society of Artists (RBC), and exhibited regularly at many venues including the Royal Academy in London. He also designed posters for the LNER and LMS railway companies, and his art was featured in many magazines of the day including the Illustrated London News and The Tatler. Condition: generally good. Some spotting. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
James Basire II (1769 - 1822) after JMW Turner (1775 - 1851)
View of Exeter College, All Saints Church &c. from the Turl
Engraving 35 x 46 cm A view of Exeter College, Oxford from Turl Street. Labourers cobble the road. The spire of what was All Saints Church, now Lincoln College's library, overlooks the scene. Turner's drawing was reproduced as a lithograph in 1800, to be published in 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 and John Piper. Basire and Dayes collaborated on several views of Oxford during the courses of their careers. Joseph Mallord William Turner RA, known in his time as William Turner, was an English Romantic painter, printmaker and watercolourist. He is known for his expressive colouring, imaginative landscapes and turbulent, often violent, marine paintings. He left behind more than 550 oil paintings, 2,000 watercolours, and 30,000 works on paper. He was championed by the leading English art critic John Ruskin from 1840, and is today regarded as having elevated landscape painting to an eminence rivalling history painting. James Basire II was a British engraver, son of James Basire I, also a celebrated engraver. In 1802 he became Engraver to the Society of Antiquaries. Condition: trimmed within plate mark and mounted to paper. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Other views of Exeter College, Oxford are available here. -
Arabesques and caricatures
Engraving 24.5 x 36 cm Condition: good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
James Redaway (1797 - 1858)
Eton from the Locks
Hand-coloured engraving 27 x 28 cm Redaway's view of Eton College, seen from the locks on the River Thames. James Redaway was a nineteenth-century engraver, principally of landscapes and architectural subjects. Condition: some staining to lower half of print. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Donowell (flourished 1753 - 1786) A View of the Conduit part of Carfax Church, the Piazza called the Butter Market, the Town Hall, the West Front of Christ Church College, &c. in the University of Oxford (1750)
Engraving 29 x 42 cm An eighteenth century view of St Aldate''s, featuring the west front of Christ Church and the Town Hall. Undergraduates, academics, and townspeople saunter along, all under the watchful eye of Tom Tower. John Donowell was an eighteenth-century British architect and engraver, considered to be one of the principal architect-draughtsmen in the latter part of the eighteenth century. He exhibited in 1761 at the Free Society, then through the 1760s at the Society of Artists, and from 1778 to 1786 at the Royal Academy; prints, some hand-coloured, were published at this time. Condition: some browning; antique frame with old glass. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
After Ernest William Haslehurst (1866 - 1949)
E Staircase, Second Court, St John's College, Cambridge (circa 1915)
Watercolour 33 x 22 cm Haslehurst's watercolour of a staircase at John's. The artists captures the quintessential Cambridge combination of dark wood and old stone, focusing on a beautiful but overlooked passageway in the college. Light streams in from the court. Second Court was built in the years immediately after 1599, to the designs of Ralph Symons of Westminster and Gilbert Wigg of Cambridge. The harmonious proportions and local brickwork of the Court in general make it the finest example of this style of architecture in Cambridge. Ernest William Haslehust was an English landscape painter and book illustrator who worked in watercolours. He was a member of the Royal Institute of Painters in Water Colours (RI), Royal Society of British Artists (RBA), Royal West of England Academy (RWA) and Royal British Colonial Society of Artists (RBC), and exhibited regularly at many venues including the Royal Academy in London. He also designed posters for the LNER and LMS railway companies, and his art was featured in many magazines of the day including the Illustrated London News and The Tatler. His painting of this view was featured in the illustrated book of Cambridge by Noel Barwell (Blackie & Son) 1910, and the artist of this painting has recorded the view from the same corner. Condition: very good; some light spotting. Handsome antique frame which bears some signs of age. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
The Mathematical Bridge, Queens' College, Cambridge
