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Brownbridge (flourished 1930s - 1940s)
For Fireside Comfort, High Beam Gas Fires brochure design
Gouache, mixed media art, and collage 21.5 x 14 cm From a small archive of works by Brownbridge, a member of the Society of Industrial Artists. A design for a brochure advertising Radiation's high beam gas fires. Brownbridge's design combines a photograph of a mother and child with hand-painted text; the red and yellow colour palette project warmth and cosiness. The mother's hair is fantastically 1930s, and she reads a copy of 'Patsy Ann: Her Happy Times' by Mona Reed King (first published in 1935) to her son. Society of Industrial Artists correspondance (photographed above) is not included; please enquire separately. Condition: generally very good; lacking 'The Serene' collaged photograph. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other designs by Brownbridge. -
Brownbridge (flourished 1930s - 1940s)
Nocturne Portable Gas Heater brochure design
Gouache and mixed media art 21.5 x 14 cm From a small archive of works by Brownbridge, a member of the Society of Industrial Artists. A marvellous gouache design for a brochure advertising the Nocturne portable gas heater. The art deco text surrounded by stars and image of the innovative gas heater superimposed on the moon combine to make this a thoroughly modern piece of 1930s design. Society of Industrial Artists correspondance (photographed above) is not included; please enquire separately. Condition: generally very good; some damage to reverse. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other designs by Brownbridge. -
Brownbridge (flourished 1930s - 1940s)
Achievement Radiation gas cookers brochure design
Pen and collage 21.5 x 14 cm From a small archive of works by Brownbridge, a member of the Society of Industrial Artists. Brownbridge's bold design advertises Radiation cookers (innovative gas cookers which were sold in Britain in the 1920s and 1930s). Shiny white against a dark background, the Radiation cooker seems impossibly glamorous and inviting. Society of Industrial Artists correspondance (photographed above) is not included; please enquire separately. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other designs by Brownbridge. -
Brownbridge (flourished 1930s - 1940s)
Continental Cookery Radiation cooker brochure design
Gouache 21.5 x 14 cm From a small archive of works by Brownbridge, a member of the Society of Industrial Artists. A beautiful original gouache design for a brochure of continental recipes, created to advertise Radiation cookers (innovative gas cookers which were sold in Britain in the 1920s and 1930s). Brownbridge's brightly-coloured design includes boldly slanted text in pink and turquoise, set over a deep blue background; he also highlights architectural gems of Europe, such as the Eiffel Tower. By cooking with a Radiation cooker, the cover suggests, you too can experience the cultural and culinary delights of Europe from the comfort of your own home. Society of Industrial Artists correspondance (photographed above) is not included; please enquire separately. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other designs by Brownbridge. -
Brownbridge (flourished 1930s - 1940s)
Fletcher Gas Fires brochure design (1937)
Lithographic brochure 21.5 x 14 cm From a small archive of works by Brownbridge, a member of the Society of Industrial Artists. An original gouache design for a brochure advertising Fletcher Russell and Co. gas fires. The futuristic style of the boldly blue-, black-, and orange-coloured poster, as well as the dynamic diamond-shaped badge containing the initials F and R (for Fletcher and Russell) combine to make this a highly modern piece of 1930s design. Society of Industrial Artists correspondance (photographed above) is not included; please enquire separately. Condition: generally very good; gentle crease to top right corner. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other designs by Brownbridge. -
Out of stock
Brownbridge (flourished 1930s - 1940s)
Boat Race at the Dorchester (1939)
Lithographic brochure 15 x 19.5 cm From a small archive of works by Brownbridge, a member of the Society of Industrial Artists. A design for a poster advertising the Dorchester's dinner after the Oxford and Cambridge Boat Race. The artist has built his design around dark and light blues, to represent the colours of Oxford and Cambridge respectively. Brownbridge's design is marvellously 1930s, from the boldly decorative typeface to the whimsically glamorous guests and their waiters floating below the invitation. Boat Race dinners in London are rather different today; at any rate, prices are not normally advertised as 'excluding Wines and Cigars'. Society of Industrial Artists correspondance (photographed above) is not included; please enquire separately. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other designs by Brownbridge. -
Fred Taylor (1875 - 1963)
Magdalen Tower from Magdalen Bridge
Watercolour 25 x 37 cm Signed lower left. Fred Taylor captures the indomitable features of Magdalen Tower. The spire rises into a pale sky as undergraduates stream past the entrance to the Porter's Lodge. An old-fashioned car drives up the High.This watercolour of Magdalen was a design for the front cover of a guidebook about Oxford.Fred Taylor was a London-born painter and poster designer. He studied at the Académie Julian in Paris, and Goldsmiths’ in London, later travelling to Italy on a scholarship to study art. He produced many poster designs for railway and shipping firms and was an official camoufleur during the Second World War. He exhibited at the Royal Academy.Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Magdalen College, Oxford. -
Wilfred Pettitt (1904 - 1978)
Great Court, Trinity College, Cambridge
Watercolour 17 x 27 cm A smartly-dressed couple and their two children enjoy the sunny and immaculately-lawned Great Court of Trinity College, Cambridge. The man and woman admire the ornate fountain which stands sentinel in the middle of the court (it, along with the rest of Great Court, was erected by by Thomas Nevile, master of the college in the early 17th century). Their children, perhaps oblivious to the architectural majesty around them, amuse themselves by playing with the pigeons. Wilfred Stanley Pettitt was born in Great Yarmouth, and studied at the Great Yarmouth School of Art and the Norwich School of Art. In 1928 he showed at the Royal Academy Royal Academy for the first time, and his work was also exhibited by the Royal Society of British Artists and the Royal Cambrian Academy. In 1944 Pettitt became one of the founding members of the Norwich Twenty Group (a group of Norfolk artists who intended to raise the standards of local professional art). He died in Eastbourne in 1978. Condition: mounted to board; otherwise very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity College, Cambridge. -
Out of stock
Concorde
Original vintage poster 102 x 64 cm A striking poster advertising the glamorous Concorde aircraft for British Airways. Concorde entered service in 1976 with Air France from Paris-Roissy and British Airways from London Heathrow. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Out of stock
Brian Bannatyne Lewis (1906 - 1991)
Hanger Lane Station (1938)
Pen, ink and watercolour 70 x 50 cm Inscribed 'BB Lewis' lower right. A 1938 design for the new Hanger Lane tube station, commissioned by the Great Western Railway (GWR) for its proposed western extension to the Central Line. The design's Art Deco lettering befits London Transport's aesthetic in the 1930s. Lewis brings his designs to life by including smartly-dressed characters entering and leaving the stations. The Central line opened in 1900, between Shepherd's Bush and Bank; it extended westwards to Ealing Broadway in 1920. Two years after the formation of London Transport in 1933, an extensive New Works Programme began, proposing a westwards extension of the line to Denham. Brian Lewis created designs for nine stations in early 1938, but the Second World War broke out before they could be built. By the time the extension had been built, Lewis was no longer chief architect of the GWR - the stations were modified and completed by Frederick Francis Charles Curtis instead. The extension to Greenford opened in 1947 and finally reached West Ruislip in 1948. Denham never actually became part of the tube line, owing to the establishment of the green belt. Brian Lewis was born in Tasmania, attended school in Melbourne, and subsequently obtained a Diploma in Architecture in 1928 from the University of Melbourne. He then moved to the UK to study at the Liverpool School of Architecture, winning scholarships in each of his three years of study to fund extensive European travel. He married a fellow Liverpool architectural student, Hilary Archer. After moving to London, he took up employment with the GWR in their architects’ office; he also lectured at a local polytechnic, and moonlighted with his wife at home on mainly residential commissions – rather different projects from the hotels and stations which GWR commissioned from him. He exhibited frequently at the Royal Academy of Arts, showing superb measured drawings of historic buildings. In the Second World War he enlisted with the Second Imperial Australian Force, serving in the Middle East, then transferred to the Royal Australian Engineers where he became a Captain. In 1943 he was sent to London to help GWR repair bomb damage. Lewis became Chief Architect of GWR in 1945 (following the retirement of the noted Percy Emerson Culverhouse), and the first Chair of Architecture at Melbourne University in 1947. He also became the consulting architect for the major buildings of the Australian National University in Canberra, producing an imaginative site plan and designing University House, which was awarded the Sulman medal in 1954. He also designed the Risdon Prison Complex in 1960. He retired in 1971 to paint watercolours and write his memoirs. Condition: generally very good; a few handling marks and two holes from filing. Handsomely framed. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here to view the other station designs in the set. -
Out of stock
Brian Bannatyne Lewis (1906 - 1991)
North Acton Station (1938)
Pen, ink and watercolour 70 x 50 cm Initialled and dated 26 2 38. A 1938 design for the new North Acton tube station, commissioned by the Great Western Railway (GWR) for its proposed western extension to the Central Line. The design's Art Deco lettering befits London Transport's aesthetic in the 1930s. Lewis brings his designs to life by including smartly-dressed characters entering and leaving the stations. The Central line opened in 1900, between Shepherd's Bush and Bank; it extended westwards to Ealing Broadway in 1920. Two years after the formation of London Transport in 1933, an extensive New Works Programme began, proposing a westwards extension of the line to Denham. Brian Lewis created designs for nine stations in early 1938, but the Second World War broke out before they could be built. By the time the extension had been built, Lewis was no longer chief architect of the GWR - the stations were modified and completed by Frederick Francis Charles Curtis instead. The extension to Greenford opened in 1947 and finally reached West Ruislip in 1948. Denham never actually became part of the tube line, owing to the establishment of the green belt. Brian Lewis was born in Tasmania, attended school in Melbourne, and subsequently obtained a Diploma in Architecture in 1928 from the University of Melbourne. He then moved to the UK to study at the Liverpool School of Architecture, winning scholarships in each of his three years of study to fund extensive European travel. He married a fellow Liverpool architectural student, Hilary Archer. After moving to London, he took up employment with the GWR in their architects’ office; he also lectured at a local polytechnic, and moonlighted with his wife at home on mainly residential commissions – rather different projects from the hotels and stations which GWR commissioned from him. He exhibited frequently at the Royal Academy of Arts, showing superb measured drawings of historic buildings. In the Second World War he enlisted with the Second Imperial Australian Force, serving in the Middle East, then transferred to the Royal Australian Engineers where he became a Captain. In 1943 he was sent to London to help GWR repair bomb damage. Lewis became Chief Architect of GWR in 1945 (following the retirement of the noted Percy Emerson Culverhouse), and the first Chair of Architecture at Melbourne University in 1947. He also became the consulting architect for the major buildings of the Australian National University in Canberra, producing an imaginative site plan and designing University House, which was awarded the Sulman medal in 1954. He also designed the Risdon Prison Complex in 1960. He retired in 1971 to paint watercolours and write his memoirs. Condition: generally very good; a few handling marks and two holes from filing. Handsomely framed. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here to view the other station designs in the set. -
Out of stock
Brian Bannatyne Lewis (1906 - 1991)
East Acton Station (1938)
Pen, ink and watercolour 70 x 50 cm Initialled and dated 28 2 38. A 1938 design for the new East Acton tube station, commissioned by the Great Western Railway (GWR) for its proposed western extension to the Central Line. The design's Art Deco lettering befits London Transport's aesthetic in the 1930s. Lewis brings his designs to life by including smartly-dressed characters entering and leaving the stations. The Central line opened in 1900, between Shepherd's Bush and Bank; it extended westwards to Ealing Broadway in 1920. Two years after the formation of London Transport in 1933, an extensive New Works Programme began, proposing a westwards extension of the line to Denham. Brian Lewis created designs for nine stations in early 1938, but the Second World War broke out before they could be built. By the time the extension had been built, Lewis was no longer chief architect of the GWR - the stations were modified and completed by Frederick Francis Charles Curtis instead. The extension to Greenford opened in 1947 and finally reached West Ruislip in 1948. Denham never actually became part of the tube line, owing to the establishment of the green belt. Brian Lewis was born in Tasmania, attended school in Melbourne, and subsequently obtained a Diploma in Architecture in 1928 from the University of Melbourne. He then moved to the UK to study at the Liverpool School of Architecture, winning scholarships in each of his three years of study to fund extensive European travel. He married a fellow Liverpool architectural student, Hilary Archer. After moving to London, he took up employment with the GWR in their architects’ office; he also lectured at a local polytechnic, and moonlighted with his wife at home on mainly residential commissions – rather different projects from the hotels and stations which GWR commissioned from him. He exhibited frequently at the Royal Academy of Arts, showing superb measured drawings of historic buildings. In the Second World War he enlisted with the Second Imperial Australian Force, serving in the Middle East, then transferred to the Royal Australian Engineers where he became a Captain. In 1943 he was sent to London to help GWR repair bomb damage. Lewis became Chief Architect of GWR in 1945 (following the retirement of the noted Percy Emerson Culverhouse), and the first Chair of Architecture at Melbourne University in 1947. He also became the consulting architect for the major buildings of the Australian National University in Canberra, producing an imaginative site plan and designing University House, which was awarded the Sulman medal in 1954. He also designed the Risdon Prison Complex in 1960. He retired in 1971 to paint watercolours and write his memoirs. Condition: generally very good; a few handling marks and two holes from filing. Handsomely framed. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here to view the other station designs in the set. -
Out of stock
Brian Bannatyne Lewis (1906 - 1991)
South Ruislip Station (1938)
Pen, ink and watercolour 70 x 50 cm Initialled and dated 8 3 38. A 1938 design for the new South Ruislip tube station, commissioned by the Great Western Railway (GWR) for its proposed western extension to the Central Line. The design's Art Deco lettering befits London Transport's aesthetic in the 1930s. Lewis brings his designs to life by including smartly-dressed characters entering and leaving the stations. The Central line opened in 1900, between Shepherd's Bush and Bank; it extended westwards to Ealing Broadway in 1920. Two years after the formation of London Transport in 1933, an extensive New Works Programme began, proposing a westwards extension of the line to Denham. Brian Lewis created designs for nine stations in early 1938, but the Second World War broke out before they could be built. By the time the extension had been built, Lewis was no longer chief architect of the GWR - the stations were modified and completed by Frederick Francis Charles Curtis instead. The extension to Greenford opened in 1947 and finally reached West Ruislip in 1948. Denham never actually became part of the tube line, owing to the establishment of the green belt. Brian Lewis was born in Tasmania, attended school in Melbourne, and subsequently obtained a Diploma in Architecture in 1928 from the University of Melbourne. He then moved to the UK to study at the Liverpool School of Architecture, winning scholarships in each of his three years of study to fund extensive European travel. He married a fellow Liverpool architectural student, Hilary Archer. After moving to London, he took up employment with the GWR in their architects’ office; he also lectured at a local polytechnic, and moonlighted with his wife at home on mainly residential commissions – rather different projects from the hotels and stations which GWR commissioned from him. He exhibited frequently at the Royal Academy of Arts, showing superb measured drawings of historic buildings. In the Second World War he enlisted with the Second Imperial Australian Force, serving in the Middle East, then transferred to the Royal Australian Engineers where he became a Captain. In 1943 he was sent to London to help GWR repair bomb damage. Lewis became Chief Architect of GWR in 1945 (following the retirement of the noted Percy Emerson Culverhouse), and the first Chair of Architecture at Melbourne University in 1947. He also became the consulting architect for the major buildings of the Australian National University in Canberra, producing an imaginative site plan and designing University House, which was awarded the Sulman medal in 1954. He also designed the Risdon Prison Complex in 1960. He retired in 1971 to paint watercolours and write his memoirs. Condition: generally very good; a few handling marks and two holes from filing. Handsomely framed. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here to view the other station designs in the set. -
Out of stock
Brian Bannatyne Lewis (1906 - 1991)
Perivale Station (1938)
Pen, ink and watercolour 70 x 50 cm A 1938 design for the new Perivale tube station, commissioned by the Great Western Railway (GWR) for its proposed western extension to the Central Line. The design's Art Deco lettering befits London Transport's aesthetic in the 1930s. Lewis brings his designs to life by including smartly-dressed characters entering and leaving the stations. The Central line opened in 1900, between Shepherd's Bush and Bank; it extended westwards to Ealing Broadway in 1920. Two years after the formation of London Transport in 1933, an extensive New Works Programme began, proposing a westwards extension of the line to Denham. Brian Lewis created designs for nine stations in early 1938, but the Second World War broke out before they could be built. By the time the extension had been built, Lewis was no longer chief architect of the GWR - the stations were modified and completed by Frederick Francis Charles Curtis instead. The extension to Greenford opened in 1947 and finally reached West Ruislip in 1948. Denham never actually became part of the tube line, owing to the establishment of the green belt. Brian Lewis was born in Tasmania, attended school in Melbourne, and subsequently obtained a Diploma in Architecture in 1928 from the University of Melbourne. He then moved to the UK to study at the Liverpool School of Architecture, winning scholarships in each of his three years of study to fund extensive European travel. He married a fellow Liverpool architectural student, Hilary Archer. After moving to London, he took up employment with the GWR in their architects’ office; he also lectured at a local polytechnic, and moonlighted with his wife at home on mainly residential commissions – rather different projects from the hotels and stations which GWR commissioned from him. He exhibited frequently at the Royal Academy of Arts, showing superb measured drawings of historic buildings. In the Second World War he enlisted with the Second Imperial Australian Force, serving in the Middle East, then transferred to the Royal Australian Engineers where he became a Captain. In 1943 he was sent to London to help GWR repair bomb damage. Lewis became Chief Architect of GWR in 1945 (following the retirement of the noted Percy Emerson Culverhouse), and the first Chair of Architecture at Melbourne University in 1947. He also became the consulting architect for the major buildings of the Australian National University in Canberra, producing an imaginative site plan and designing University House, which was awarded the Sulman medal in 1954. He also designed the Risdon Prison Complex in 1960. He retired in 1971 to paint watercolours and write his memoirs. Condition: generally very good; a few handling marks and two holes from filing. Handsomely framed. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here to view the other station designs in the set. -