Watercolour 27 x 18 cm A delightful watercolour of Cambridge's famous Mathematical Bridge. Figures punt under the bridge and the buildings of Queens are reflected in the serene waters of the River Cam. Kate Hillman of the Cambridge University Engineering Department notes that: "One of the most recognisable structures on the Cam, Queens' College bridge was originally built in 1749 by James Essex the Younger. Since then it has been rebuilt twice to the original design of William Etheridge, once in 1866 and again in 1905. In 1866 the bridge deck was changed from a stepped design to the current sloped deck. In 1905 a complete rebuild of the bridge was required due to weathering of the original oak structure. stories have suggested that a group of students (or professors, depending on the storyteller) disassembled the bridge to discover how it stood up and then couldn't put it back together. The bridge was supposedly then rebuilt using rather prominent bolts." Condition: very good; gilt frame has some age. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Bernard Cecil Gotch (1876 - 1964)
Merton Street, Oxford
Watercolour 37 x 25.5 cm Signed in pencil lower right. A wintry view of Holywell Street, Oxford, where Charles Ryder and Sebastian Flyte famously take up lodgings in Brideshead Revisited. Magdalen Tower peeps out over the cobbled lane. On the other side of the wall is the Fellows Garden of Merton College. 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: slight discolouration to paper. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Gerardus Mercator (1512 - 1594)
Map of the North of Scotland (1683)
Engraving with later hand colouring 35 x 45 cm A fantastically characterful and detailed map engraving of the North of Scotland from 1683. The highly detailed and beautifully coloured map is inscribed to the reverse with a description of the parts of Scotland illustrated, called the ''Troisieme Table d''Escosse''. The map comes from the 1683 French edition of Gerardus Mercator''s Atlas Major, which was first published in 1585. Gerardus Mercator was the Flemish father of mapmaking. He was a skilled geographer, cosmographer and cartographer and is most renowned for creating the 1569 world map based on a new projection which represented sailing courses of constant bearing (rhumb lines) as straight lines - an innovation that is still employed in today''s nautical charts. Mercator was a highly influential pioneer in the history of cartography and is generally considered one of the founders of the Netherlandish school of cartography and geography. He is also widely considered the most notable figure of the school. In his own day, he was a notable maker of globes and scientific instruments. In addition, he had interests in theology, philosophy, history, mathematics and geomagnetism. He was also an accomplished engraver and calligrapher. Unlike other great scholars of the age, he travelled little and his knowledge of geography came from his library of over a thousand books and maps, from his visitors and from his vast correspondence (in six languages) with other scholars, statesmen, travellers, merchants and seamen. Mercator''s early maps were in large formats suitable for wall mounting but in the second half of his life, he produced over 100 new regional maps in a smaller format suitable for binding into his Atlas of 1595. This was the first appearance of the word Atlas in reference to a book of maps. However, Mercator used it as a neologism for a treatise (Cosmologia) on the creation, history and description of the universe, not simply a collection of maps. He chose the word as a commemoration of the Titan Atlas, "King of Mauretania", whom he considered to be the first great geographer. Mercator wrote on geography, philosophy, chronology and theology. All of the wall maps were engraved with copious text on the region concerned. As an example, the famous world map of 1569 is inscribed with over five thousand words in fifteen legends. Condition: a little spotting, primarily to margins. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Joseph Constantine Stadler (1755 - 1828) after William Westall (1781 - 1850)
Jesus College, Cambridge, from the Close (1815)
Hand-coloured aquatint 24 x 29.5 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of Jesus College, foregrounded by trees, the River Cam, and grazing cattle. Joseph Constantine Stadler was a prolific German émigré engraver of images after his contemporaries - here, 18th-century English landscape painter and diarist Joseph Farington. Stadler''s engravings are wide-ranging in subject matter and include landscapes, seascapes and portraits, as well as military, sporting and decorative subjects. Stadler was employed by the leading print publisher of the time, John Boydell. Stadler lived in Knightsbridge when he died at the age of 73. William Westall was a British landscape artist. He was born in Hertford and enrolled at the Royal Academy schools in 1799. He later became the draughtsman for a voyage to Australia and the South Seas. After being shipwrecked, he travelled to Canton in China and to India, staying in Bombay for several months. He returned to England in 1805 but later set off for Madeira and Jamaica. He became a member of the Society of Painters in Water Colours (1811) and an associate of the Academy (1812). Following a mental breakdown, he regularly visited the Lake District and published ‘Views of the Valley and Vale of Keswick’ (1820). His series of aquatints of the Thames, the great universities, and England's public schools for Ackermann are among his most popular works. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Joseph Constantine Stadler (1755 - 1828) after Frederick Mackenzie (1788 - 1854)