Out of stock
Brian Bannatyne Lewis (1906 - 1991)
Greenford Station (1938)
Pen, ink and watercolour 70 x 50 cm Initialled and dated 7 3 38. A 1938 design for the new Greenford tube station, commissioned by the Great Western Railway (GWR) for its proposed western extension to the Central Line. The design's Art Deco lettering befits London Transport's aesthetic in the 1930s. Lewis brings his designs to life by including smartly-dressed characters entering and leaving the stations. The Central line opened in 1900, between Shepherd's Bush and Bank; it extended westwards to Ealing Broadway in 1920. Two years after the formation of London Transport in 1933, an extensive New Works Programme began, proposing a westwards extension of the line to Denham. Brian Lewis created designs for nine stations in early 1938, but the Second World War broke out before they could be built. By the time the extension had been built, Lewis was no longer chief architect of the GWR - the stations were modified and completed by Frederick Francis Charles Curtis instead. The extension to Greenford opened in 1947 and finally reached West Ruislip in 1948. Denham never actually became part of the tube line, owing to the establishment of the green belt. Brian Lewis was born in Tasmania, attended school in Melbourne, and subsequently obtained a Diploma in Architecture in 1928 from the University of Melbourne. He then moved to the UK to study at the Liverpool School of Architecture, winning scholarships in each of his three years of study to fund extensive European travel. He married a fellow Liverpool architectural student, Hilary Archer. After moving to London, he took up employment with the GWR in their architects’ office; he also lectured at a local polytechnic, and moonlighted with his wife at home on mainly residential commissions – rather different projects from the hotels and stations which GWR commissioned from him. He exhibited frequently at the Royal Academy of Arts, showing superb measured drawings of historic buildings. In the Second World War he enlisted with the Second Imperial Australian Force, serving in the Middle East, then transferred to the Royal Australian Engineers where he became a Captain. In 1943 he was sent to London to help GWR repair bomb damage. Lewis became Chief Architect of GWR in 1945 (following the retirement of the noted Percy Emerson Culverhouse), and the first Chair of Architecture at Melbourne University in 1947. He also became the consulting architect for the major buildings of the Australian National University in Canberra, producing an imaginative site plan and designing University House, which was awarded the Sulman medal in 1954. He also designed the Risdon Prison Complex in 1960. He retired in 1971 to paint watercolours and write his memoirs. Condition: generally very good; a few handling marks and two holes from filing. Handsomely framed. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here to view the other station designs in the set. -
Out of stock
Brian Bannatyne Lewis (1906 - 1991)
West Ruislip Station (1938)
Pen, ink and watercolour 70 x 50 cm A 1938 design for the new West Ruislip tube station, commissioned by the Great Western Railway (GWR) for its proposed western extension to the Central Line. The design's Art Deco lettering befits London Transport's aesthetic in the 1930s. Lewis brings his designs to life by including smartly-dressed characters entering and leaving the stations. The Central line opened in 1900, between Shepherd's Bush and Bank; it extended westwards to Ealing Broadway in 1920. Two years after the formation of London Transport in 1933, an extensive New Works Programme began, proposing a westwards extension of the line to Denham. Brian Lewis created designs for nine stations in early 1938, but the Second World War broke out before they could be built. By the time the extension had been built, Lewis was no longer chief architect of the GWR - the stations were modified and completed by Frederick Francis Charles Curtis instead. The extension to Greenford opened in 1947 and finally reached West Ruislip in 1948. Denham never actually became part of the tube line, owing to the establishment of the green belt. Brian Lewis was born in Tasmania, attended school in Melbourne, and subsequently obtained a Diploma in Architecture in 1928 from the University of Melbourne. He then moved to the UK to study at the Liverpool School of Architecture, winning scholarships in each of his three years of study to fund extensive European travel. He married a fellow Liverpool architectural student, Hilary Archer. After moving to London, he took up employment with the GWR in their architects’ office; he also lectured at a local polytechnic, and moonlighted with his wife at home on mainly residential commissions – rather different projects from the hotels and stations which GWR commissioned from him. He exhibited frequently at the Royal Academy of Arts, showing superb measured drawings of historic buildings. In the Second World War he enlisted with the Second Imperial Australian Force, serving in the Middle East, then transferred to the Royal Australian Engineers where he became a Captain. In 1943 he was sent to London to help GWR repair bomb damage. Lewis became Chief Architect of GWR in 1945 (following the retirement of the noted Percy Emerson Culverhouse), and the first Chair of Architecture at Melbourne University in 1947. He also became the consulting architect for the major buildings of the Australian National University in Canberra, producing an imaginative site plan and designing University House, which was awarded the Sulman medal in 1954. He also designed the Risdon Prison Complex in 1960. He retired in 1971 to paint watercolours and write his memoirs. Condition: generally very good; a few handling marks and two holes from filing. Handsomely framed. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here to view the other station designs in the set. -
Out of stock
Brian Bannatyne Lewis (1906 - 1991)
Ruislip Gardens Station (1938)
Pen, ink and watercolour 70 x 50 cm Initialled and dated 4 3 38. A 1938 design for the new Ruislip Gardens tube station, commissioned by the Great Western Railway (GWR) for its proposed western extension to the Central Line. The design's Art Deco lettering befits London Transport's aesthetic in the 1930s. Lewis brings his designs to life by including smartly-dressed characters entering and leaving the stations. Ruislip Gardens Station, when built, did not adhere to this design. The Central line opened in 1900, between Shepherd's Bush and Bank; it extended westwards to Ealing Broadway in 1920. Two years after the formation of London Transport in 1933, an extensive New Works Programme began, proposing a westwards extension of the line to Denham. Brian Lewis created designs for nine stations in early 1938, but the Second World War broke out before they could be built. By the time the extension had been built, Lewis was no longer chief architect of the GWR - the stations were modified and completed by Frederick Francis Charles Curtis instead. The extension to Greenford opened in 1947 and finally reached West Ruislip in 1948. Denham never actually became part of the tube line, owing to the establishment of the green belt. Brian Lewis was born in Tasmania, attended school in Melbourne, and subsequently obtained a Diploma in Architecture in 1928 from the University of Melbourne. He then moved to the UK to study at the Liverpool School of Architecture, winning scholarships in each of his three years of study to fund extensive European travel. He married a fellow Liverpool architectural student, Hilary Archer. After moving to London, he took up employment with the GWR in their architects’ office; he also lectured at a local polytechnic, and moonlighted with his wife at home on mainly residential commissions – rather different projects from the hotels and stations which GWR commissioned from him. He exhibited frequently at the Royal Academy of Arts, showing superb measured drawings of historic buildings. In the Second World War he enlisted with the Second Imperial Australian Force, serving in the Middle East, then transferred to the Royal Australian Engineers where he became a Captain. In 1943 he was sent to London to help GWR repair bomb damage. Lewis became Chief Architect of GWR in 1945 (following the retirement of the noted Percy Emerson Culverhouse), and the first Chair of Architecture at Melbourne University in 1947. He also became the consulting architect for the major buildings of the Australian National University in Canberra, producing an imaginative site plan and designing University House, which was awarded the Sulman medal in 1954. He also designed the Risdon Prison Complex in 1960. He retired in 1971 to paint watercolours and write his memoirs. Condition: generally very good; a few handling marks and two holes from filing. Handsomely framed. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here to view the other station designs in the set. -
K Edmonds
Countryside Scene
Watercolour 24 x 35 cm Signed lower right. A blue- and green-hued landscape, where earth blends into sky. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Piper (1903 - 1992)
Radcliffe Camera
Lithograph 53 x 35.5 cm Numbered 110/1150 lower left and signed lower right in pencil. John Piper's view of the Radcliffe Camera in Radcliffe Square. John Piper CH was an English painter, printmaker, and designer of stained-glass windows. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. Condition: very good. Attractively framed; frame included for mainland UK shipping only. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Oxford. -
William Matthison (1853-1926)
New College, Oxford: Front Quad
Watercolour 35 x 52 cm Signed lower right. A charming watercolour of New College's Front Quad complete with members of the college in academic dress, wandering birds, and a gardener mowing the grass. William of Wykeham, who founded New College in 1379, was an ambitious builder. His vision for the college was of a Chapel, Hall, Library, and rooms for tutors and students to work and live in, all of which would be built around a quadrangle. This was the first time a college had been set in this way, and it became a model for colleges worldwide. Matthison was born near Birmingham and attended King Edward’s School in the city. He learnt drawing at the Birmingham Central School of Art and then became a pupil of Birmingham artist Edward Watson. He became a professional artist in 1875 and moved to Oxfordshire a few years after; this was where he had the opportunity to produce many of the Oxford views for which he is known today. In 1902 he moved to Park Town in Oxford and was commissioned by Robert Peel to paint more than seventy views of the University of Oxford, which were subsequently made into postcards. Priced at seven for a shilling, they were only available from E Cross of Pembroke Street (a long-since closed business). Raphael Tuck & Sons also commissioned him to produce postcard scenes of Cambridge. Matthison’s views of Oxford were later printed in Fifty Watercolour Drawings of Oxford, published in 1912 by Alden & Co. Condition: generally very good; a few spots to sky. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of New College, Oxford. -
Elizabeth Byrne (1777 - 1849) after Joseph Farington RA (1747 - 1821)
North View of Whitehaven, Cumbria
Hand-coloured engraving 27.5 x 56.5 cm A view of the cliffs and port of Whitehaven in Cumbria. Joseph Farington RA was an 18th-century English landscape painter and diarist. He drew a north and south view of Whitehaven, which were engraved by Elizabeth Byrne in the early 19th century. Byrne was a London-born etcher and landscape painter, who was taught by her father, the etcher William Byrne. She and her father contributed etchings to the 'Magna Britannia' and 'Britannia depicta', books illustrating the most interesting views in various English counties, published by Samuel Lysons in the late 1810s. Condition: good. Two folds and some light age toning. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Michel Dureil (1929 - 2011)
La Table du Jardin / Garden Table with a Black Cat
Oil on canvas 35 x 44 cm A black cat stretches beside a typical French table, observed by bright orange flowers. Orange cushions and an orange sun-umbrella complete the scene. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Brendan Neiland (b. 1941) R.A. (Expelled)
Waterloo International (1993)
Lithographic poster 101 x 60 cm Signed 'Brendan Neiland', numbered I/XII, and inscribed 'To Bob Reid' (Reid was Chairman of the British Railways Board from 1990 until 1995; he was present at Waterloo International Station prior to the opening of the Channel Tunnel). Neiland is known for his interpretations of city life. His work is widely exhibited in major museums and galleries worldwide including, in Britain, the Victoria and Albert Museum, The Tate Gallery London, The Collections of the British Council and the Arts Council of Great Britain. He is represented by the Redfern Gallery and has had numerous shows internationally, including at the Galerie Belvedere in Singapore, who represent him in Singapore and the Far East. Reflected architecture is one of Neiland’s most recurring themes. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by Brendan Neiland. -
Valerie Thornton (1931-1991)
Bodleian Quadrangle, Oxford (1983)
Etching 24 x 35 cm Numbered 13/75 lower left, titled below, and signed and dated lower right, all in pencil. A very good example of Thornton's recognisable and unusual etching style. Her work is deeply concerned with material, and many of her etchings focus on eroded stone, emotive landscapes, and weathered architecture. Here, Thornton draws out the exceptional texture of the Bodleian Library's local stone. Valerie Thornton was a British etcher and printmaker. She was born in London, but was evacuated to Canada with her two brothers during World War II. She returned to London in 1944 and studied at the Byam Shaw School of Art in 1949. From 1950 to 1953 Thornton studied under P.F. Millard at the Regent Street Polytechnic, then spent eight months at Atelier 17 in Paris. In the early 1960s, she moved to New York and worked at Pratt Graphic Art Centre. In 1955, she succeeded Howard Hodgkin as assistant art teacher at Charterhouse School and in 1965 she became a founding member of the Print Makers Council. In 1970 she became a Fellow of the Royal Society of Painters-Etchers and Engravers. Thornton was a member of The Regent Street Group (a group of nine artists who studied together at the Regent Street Polytechnic in the early 1950s). The group also included Susan Horsfield, Renate Meyer, Michael Lewis, Ken Symonds, Philip Le Bas, and Peter Riches. Thornton's work is included in a number of major public collections including the Victoria and Albert Museum, the British Museum, and the Tate. Thornton died in 1991 in Chelsworth, Suffolk. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more works by Valerie Thornton. -
Joseph Collyer (1748 - 1827) after Francis Wheatley (1747 - 1801)
The Volunteers of the City and County of Dublin
Monochrome print 28 x 31 cm A monochrome print depicting Dublin regiments of the Irish Volunteers meeting on College Green. Francis Wheatley depicted the scene in oils in 1779, and Joseph Collyer engraved it in 1781. Wheatley went to Dublin in 1779 and established himself there as a portrait-painter; this view of the Dublin Volunteers became the basis for a best-selling print bought by numerous Irish Patriots. Volunteers were local Irish militias raised by community initiative in Ireland in 1778. Their original purpose was to guard against invasion and to preserve law and order at a time when British soldiers were withdrawn from Ireland to fight abroad during the American Revolutionary War and the government failed to organise its own militia. Taking advantage of Britain's preoccupation with its rebelling American colonies, the Volunteers were able to pressure Westminster into conceding legislative independence to the Dublin parliament. Francis Wheatley was an English portrait and landscape painter who studied at the Royal Academy, and won several prizes from the Society of Arts. He was elected an associate of the Royal Academy in 1790, and an academician in the following year. Joseph Collyer was a British engraver. In 1770 where he exhibited at the Royal Academy for the first time; he was elected an associate engraver of the Royal Academy, and appointed portrait engraver to Queen Charlotte in 1786. Condition: fair. Some browning and staining. In handsome rosewood frame. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Clifford and Rosemary Ellis
It Is Better To Return Early
Lithographic poster 102 x 61 cm Printed by Waterlow & Sons Ltd for London Transport. This original vintage poster was designed for London Transport and encourages shoppers to head home earlier in the day to avoid congestion on the London Underground and buses. The well-heeled customers in the poster sport smart 1930s shoes, and jostle against their purchases (a Father Christmas puppet and red-berried holly leaves mark the design as published in time for Christmas). The pinstripe-suited gentleman's newspaper serves as the background for the first line of the poster's text, which is slanted in the synthetic cubist style (synthetic cubists were keen to explore collage in their work, often employing collage, especially of newsprint). London Transport was the forerunner of London Underground. During the 1930s London Transport commissioned over forty posters a year from well-known artists such as Laura Knight, CRW Nevinson, Edward Wadsworth, Eric Ravilious, Paul Nash, Graham Sutherland, and Edward McKnight Kauffer – a bold policy that did much to popularise avant-garde artistic styles that stemmed from Cubism, Futurism and Abstraction. Condition: very good, backed to linen. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by Clifford and Rosemary Ellis. -
John Barnicoat MA ARCA (1924 - 2013) Harbour (1975)
Tempera on card 26 x 26 cm Initialled B and dated '75. John Barnicoat was a painter of oils and works on paper using tempera, conté, acrylic, pen, and ink. He was brought up in Cornwall and educated at King’s College, Taunton. He joined the Royal Naval Volunteer Reserves and took part in D-Day, aged 29. He went on to read history at Lincoln College, Oxford, and also studied at the Ruskin School of Drawing. He attended the Royal College of Art in the early 1950s, eventually becoming the Senior Tutor at the RCA Painting School between 1976 and 1980. He was the head of Falmouth School of Art 1972 - 1976 and Head of the Chelsea School of Art 1980 - 1989. He wrote 'Posters: a Concise History' in 1972, and organised and curated exhibitions in the UK and Russia on the art of poster design. From 1989 onwards he produced numerous drawings and oils of the bridges of London, women’s heads, acrylic and conté works on paper, and pen and wash drawings of women dressing. His work is represented in both government and private collections, and was recently shown at The Belgrave Gallery, St Ives (2017 - 2022). Provenance: the artist's estate. Condition: generally very good; in hand-finished frame. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other Modern British original paintings. -
John Piper (1903 - 1992)
Cartoon for Baptistry Chapel Window, Coventry Cathedral
Gouache and mixed media art 127 x 54 cm Labelled B101 by the artist and initialled. A gouache design for one of the Coventry Cathedral Baptistry Window panels. John Piper was commissioned to design the Baptistry Window in 1955, in partnership with glassmaker Patrick Reyntiens. The window is made of 198 panels of stained glass and is 26 metres high.Piper commented in his book “Stained Glass: Art or Anti-Art?” that ‘The function, the flesh and blood and bones of stained glass – its whole being – is to gratify light and to intensify atmosphere in a room or building, not necessarily to provide colour – or a message.’ The ambiguous post-war tenor of the design is striking: the khaki palette, the soldier-like figure, and the landscape evoking a 20th century theatre of war.