The Chapel of All Souls College, Oxford (1814)
Hand-coloured aquatint 29.5 x 21 cm Published by Rudolph Ackermann (1764 – 1834). An engraving of All Souls' chapel. All Souls College was founded in 1437 by Henry Chichele, Archbishop of Canterbury, to serve as a memorial to Henry V and the English dead in the Hundred Years War. The Front Quad appears virtually unchanged since it was first built in the years 1438-1343, thanks to a sympathetic Victorian restoration. The chapel was modelled after that of New College, where Chichele was a Member. It has a superb hammer-beam roof, excellent mediaeval stained glass, and a large number of original stalls. All services in the chapel are according to the Book of Common Prayer; the King James Bible is also used rather than more modern translations. 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. Joseph Constantine Stadler was a prolific German émigré engraver of images after his contemporaries - here, 18th-century English landscape painter and diarist Joseph Farington. Stadler''s engravings are wide-ranging in subject matter and include landscapes, seascapes and portraits, as well as military, sporting and decorative subjects. Stadler was employed by the leading print publisher of the time, John Boydell. Stadler lived in Knightsbridge when he died at the age of 73. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
D Havell (1785 - 1822) after William Westall (1781 - 1850)
The Library of St John's College, Cambridge (1815)
Hand-coloured aquatint 24 x 29.5 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of St John's College, Cambridge's marvellous library. It was built between 1623 and 1628, largely through the donations and efforts of two members of the college: Valentine Carey, Bishop of Exeter, and John Williams, Lord-Keeper and Bishop of Lincoln. The building's shell was completed in 1624, a date which appears on the south gable of the western oriel window. The building is constructed in the Jacobean Gothic style, and measures 110 feet by 30 feet wide. The tall two-light windows are a very early example of Gothic Revival, but the façade is Renaissance-inspired. The library contains 42 bookcases arranged at right angles to the north and south walls, and is the home of the College's double-manual harpsichord. William Westall was a British landscape artist. He was born in Hertford and enrolled at the Royal Academy schools in 1799. He later became the draughtsman for a voyage to Australia and the South Seas. After being shipwrecked, he travelled to Canton in China and to India, staying in Bombay for several months. He returned to England in 1805 but later set off for Madeira and Jamaica. He became a member of the Society of Painters in Water Colours (1811) and an associate of the Academy (1812). Following a mental breakdown, he regularly visited the Lake District and published ‘Views of the Valley and Vale of Keswick’ (1820). His series of aquatints of the Thames, the great universities, and England''s public schools for Ackermann are among his most popular works. The Havell family of Reading, Berkshire, England, included a number of notable engravers, etchers and painters, as well as writers, publishers, educators, and musicians. Daniel and Robert Havell set up in partnership as aquatint engravers. Soon Daniel began to work independently, engraving plates for Rudolph Ackermann''s History of Cambridge (1815) and hid history of various public schools including Eton, Winchester, and Rugby (1816), as well as a celebrated views of St Paul''s Cathedral (1818) and various other London landmarks for Ackermann''s Repository of Arts. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857)
Pensioner of Trinity College, Masters of Arts, and Sizer (1815)
Hand-coloured aquatint 25 x 30 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of a pensioner of Trinity College, Masters of Arts, and a sizer (that is, an undergraduate who receives some form of assistance such as meals, lower fees or lodging during his or her period of study, in some cases in return for doing a defined job) from Ackermann's ''A History of the University of Cambridge, Its Colleges, Halls and Public Buildings''. The four figures walk forward with ceremonial accoutrements, likely to a graduation ceremony. At Cambridge, a sizar was originally an undergraduate student who financed his studies by undertaking more or less menial tasks within his college but, as time went on, was increasingly likely to receive small grants from the college. Certain colleges, including St John's and Trinity, distinguished between two categories of sizar: there were specific endowments for specific numbers of sizars who were called "proper sizars"; those who were not so endowed, but who were maintained by fellow-commoners and fellows were called subsizars. Isaac Newton matriculated as subsizar at Trinity College. Richard S. Westfall noted that sizars were considerably more successful in gaining degrees than the gentlemen who entered Cambridge in the seventeenth century. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann''s collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857)