John Piper CH was an English painter, printmaker, and designer of stained-glass windows. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. Condition: very good. Four pin holes and a small handling mark mid left. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by John Piper. -
after Dorothy Wilding (1893 - 1976)
The Coronation Regalia (1953)
Original vintage poster 75 x 50 cm Issued by the National Savings Committee, London, the Scottish Savings Committee, Edinburgh, and the Ulster Savings Committee, Belfast. Crown Copyright Reserved. Printed for H.M. Stationery Office by Waterloo & Sons Limited, London and Dunstable. A fantastic piece of royalist British history. The famous portrait photographer Dorothy Wilding captured Queen Elizabeth II at her Coronation in 1952 - the photograph, used as the centrepiece of this poster, was also used on Britain's postage stamps until 1967. This particular poster was designed to be a Coronation souvenir, and features all the regalia and trappings of the United Kingdom's coronation ceremony, including crown, sword, orb, and sceptres, to name a few. The poster's margins are decorated with portraits of Britain's monarchs past, dating back to William the Conqueror. The National Savings Movement was a government-backed savings movement which began during the First World War to finance the government's wartime deficit. Savings products promoted by the movement typically offered a low level of return but the safety of a government guarantee. Various poster designs were issued by the movement to encourage ordinary people to save - we have several different designs in stock. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other National Savings posters. -
José Ortega (1921 - 1990)
"Don Quixote" Espagne
Original vintage poster c. 1960 99 x 65 cm Printed in Barcelona for the Publications de la Direccion General del Turismo. Ortega's poster is an abstract depiction Don Quixote (the Spanish hero written by Miguel de Cervantes), complete with his distinctive hat and spear. Ortega designed the poster for the Spanish tourist board, using an illustrious figure from Spain's literary heritage to encourage people to visit Spain. José García Ortega was born in Arroba de los Montes and was a member of the Communist Party. He worked as a painter and sculptor, studying at the Círculo de Bellas Artes in Madrid. In 1953 he went to France to study art, funded by a French government scholarship. He returned to Spain throughout the 1950s and 1960s, and became a commercially successful artist. Some of his most famous designs include the posters which the Spanish tourist board commissioned from him circa 1960. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more original vintage travel posters. -
Mario Puppo (1905 - 1977)
Santo Stefano d'Aveto
Original vintage poster 97 x 68 cm Produced circa 1955 for Italian Railways. Mario Puppo's poster advertising the Italian ski resort of Santo Stefano d'Aveto. The figure of a skier reaches upward in triumph; behind her, a vintage ski lift makes its way up the mountain and a blue-clad skier tackles the piste. Mario Puppo was born in Levanto, Italy, and worked in a studio in Chiavari. He designed leaflets advertising skiing and beach resorts, which gained popularity in the 1930s. By the 1940s his poster designs were being featured in the Milan Advertising Graphics show. Throughout the 1940s he designed covers for catalogues, leaflets, playbills, music scores and records, as well as producing more travel posters for public and private Italian companies. Condition: backed to linen; frame included for UK mainland only (excluding Cornwall, Highlands and Islands - where further shipping charges may apply). If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more original vintage posters. -
Guy Georget (1911 - 1992)
Espagne - Riders
Original vintage poster 100 x 62 cm One of Georget's fantastic posters designed for the Spanish tourist board. Three riders in traditional dress, with the ladies riding side-saddle, and one with sherry in hand, pose mounted in front of a red and white striped background. The bold, bright colours make the poster typically Georget. Guy Georget was a commercial designer; most of his poster designs were published in the late 1940s. Hired by the tourist boards in their post-war spree of tourism encouragement, Georget designed posters influenced by the styles of Pablo Picasso and Georges Braque. Condition: generally very good; a few tiny repaired edge tears. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more original vintage travel posters. -
Coronation Arrangements - Map of London (1953)
Lithograph 45 x 60 cm (unfolded) Published by London Transport for the Coronation of Elizabeth II, this delightfully-coloured map illustrates the route taken by the Queen when she was crowned in 1953. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Coronation Arrangements - Map of London (1937)
Lithograph 45 x 60 cm (unfolded) Published by London Transport for the Coronation of George VI, this map illustrates the route the King took in 1936. And best of all, it's just (almost!) as useful in today's London. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Guy Georget (1911 - 1992)
Espagne - Pilgrims
Original vintage poster 100 x 62 cm One of the fantastic posters Georget designed for the Spanish tourist board. Two pilgrims progress towards a typically Spanish church; Georget makes uses vibrant tones of bright blue, pink, and yellow to illustrate the scene. Guy Georget was a commercial designer; most of his poster designs were published in the late 1940s. Hired by the tourist boards in their post-war spree of tourism encouragement, Georget designed posters influenced by the styles of Pablo Picasso and Georges Braque. Condition: generally very good; a few repaired edge tears including one at the top c. 80mm, one to left side c. 25 mm. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more original vintage travel posters. -
Adelboden
Original vintage poster 104 x 63 cm A fantastic original vintage poster advertising the Swiss ski resort of Adelboden, tucked away in the Bernese Oberland. Printed in Switzerland by Brügger AG. The photograph was taken by the Swiss photographers Emanuel Gyger and Arnold Klopfenstein. The pair were renowned for their captivating skiing images. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more original vintage skiing posters. -
Gordon House (1932 - 2004)
Circle E
Lithograph 86 x 45 cm Signed, numbered 48/75, and titled in pencil below the plate. An excellent example of Gordon House's work: a modern design, influenced by art deco, in blue and yellow. Gordon House was born in Pontardawe, South Wales in 1932 and studied at Luton and St. Albans Schools of Art. He began working for advertising agencies in the 1950s and became a full-time artist in 1961, exhibiting several solo shoes. He designed for several leading London galleries, the Ashmolean Museum in Oxford, and popular bands such as the Beatles and the Rolling Stones. Several dozen Gordon House prints are held by the Tate. Condition: very good; backed to board. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other abstract lithographs by Gordon House. -
Gordon House (1932 - 2004)
Triangle D
Lithograph 86 x 45 cm Signed and titled in pencil below the plate. An excellent example of Gordon House's work: a modern design in tones of green, pink, and blue. Gordon House was born in Pontardawe, South Wales in 1932 and studied at Luton and St. Albans Schools of Art. He began working for advertising agencies in the 1950s and became a full-time artist in 1961, exhibiting several solo shoes. He designed for several leading London galleries, the Ashmolean Museum in Oxford, and popular bands such as the Beatles and the Rolling Stones. Several dozen Gordon House prints are held by the Tate. Condition: very good; backed to board. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other abstract lithographs by Gordon House. -
Eva Lucy Harwood (1893 - 1972)
Still Life with Flowers and Glass
Oil on canvas 49 x 40 cm ( 67 x 57 cm framed) A mid-century still life typical of Harwood's impasto style. Lucy Harwood was a British artist who studied art at the Slade just before the outbreak of the First World War. She had initially intended to be a professional pianist, but turned her attentions to visual art after becoming partially paralysed. She was one of the first students to enrol at Cedric Morris' East Anglian School of Drawing and Painting, where she focused on painting Post-Impressionist landscapes, painting just with her left hand. She moved to Upper Layham in Suffolk and is known for her landscapes of the area. Condition: generally very good. Handsome hand-finished frame. Provenance: Louise Kosman, Edinburgh. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here to view our other still life pictures. -
Out of stock
Roberts Dunstan DSO - Tail-end Charlie on Lancaster Bomber
Original Silver Gelatin photograph, c. 1943 20 x 15 cm The sitting-down war played out in the skies suited amputees who wanted to continue killing the enemy. Douglas Bader famously bailed out of his Spitfire over Germany, leaving behind his artificial legs. There were others who flew with artificial legs, including Dunstan. Dunstan was born in 1922, lying about his age (by three years) in order to join up in June 1940. In January 1941, serving with the Royal Australian Engineers, he was injured in one leg near Tobruk (in Libya) on a night reconnaisance raid. After five operations his leg was amputated; after ten more he was returned to Australia and invalided out of the services in February 1942. A few months later, he caught sight of a poster recruiting for the RAAF, and volunteered his services, enlisting on 23 June 1942 - having spent some time convincing the RAAF that there were roles that he could undertake successfully. Following training at the RAAF Bombing and Gunnery School he was soon on his way to the UK, sailing on 24 August from Sydney. He was soon serving at RAF Breighton in Yorkshire with 460 Sqn RAAF as rear gunner in an Avro Lancaster bomber. As he walked to the aircraft he used his crutches; onboard he would crawl to his post in the tail. On the night of 22/23 October 1943, aboard W4927, his Lancaster left Binbrook for a bombing raid over Germany. Above Kassel, the target, a Lancaster bomber above them dropped its bombs. Two incendiary bombs dropped through W4927; one hitting the flight engineer's jump seat - beside the pilot - the other falling through the middle of the aeroplane and severing the oxygen supply to the rear and mid-upper turrets - the former being Dunstan's. A German night fighter chose this moment to attack W4927. Befuddled by lack of oxygen the gunners were unable to shoot, W4927 losing its port elevator and receiving holes in its port wing and fuselage - and one cannon shell went into Dunstan's rear turret. However the pilot nursed the plane back to England, where it crash landed at either RAF Elsham Wold, or Bisham - sources vary. On 3/4 November 1943 Dunstan completed his thirtieth mission, to Dusseldorf, the day before his twenty-first birthday. He was gazetted for his DSO on 7 November. In 1944 he returned to Australia and in 1956 was elected to the Victoria State Parliament where he held ministerial posts for water supply, and subsequently for public works. -
Out of stock
Lancaster bombers preparing for take-off
Original Silver Gelatin photograph, c. 1944 9 x 18 cm Ground crew remove the chocks from the wheel of a Lancaster bomber, prior to take-off. A series of Lancaster bombers are visible in the background, all preparing for a bombing raid, deep into occupied enemy territory. The lead aircraft is the veteran of twenty-six previous raids, as indicated by the bombs painted under the pilot's cockpit window. Condition: Generally very good. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. -
Out of stock
Lancaster bomber in Green Park
Original Silver Gelatin photograph, 1946 18 x 25 cm Stamped to reverse: "Photograph Supplied by The Topical Press Agency Ltd 20-21 Red Lion Court, Fleet Street" Press release label to reverse reads: "XH - RAF PLANES ON VIEW IN GREEN PARK, LONDON "In connection with the Victory Day celebrations in London, a number of RAF planes have been put on view in Green Park, London. "11/6/1946" Further typewritten note reads: "Lancaster B.III ND677/G KO-X of 115 Sqn. First Lancaster to have MONICA airborne tail warning device. Served with 460 Sqn RAAF, during 1944, went to 49 Sqn in April 1945 and finally to 113 Sqn in September 1945. Scrapped July 1946." ND677 was a veteran of 59 missions. The /G suffix - visible in the photograph - indicates that it must have an armed guard at all times. It was unceremoniously scrapped within a month of being on display to the crowds. Monica was a tail-borne radar device, designed to give the bomber crew warning of the approach of a German fighter in their blind spot. However following the crash in February 1943 of a Monica-equipped Lancaster (just seven days into Monica's operational life) the Germans developed equipment called 'Flensburg'. Introduced in early 1944 it was a homing device, a passive radar receiver which enabled Flensburg-equipped night fighters to locate Allied bombers. In July 1944 a Flensburg-equipped Junkers Ju88-G1 mistakenly landed at Woodbridge aerodrome in Suffolk, following which Monica was rapidly withdrawn from service. Condition: Generally very good. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. -
Out of stock
Charles E Brown (1896-1982)
Lancastrian VH742 - The first Jet Airliner
Original Silver Gelatin photograph, 1940s 19 x 24 cm Stamped to reverse 'Charles E Brown' with address and 6140-2 reference number, together with press release reading: "THE FIRST JET LINER "Captain R T Shepherd, Rolls Royce chief test pilot, demonstrating the remarkable performance of the 62,500 lb Avro LANCASTRIAN on the two NENE jets alone. With the two Merlins and their propellors stopped one is struck by the entire absence of visible moving parts. Even more noticeable is the reduced noise and complete lack of vibration." The Lancastrian was developed from the Lancaster bomber with armaments and armour removed, and a new - streamlined - nose. The first batch were made by converting Lancaster bombers, latter batches made from scratch. The Lancaster had been designed to carry bombs rather than passengers, and so the space available meant that whilst the Lancastrian was not suitable for large numbers of passengers it was admirably suited to carrying mail and other perishable goods.First to fly was Lancastrian VH742, delivered to the Rolls-Royce flight development airfield at Hucknall in October 1945. Its outer Merlin engines were removed and the nacelles were also taken away, while the fuel system was completely rebuilt to carry both gasoline for the inner engines and kerosine for the new jets. In the outer positions were added completely new nacelles housing Nene turbojets, then the most powerful jet engines in the world. It flew again on August 14, 1946 with two Merlins and two Nenes.
On September 19, 1946 this aircraft acted as the world's first jet airliner by making three passenger flights carrying representatives of the Press as well as Ministry officials and other passengers (who were all most impressed and suggested that an airline that could offer jet travel would be the talk of the world). Rolls-Royce also flew a second Nene-Lancastrian, VH737, and two Avon-Lancastrians, VM732 and VL970. The latter The first flight of a jet airliner was reported as follows:
"The Nene-Lanc, Flies to Paris "THE flight of the Nene Lancaster from London to Paris last Monday, to play its part in connection with the exhibition, may be said to have marked a historic part in British aircraft development, for it constituted the first time that any jet-powered airliner had flown from one country to another. Moreover, since this particular aircraft has been flying fairly regularly since round about the time of the Radlett exhibition, the flight to Paris was no special performance, but merely one more public demonstration of its inherent reliability. "In the hands of Capt. R. T. Shepherd, chief test pilot for Rolls-Royce, the “Nene-Lanc” landed at Le Bourget at 10.58 a.m., G.M.T., after a 50-minute flight from London Airport, giving an average speed of 247.5 m.p.h. [398.3 kilometers per hour] Two passengers were carried in addition to the crew; they were Mr. Roy Chadwick, the Avro designer, and Mr. R. B. William Thompson, Chief Information Officer of the Ministry of Supply. "Capt. Shepherd said that he was very pleased with the aircraft’s performance and added that, but for having to circle Le Bourget Airport Twice before landing, the flight would have been completed in 43 minutes." FLIGHT and AIRCRAFT ENGINEER, No. 1978. Vol. L., Thursday, November 21st, 1946 at Page 561, Column 2. Charles E Brown was a famous photographer of aircraft whose father was a butcher in Wimbledon, London. Young Charles was given a camera for his 14th birthday and in 1911 photographed an Edwardian gentleman in trouble landing his balloon in neighbouring Southfields. This photograph was published in the Daily Mirror – the fee being half a crown – and Brown was encouraged to join the Daily Mirror’s photography department upon leaving school at 16. Towards the end of the First World War he served with the Royal Air Force at their official London Photographic Centre. Following the war, he took to photographing trains, and captured a famous photograph of a Southern Railway locomotive that was used for the following ten years in railway posters. The income from this allowed him to pursue his passion of aviation photography in the 1920s and 1930s, from which commissions from the Air Ministry and Fleet Air Arm followed. During the war his work included commissions for Aeronautics magazine. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. Condition: Generally very good. -
Out of stock
Charles E Brown (1896-1982)
BSAA Lancastrian G-AGWL 'Star Guide'
Original Silver Gelatin photograph, 1940s 19 x 24 cm Stamped to reverse 'Charles E Brown' with address and 6337-13 reference number. The Lancastrian was developed from the Lancaster bomber with armaments and armour removed, and a new - streamlined - nose. The first batch were made by converting Lancaster bombers, latter batches made from scratch. The Lancaster had been designed to carry bombs rather than passengers, and so the space available meant that whilst the Lancastrian was not suitable for large numbers of passengers it was admirably suited to carrying mail and other perishable goods. G-AGWL ‘Star Guide’ was registered 28/11/45. Its first flight was on 1/2/46 for the Ministry of Supply & Aircraft Production (MoSAP), being delivered in February to British South American Airlines (BSAA) as ‘Star Guide’. In January 1949 it was bought by Flight Refuelling Ltd subsequently being used on the Berlin Airlift and was scrapped 26/9/51 at Tarrant Rushton. Charles E Brown was a famous photographer of aircraft whose father was a butcher in Wimbledon, London. Young Charles was given a camera for his 14th birthday and in 1911 photographed an Edwardian gentleman in trouble landing his balloon in neighbouring Southfields. This photograph was published in the Daily Mirror – the fee being half a crown – and Brown was encouraged to join the Daily Mirror’s photography department upon leaving school at 16. Towards the end of the First World War he served with the Royal Air Force at their official London Photographic Centre. Following the war, he took to photographing trains, and captured a famous photograph of a Southern Railway locomotive that was used for the following ten years in railway posters. The income from this allowed him to pursue his passion of aviation photography in the 1920s and 1930s, from which commissions from the Air Ministry and Fleet Air Arm followed. During the war his work included commissions for Aeronautics magazine. Condition: Generally very good. -
Walter Hoyle (1922 - 2000)
King's College, Cambridge (Cambridge Series 1956 - 66)
Linocut 61 x 80 cm Numbered 37/75 lower left, titled below, marked as artist's proof, and signed lower right, all in pencil. A blue- and grey-hued linocut of King's. A version of this print, owned by the Government Art Collection, hangs in the British Embassy in Tunis. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Provenance: ex the Arthur Andersen collection. Condition: generally very good; some gentle and even age toning to paper. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of King's College, Cambridge. -
Out of stock
Charles E Brown (1896-1982)
AVRO Lancasters of 35 Sqdn in Flight
Original Silver Gelatin photograph, 1940s 19 x 27 cm Formed in 1916, the Squadron spent 1917 and 1918 in France flying the FK8. In support of the Spring Offensive of March 1918, it dropped 118 25lb bombs - which would have made up one third of the bombing load of a Lancaster. In 1940 the Squadron was reformed as the first Halifax squadron, pilots including Leonard Cheshire and James Brian Tait - both subsequently of 617 'Dambusters' Squadron. In 1944 the Squadron converted to the Lancasters to be seen in this photograph. Sqd Ldr Alec Panton Cranswick DFC DSO was shot down in 1944 on his 107th bombing mission - a record for any British airman. Following the War, the Squadron engaged in both the Victory flypast over London and a goodwill tour of the United States. Subsequently disbanded and reformed several times, it operated the Boeing Washington, the Canberra, and for twenty years the Vulcan. Charles E Brown was a famous photographer of aircraft whose father was a butcher in Wimbledon, London. Young Charles was given a camera for his 14th birthday and in 1911 photographed an Edwardian gentleman in trouble landing his balloon in neighbouring Southfields. This photograph was published in the Daily Mirror – the fee being half a crown – and Brown was encouraged to join the Daily Mirror’s photography department upon leaving school at 16. Towards the end of the First World War he served with the Royal Air Force at their official London Photographic Centre. Following the war, he took to photographing trains, and captured a famous photograph of a Southern Railway locomotive that was used for the following ten years in railway posters. The income from this allowed him to pursue his passion of aviation photography in the 1920s and 1930s, from which commissions from the Air Ministry and Fleet Air Arm followed. During the war his work included commissions for Aeronautics magazine. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. Condition: Marginal creases, losses, short tear to left edge, very short tear to right edge, generally good, -
Out of stock
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 -
Out of stock
Charles E Brown
AVRO Lancaster bomber Radio Operator
Original Silver Gelatin photograph, c. 1944 Stamped to reverse 'Charles E Brown' with address etc. and serial number 14 x 21 cm Charles E Brown was a famous photographer of aircraft whose father was a butcher in Wimbledon, London. Young Charles was given a camera for his 14th birthday and in 1911 photographed an Edwardian gentleman in trouble landing his balloon in neighbouring Southfields. This photograph was published in the Daily Mirror – the fee being half a crown – and Brown was encouraged to join the Daily Mirror’s photography department upon leaving school at 16. Towards the end of the First World War he served with the Royal Air Force at their official London Photographic Centre. Following the war, he took to photographing trains, and captured a famous photograph of a Southern Railway locomotive that was used for the following ten years in railway posters. The income from this allowed him to pursue his passion of aviation photography in the 1920s and 1930s, from which commissions from the Air Ministry and Fleet Air Arm followed. During the war his work included commissions for Aeronautics magazine. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. Condition: Very good -
Out of stock
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 -
Out of stock
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 -
Out of stock
Lancaster Bomber W4113 GP-J