Doctors in Divinity, Esquire Beadle, and Yeoman Beadle (1815)
Hand-coloured aquatint 25 x 30 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of two Doctors in Divinity and two beadles (administrative assistants to the Chancellor and Proctors of the University) from Ackermann's ''A History of the University of Cambridge, Its Colleges, Halls and Public Buildings''. The four figures walk forward with ceremonial accoutrements, likely to a graduation ceremony. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann''s collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857)
Fellow Commoner of Emanuel College; a Nobleman; Fellow Commoner of Trinity College (1815)
Hand-coloured aquatint 25 x 29.5 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of two students and a nobleman from Ackermann's ''A History of the University of Cambridge, Its Colleges, Halls and Public Buildings''. The three figures dwell over a pile of books and papers, clad in the appropriate academic dress. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann''s collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
James Basire II (1769 - 1822) after Edward Dayes (1763 - 1804)
A View of the Theatre, Printing House, & c. (1800)
Engraving 36 x 49 cm A view of Broad Street, showing the Clarendon Building, Sheldonian Theatre, and what is now the Museum of the History of Science. Edward Dayes' drawing was reproduced as a lithograph in 1800, to be published in 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. Edward Dayes was a British painter and engraver. He exhibited topographical views at the Royal Academy from 1786 until his death, and is the author of an ''Excursion through Derbyshire and Yorkshire,'' ''Essays on Painting; Instructions for Drawing and Colouring Landscapes'', and ''Professional Sketches of Modem Artists''. James Basire II was a British engraver, son of James Basire I, also a celebrated engraver. In 1802 he became Engraver to the Society of Antiquaries. Condition: some browning, as visible in photograph. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
J Black (early 19th century) after Frederick Mackenzie (1788 - 1854)
East End of South Aisle, Westminster Abbey (1812)
Hand-coloured aquatint 31 x 24 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the East End of Westminster Abbey's south aisle. Mackenzie's drawing was engraved by Black and published by Ackermann in his 1812 "History of Westminster Abbey". Charles II, Queen Anne, Queen Mary II and her husband King William III, and Mary, Queen of Scots are all buried in the south aisle. The Abbey is an historic, mainly Gothic church in the City of Westminster, London, just to the west of the Palace of Westminster. It is one of the United Kingdom's most notable religious buildings and since Edward the Confessor, a burial site for English and, later, British monarchs. Since the coronation of William the Conqueror in 1066, all coronations of English and British monarchs have occurred in Westminster Abbey. Sixteen royal weddings have occurred at the abbey since 1100. According to a tradition first reported circa 1080, a church was founded at the site (then known as Thorney Island) in the seventh century, in the time of Mellitus, Bishop of London. Construction of the present church began in 1245 on the orders of Henry III. Frederick Mackenzie (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 till his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
J Black (early 19th century) after Frederick Mackenzie (1788 - 1854)
East Side of St Erasmus' Chapel, Westminster Abbey (1812)
Hand-coloured aquatint 28 x 19 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the east side of the chapel of St Erasmus in Westminster Abbey. Mackenzie's drawing was engraved by Black and published by Ackermann in his 1812 "History of Westminster Abbey". The chapel was built in the late 15th century by order of Edward IV's wife, Elizabeth Woodville. It would have been used to worship St Erasmus, also known as St Elmo (a Christian saint and martyr venerated as the patron saint of sailors and abdominal pain). The Abbey is an historic, mainly Gothic church in the City of Westminster, London, just to the west of the Palace of Westminster. It is one of the United Kingdom's most notable religious buildings and since Edward the Confessor, a burial site for English and, later, British monarchs. Since the coronation of William the Conqueror in 1066, all coronations of English and British monarchs have occurred in Westminster Abbey. Sixteen royal weddings have occurred at the abbey since 1100. According to a tradition first reported circa 1080, a church was founded at the site (then known as Thorney Island) in the seventh century, in the time of Mellitus, Bishop of London. Construction of the present church began in 1245 on the orders of Henry III. Frederick Mackenzie (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 till his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