Original Silver Gelatin photograph, c. 1944 19 x 24 cm Published in Aeroplane Magazine, 4 February 1944. Stamped to reverse 'Wanted by 31 Janary' making this the original photograph used by the editing team at Aeroplane; and 'T[emple] P[ress] Ltd'. Photograph in official Air Ministry Second World War Collection, glass plate negative taken by F/O S A Devon. Lancaster B Mark I, W4113 ‘GP-J’, of No. 1661 Heavy Conversion Unit based at Winthorpe, Nottinghamshire, in flight. W4113 was a veteran aircraft having flown on a number of raids with Nos. 49 and 156 Squadrons RAF in 1942 and 1943, and was sent to a Heavy Conversion Unit where airmen were trained to operate the Lancaster. Became 4969M on 9/12/44, being reclassified as a ground instruction aircraft. W4113 took part in the following bombing raids: No. 49 Squadron; 1) Düsseldorf, 15-16/08/42; 2) Osnabrück, 17-18/08/42; 3) Flensburg, 18-19/08/42; 4) Gardening, Bornholm, 20-21/08/42; 5) Kassel, 27-28/08/42; 6) Saarbrücken, 01-02/09/42; 7) Duisburg, 06-07/09/42; 8.) Frankfurt, 08-09/09/42; 9) Bremen, 13-14/09/42; 10) Wilhelmshaven, 14-15/09/42; 11) Gardening, Kattegatt, 18-19/09/42; 12) Wismar, 01-02/10/42; 13) Aachen, 05-06/10/42; 14) Wismar, 12-13/10/42; 15) Kiel, 13-14/10/42; 16) Cologne, 15-16/10/42; 17) Genoa, 22-23/10/42; 18.) Genoa, 07-08/11/42; 19) Hamburg, 09/10/11/42; 20) Genoa, 15-16/11/42; 21) Stuttgart, 22-23/11/42; 22) Turin, 28-29/11/42; 23) Mannheim, 06-07/12/42, 24) 20-21/12/42. No. 156 Squadron.: a) Nuremburg, 25-26/02/43. It was produced in the third production batch of 207 aircraft ordered from A. V. Roe Co., Ltd., as part of Contract No. B69274/40 (as extended) under Works Order No. 7671, W4102-W4140, W4154-W4201, W4230-4279, W4301-W4340 and W4355-W4384. Deliveries commenced 07/42, completed 11/42 (average rate of production, approximately 13 aircraft per week). Merlin XX and XXII engines. Original Contract covered 453 aircraft in this batch but 243 were cancelled (W4385-W4900, W4414-4463, W4481-W4524, W4537-W4385, W4600-W4641 and W4655-W4700). Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. Condition: a couple of old edge tears and creases, visible in image. -
Margaret Souttar (1914 - 1987)
Trinity Hall, Cambridge I
Acrylic paint 55 x 76 cm Signed in pencil lower right. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. Trinity Hall was one of the first Cambridge colleges to admit women as students - it did not do so until 1976. Provenance: the artist's studio sale. Condition: generally very good, a few handling marks. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity Hall. -
Margaret Souttar (1914-1987)
Trinity Hall, Cambridge
Acrylic on paper 76 x 56 cm Signed lower right. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. Trinity Hall was one of the first Cambridge colleges to admit women as students - it did not do so until 1976. Provenance: the artist's studio sale. Condition: generally very good; some small glue stains around collaging. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity Hall. -
Margaret Souttar (1914 - 1987)
Trinity Hall, Cambridge
Lithograph 76 x 56 cm Signed and numbered 4/50 in pencil. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. Trinity Hall was one of the first Cambridge colleges to admit women as students - it did not do so until 1976. Provenance: the artist's studio sale. Condition: generally very good; a few handling marks. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity Hall. -
Hugh Casson (1910 - 1999)
Trinity College, Oxford (1990)
Watercolour 20 x 33 cm (38 x 50 cm framed) Casson's marvellous watercolour of Trinity and its perfectly manicured lawns, adorned with strolling undergraduates. Sir Hugh Casson was educated at Eastbourne College; St John’s College, Cambridge; and the Bartlett School of Architecture. Trained in the 1930s in the early modernist style, he taught at the Cambridge School of Architecture. After employment as a camoufleur during World War 2 by the Air Ministry, in 1948 he was appointed as director of architecture for the Festival of Britain. A close friend of the Royal Family, he undertook designs for the 1953 coronation, designed the interior of the Royal Yacht Britannia (“The overall idea was to give the impression of a country house at sea”), and taught the young Charles III to paint in watercolours. Amongst his architectural achievements are the Elephant House at London Zoo, the 1978 redevelopment of Bristol Docks, the Raised Staff Building for The University of Cambridge, and a building for the Royal College of Art. He published a number of illustrated books, of which Casson’s Oxford and Casson’s Cambridge are probably the best known. A limited edition series of prints was produced from the paintings. Condition: excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity College, Oxford. -
George Pyne (1800 - 1884) The High, Oxford
Watercolour 15 x 21 cm Signed and dated indiscriminately lower left. A 19th-century view of the High Street, Oxford. The spire of the University Church of St Mary the Virgin towers over the street; a horse and cart and brightly-dressed pedestrians pass by. George Pyne was related to two founders of the Society of Painters in Watercolours – William Henry Pyne was his father, and John Varley his father-in-law. Pyne trained as an architectural draughtsman and lived in Oxford from the 1850s until his death in 1884, specialising in views of the city and its colleges. His Oxford pictures are both architecturally-minded and romantically creative, often combining intensely detailed depictions of college buildings with imagined pedestrian scenes. Pyne was also noted for his views of Cambridge and Eton, and for his drawing manuals ‘A Rudimentary and Practical Treatise on Perspective for Beginners’ (1848) and ‘Practical Rules on Drawing for the Operative Builder, and Young Student in Architecture’ (1854); the latter texts offer an insight into his method of depicting architecture and its surroundings. Condition: generally good; some spotting and toning to sky. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Keep It Dark (1939 - 1945)
Lithographic poster 25 x 31 cm Sponsored by Her Majesty's Stationery Office; printed by Perry Colourprint. A copy of this poster is held by the Imperial War Museum. This poster, bearing lyrics designed to be sung to the tune of "She'll be coming round the mountain", was designed for the Ministry of Information during the Second World War. It urges the population to avoid talking carelessly about details of Britain's operational movements, which might unwittingly end up in the wrong hands. Condition: good. Some small losses to extreme margins. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John D Paxton
The Leaning Tower, Pisa
Pencil and white chalk 75 x 50 cm Stamped bottom left indistinctly "Edinburgh School of Art, School of Architecture". An architectural drawing of Pisa's famous Leaning Tower. -
Bernard Cecil Gotch (1876-1964)
Queen's College, Oxford
Watercolour 28 x 39 cm (51 x 64 cm framed) Signed lower right. Queen's College in all its leafy glory. The dreaming spires of the University Church of St Mary the Virgin, the Radcliffe Camera, and All Souls peep over the quad. Bernard Cecil Gotch was a Winchester-born artist who is best known for his atmospheric watercolours of Britain's towns and cities (most notably Oxford). He moved to Oxford in 1927, painting many watercolours of the interiors and exteriors of Oxford’s many buildings. His works concentrate on the grand exteriors and interiors of the University's colleges, and he exhibited frequently - including an exhibition every term at Oriel College. His first notable commission was for the publisher Methuen, illustrating 'A Shepherd’s Life' by W H Hudson. Whilst in London he was invited to illustrate a book on the Public Schools of England (which was sadly never completed). He exhibited watercolours at the Fine Art Society and Lincolns Inn, and also exhibited at the Royal Academy. In 1952 Gotch was given an Honorary MA by the University of Oxford, and, after his death in 1963, a memorial was held for him at Oriel. Condition: very good; original frame & mount (some ageing to the latter). If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Queen's College, Oxford. -
John Piper (1903 - 1992)
Inglesham Church (1989)
Lithograph 38 x 56 cm Piper’s rendering of St John the Baptist Church, Inglesham. His characteristic markmaking, with hues of blue and green, makes up the architecture of the interior. John Piper CH was an English painter, printmaker, and designer of stained-glass windows. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by John Piper. -
Craigie Aitchison (1926 - 2009)
Yellow Crucifixion
Screenprint 76 x 63 cm Published by Advanced Graphics Limited (2000). Craigie Aitchison’s iteration of the crucifixion sees Christ upon a Cross with no patibulum (horizontal beam). Jesus becomes part of the stipes (vertical beam), a willing participant in his own martyrdom. The star above his head is the Star of Bethlehem, and the sheep or goat at his feet the Lamb of God. These symbols of divinity, set against the backdrop an empty yellow-soaked landscape, transform this picture of the crucifixion into an image of resurrection. Condition: excellent. Magnificently framed. -
David Loggan (1634 - 1692)
Trinity College, Cambridge (1690)
Engraving 80 x 50 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally very good; printed on two sheets, folds as issued. A few creases to top area. As a multi-folded plate in the published book, Trinity has normally suffered and is normally trimmed closely and has damage; this particular example has instead good margins outside the platemark and without damage to the folds. A very good copy of Trinity. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Cyril Kenneth Bird ‘Fougasse’ (1887 - 1965)
Careless Talk Costs Lives (circa 1940)
Lithographic poster 32 x 20 cm (12.5 x 8 in) Version printed on thinner paper. Fougasse was a British cartoonist. He was art editor of Punch between 1937 and 1949, and subsequently editor until 1953. He is best known for his ‘Careless Talk Costs Lives’ series of posters, and the other posters for the Ministry of Information and London Transport. As the Second World War progressed, the Ministry of Information’s poster campaign had become less and less effective. There were posters instructing the population to save old clothes for rags, turn off the lights, save food, dig for victory, watch out for spies, and keep calm and carry on. With this instruction overload, the population had ceased paying attention to the posters. Fougasse noticed this, and offered his services unpaid to the Ministry of Information, with a view to bringing a touch of humour to the posters. His amusing designs with pithy captions, reminiscent of newspaper cartoons, helped to get the Ministry's messages across in a novel way. Fougasse's distinctive poster style, with the red border, was subsequently adopted by other Ministry artists. Condition: if you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Emery Walker (1851 - 1933) after Edmund Hort New (1871 - 1931)
Wadham College, Oxford
Photogravure 27 x 41 cm New produced a series of pen-and-ink drawings of Oxford colleges, of which this is one. They paid homage to the artist David Loggan, often using the same aerial viewpoint as him, but showing the colleges two hundred years later. Emery Walker turned New's drawings into photoengravings in the early 20th century. Probably no more than two hundred prints of each engraving were produced, and the plates were destroyed in the blitz. Edmund Hort New was an English artist. He was a member of the Birmingham Group of Arts and Crafts-associated painters and craftsmen, and is known as a leading illustrator of his period. He specialised in pen and ink drawings of rural and urban landscapes, old buildings and their interiors, architectural features, and also designed bookplates. He provided illustrations for the English Illustrated Magazine and was commissioned by Bodley Head publishers to illustrate critically acclaimed editions of books, such as Walton's The Compleat Angler. In 1895, New met William Morris and began designing for the Kelmscott Press. He also taught drawing to T E Lawrence. In 1905, he began his drawings of the Oxford colleges, and spent the rest of his life working on the (sadly unfinished) project. In 1921 he exhibited at the first exhibition of the Society of Graphic Art. Sir Emery Walker FSA was an English engraver, photographer, and printer. He was very involved with the Arts and Crafts movement, a Master of the Art Workers' Guild, President of the Arts and Crafts Exhibition Society, a Trustee of the Wallace Collection, and a Fellow of the Society of Antiquaries. He was also a close friend of William Morris. Walker's expertise and his collection of 16th-century typefaces inspired Morris to create the Kelmscott Press. In 1910, Walker photographed the notable Rice portrait of Jane Austen. He was knighted in 1930. Condition: very good; modern printing. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Wadham. -
John Doyle (born 1928)
Trinity College, Oxford
Watercolour 24 x 46 cm Signed lower left. Doyle's striking portrayal of Trinity's architecture, complete with undergraduates variously strolling, sitting, and reading in the foreground. Afternoon sun slants over the immaculately mown lawns. John Doyle was born in London and works in watercolours, pastels, and oils. He studied at the Maidstone School of Art in his 30s, later showing at the Royal Academy Summer Exhibition. Much of his work focuses on landscape and architecture; he has produced a series of views of Oxford and its colleges. Condition: excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more views of Trinity College, Oxford. -
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. -
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. -
Oriel College, Oxford (1736)
Engraving 35 x 43 cm This fantasia on Oriel, featuring a sublime rendering of the College's architecture and a parade of sound Oriel men, was featured in the 1736 edition of the Oxford Almanack. The Oxford Almanack was an annual almanack published by the Oxford University Press for the University of Oxford from 1674 through 2019 (when printing sadly ceased due to "dwindling interest"). The almanack traditionally included engravings or lithographs of the University and information about the upcoming year. Other almanack artists have included Michael Burghers, J. M. W. Turner, and John Piper. Basire and Dayes collaborated on several views of Oxford during the courses of their careers. Floreat Oriel! Condition: good. Trimmed. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more views of Oriel. -
William Williams (Welsh, active 1724 - 1733)
Jesus College, Oxford (circa 1732)
Engraving 43 x 44 cm This engraving of the city of Oxford, adorned with its eponymous dreaming spires, comes from the 'Oxonia Depicta', a large folio of engraved plates illustrating Oxford's halls and colleges. Condition: previously folded; some losses to folds, some toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Cyril Kenneth Bird ‘Fougasse’ (1887 - 1965)
Careless Talk Costs Lives (circa 1940)
Lithographic poster 32 x 20 cm (12.5 x 8 in) Version printed on thinner paper. Fougasse was a British cartoonist. He was art editor of Punch between 1937 and 1949, and subsequently editor until 1953. He is best known for his ‘Careless Talk Costs Lives’ series of posters, and the other posters for the Ministry of Information and London Transport. As the Second World War progressed, the Ministry of Information’s poster campaign had become less and less effective. There were posters instructing the population to save old clothes for rags, turn off the lights, save food, dig for victory, watch out for spies, and keep calm and carry on. With this instruction overload, the population had ceased paying attention to the posters. Fougasse noticed this, and offered his services unpaid to the Ministry of Information, with a view to bringing a touch of humour to the posters. His amusing designs with pithy captions, reminiscent of newspaper cartoons, helped to get the Ministry's messages across in a novel way. Fougasse's distinctive poster style, with the red border, was subsequently adopted by other Ministry artists. Condition: if you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Colin Moss (1914 - 2005)
The Cedars, Kensington
Watercolour and gouache 57 x 40 cm Signed and dated '50 lower right. Moss' view of the Cedars, complete with passers-by and a stormy, jagged sky. Colin Moss was a noted British painter, draughtsman, printmaker, and teacher who served as a camoufleur during the Second World War. Moss was born in Ipswich but grew up in Plymouth following the death of his father at the Battle of Passchendaele in 1917. Moss studied at the Plymouth Art School from 1930 to 1934 and then went on to the Royal College of Art, where he studied under Gilbert Spencer and Charles Mahoney. He worked on murals for the British Pavilion at the 1939 New York World's Fair. During the war, Moss made a series of watercolours depicting his time as a camoufleur. He had designed the camouflage scheme for Stonebridge Power Station in Wembley, and produced several watercolours of the camouflaged structure. These pictures, as well as several others painted during his WWII deployment, are now held by the Imperial War Museum, having been purchased by the War Artists' Advisory Committee. In 1947 Moss' military service ended, and he became a teacher at the Ipswich School of Art. He had solo exhibitions at the Kensington Art Gallery in 1951 and the Zwemmer Gallery in 1955, and his work began to be acquired by the national collections. He became a founder member of the New Ipswich Art Group in 1958, and the Six in Suffolk Group in 1976. In the 1970s he exhibited at the Royal Academy and the Royal Watercolour Society, and retrospective exhibitions of his work were held at various British art galleries throughout the 1980s. He continued to hold numerous solo exhibitions after his retirement, and taught artists Brian Eno and Maggi Hambling. Provenance: "Britain in Watercolours" exhibition. Condition: excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Tony Broderick (late 20th century) Chapel of Corpus Christi College, Cambridge
Print 37 x 25 cm A Lincoln-based artist known for his pictures of Lincoln and also of Cambridge's colleges. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Corpus Christi. -
Richard Beer (1928 - 2017)
Dieppe Cathedral
Oil on canvas 66 x 76 cm A mountaintop cathedral and surrounding houses; broad blue sky fills the rest of the canvas. This oil painting is a fantastic example of Beer's focus on architecture, the central and recurring theme of his pictorial idiom. Born in London in 1928, just too late to serve in the Second World War, Richard Beer studied between 1945 - 1950 at the Slade School. Subsequently, a French Government scholarship allowed him to spend time in Paris at Atelier 17, working under Stanley William Hayter (1901 - 1988), one of the most significant print makers of the 20th Century – having spent the War in New York, advising as a camofleur, Hayter only returned to Paris in 1950. Subsequently Beer studied at the École des Beaux Arts, Paris. Working for John Cranko, choreographer for the Royal Ballet, Beer designed the sets and costumes for his The Lady and the Fool at Covent Garden, subsequently working for him following his move in 1961 to Stuttgart Ballet. Additionally he produced book illustrations and designed book jackets. Beer later taught print-making at the Chelsea School of Art, where he was a popular teacher. Probably his greatest work was a collaboration with John Betjeman to produce a portfolio of prints of ten Wren Churches in the City for Editions Alecto, copies of which are in The Government Art Collection. That collection contains a total of 54 prints by Beer, and the Tate Gallery’s collection holds seven. His Oxford series was also produced for Editions Alecto as was a series of predominantly architectural views in Southern Europe. Most of his prints are of architectural subjects. Condition: excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views by Richard Beer. -
Paul Salomonsen (active 1960s) Y Chair (1964)
Lithographic poster (2014) 99 x 61 cm The poster features Hans J Wegner's famous 'Y chair', also known as the 'Wishbone chair'. Carl Hansen & Søn commissioned the poster from a photograph by Salomonsen, a 1960s photographer. The stylish and typically Danish woman examining the chair marks it as a piece of typically Danish design. The chair was known as "The Chair" when it was used in the TV-transmitted debate between John F Kennedy and Richard Nixon in 1959. The Chair subsequently became an icon of Danish mid-century furniture design. Condition: Excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Walter Hoyle (1922-2000)
St Catharine's College, Cambridge (1973)
Linocut 72 x 56 cm Signed and dated '73 lower right, numbered 85 / 200 lower left, and signed below. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the RA, he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle, a promising student, as his assistant. Hoyle moved to Great Bardfield in Essex and became part of the Great