J Black (early 19th century) after Frederick Mackenzie (1788 - 1854)
Screen Over the Chantry of Henry V, Westminster Abbey (1812)
Hand-coloured aquatint 26 x 31 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the gothic screen of the elaborately carved chantry chapel dedicated to Henry V, and below which lies his tomb, in Westminster Abbey. Mackenzie's drawing was engraved by Black and published by Ackermann in his 1812 "History of Westminster Abbey". The Abbey is an historic, mainly Gothic church in the City of Westminster, London, just to the west of the Palace of Westminster. It is one of the United Kingdom''s most notable religious buildings and since Edward the Confessor, a burial site for English and, later, British monarchs. Since the coronation of William the Conqueror in 1066, all coronations of English and British monarchs have occurred in Westminster Abbey. Sixteen royal weddings have occurred at the abbey since 1100. According to a tradition first reported circa 1080, a church was founded at the site (then known as Thorney Island) in the seventh century, in the time of Mellitus, Bishop of London. Construction of the present church began in 1245 on the orders of Henry III. Frederick Mackenzie (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 till his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Attributed to Antony Vandyke Copley Fielding (1787 - 1855)
Dinan Tour de l’Horloge (Dinan Clock Tower)
Watercolour 28 x 21 cm A spirited watercolour of Dinan, Brittany. Dinan's famous clock tower looks over a French street scene: men, women, and children weave through the town's half-timbered houses, shops, and ateliers. The characterful mediaeval stonework and architecture of the town are paramount, and the artist adds a bright blue hue to his depiction of Dinan's roofs. Dinan is a walled medieval Breton town and commune in the Côtes-d'Armor department of northwestern France. Enclosed by nearly three kilometres of ramparts, the town and its 14th-century castle proudly overlook the Rance river. Anthony Vandyke Copley Fielding, commonly called Copley Fielding, was an English painter famous for his watercolour landscapes. At an early age Fielding became a pupil of John Varley. In 1810 he became an associate exhibitor in the Old Watercolour Society (later known as the Royal Society of Watercolours), in 1813 a full member, and in 1831 the Society's President. In 1824 he won a gold medal at the Paris Salon, alongside Richard Parkes Bonington and John Constable. Examples of his work are held by the Victoria and Albert Museum and other major museums in Britain. Condition: good. Some spotting to sky; handsomely framed. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Chessell Buckler (1793 - 1894)
Horham Hall, Essex (1830)
Watercolour 25 x 34 cm Signed and dated lower right; titled below. Horham Hall was built in Thaxted, Essex by Sir John Cutte in the early sixteenth century. The original hall was a timber-framed moated manor house built circa 1470, but it was largely demolished by Cutte, who built the present house between 1510 and 1515. Cutte was under-treasurer in the households of Henry VII and Henry VIII. The mansion was built in brick in two storeys in a quadrilateral layout with a gatehouse and incorporated some elements of the former building. The house was visited three times by Elizabeth I as the guest of Sir John Cutte. It is believed that the Tower was built for her to watch the local hunt. It was while staying at Horham in 1578 that the Queen received the envoy of the Duke of Alençon proposing marriage. John Chessell Buckler was a British architect, the eldest son of the architect John Buckler. His work included restorations of country houses and at the University of Oxford. Buckler received art lessons from the painter Francis Nicholson. He began working for his father's architectural practice in 1810, and ran it from 1830 onwards with his younger brother George. They worked in partnership until 1842. Buckler did a lot of work in Oxford, carrying out repairs and additions to St. Mary's Church, and Oriel, Brasenose, Magdalen, and Jesus Colleges. He also restored Oxburgh Hall, Norfolk, and Hengrave Hall, Suffolk, and designed Dunston Hall, Norfolk, and Butleigh Court in Somerset. In 1836 he came second, behind Charles Barry, in the competition to rebuild the Palace of Westminster following its destruction by fire. Buckler's writings included the text accompanying his father's engravings of Views of the Cathedral Churches of England and Wales (1822). In 1823 he published 'Observations on the Original Architecture of St. Mary Magdalen College, Oxford', in which he expressed his hostility towards changes in the quadrangle of Magdalen College. Some of his later writings, such as 'A History of the Architecture of the Abbey Church of St Alban' (1847), were written in collaboration with his own son, Charles Alban Buckler. He wrote a further polemical work, 'A Description And Defense Of The Restorations Of The Exterior Of Lincoln Cathedral' (1866), a scathing response to accusations that, in capacity as honorary architect to Lincoln Cathedral, he had overseen a damaging restoration involving the 'scraping' of the cathedral fabric. He died at the grand old age of 100 in 1894. Condition: good. Some spots to the sky, as visible in photograph. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Richard Westmacott (1775 - 1856)
Edinburgh Castle (1800)
Watercolour 29 x 41 cm A watercolour depicting Edinburgh Castle. A Georgian couple gaze up at the immensity of Castle Rock, and the 11th-century fortress perched upon it. Richard Westmacott was British artist who primarily worked as a sculptor. Westmacott studied with his father, also named Richard Westmacott, at his studio in Mount Street, off Grosvenor Square in London, before going to Rome in 1793 to study under Antonio Canova. Upon his return to London in 1797, he established his own studio. He exhibited at the Royal Academy between 1797 and 1839 and was elected an associate of the Royal Academy in 1805, and a full academician in 1811. Condition: very good; handsomely framed. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Cromby (20th century)
Berean
Oil on board 38 x 49 cm Signed lower right. The Berean emerges from the horizon between a choppy sea and blue sky studded with clouds. The Berean was built by William Pile of Sunderland for Thomas B Walker of London in 1869, and was one of the fastest ships on the London-Tasmania run. The Berean was inward-bound from Langesund, Norway, with a cargo of ice, when she was struck by a foreign steamship and foundered on the 8th April 1910. In Cromby's painting, a grey-green headland emerges from the right of the picture. Cromby was a Liverpool-based artist, renowned for his paintings of Liverpool docks. Condition: excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
J Black (early 19th century) after Frederick Mackenzie (1788 - 1854)
The Choir, Westminster Abbey (1812)
Hand-coloured aquatint 28 x 19 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the vast and soaring interior of Westminster Abbey. Mackenzie's drawing was engraved by Black and published by Ackermann in his 1812 "History of Westminster Abbey". The Abbey is an historic, mainly Gothic church in the City of Westminster, London, just to the west of the Palace of Westminster. It is one of the United Kingdom's most notable religious buildings and since Edward the Confessor, a burial site for English and, later, British monarchs. Since the coronation of William the Conqueror in 1066, all coronations of English and British monarchs have occurred in Westminster Abbey. Sixteen royal weddings have occurred at the abbey since 1100. According to a tradition first reported circa 1080, a church was founded at the site (then known as Thorney Island) in the seventh century, in the time of Mellitus, Bishop of London. Construction of the present church began in 1245 on the orders of Henry III. Frederick Mackenzie (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 till his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Cromby (20th century)
A Passenger Ship in Liverpool Harbour
Oil on board 34 x 59 cm Signed lower right. A liner steers between a bright blue sky and a deep blue sea. Small steamships sail nearby, and seagulls wind their way among the various vessels. In the background, Liverpool's skyline is silhouetted. Cromby was a Liverpool-based artist, renowned for his paintings of Liverpool docks. Condition: excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Robin Furness (born 1933)
The Three O'Clock Fox - Dobinson's Covert (1972)
Oil on canvas 40 x 50 cm Signed lower right. A delightful oil painting of the Raby Hunt at Bedburn by Robin Furness, former MFH of the Bedale Hunt and noted painter of hunting scenes. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Appleyard (1908 - 1960)
The Middleton Hunt at Sherriff Hutton
Watercolour 28 x 37 cm Signed lower right. The Huntsman and hounds of North Yorkshire's Middleton Hunt. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
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. -
Bernard Cecil Gotch (1876-1964)
Oriel Square, Oxford, at the entrance to Bear Lane
Watercolour 27 x 36.5 cm Signed in pencil lower left. Oriel Square in the afternoon. Two undergraduates lean against the walls of Oriel College, talking, and another group make their way inside. Vintage cars (dating the picture to the 1920s, or 1930s?) are parked outside its gates, and the Oriel flag flies high. 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. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Bernard Cecil Gotch (1876-1964)
The Bodleian Library, Oxford: Passageway into the Old Schools Quandrangle
Watercolour 49 x 35 cm Signed in pencil lower right. An enticing view of the passageway leading into the Old Schools Quad of the Bodleian Library. Through the gateway, we see the passageway leading out of the Quad onto the other side, into Radcliffe Square. A glimpse of the Radcliffe Camera, surrounded by its green lawn, is visible through the two passages. 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. Framed, with washline mount. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
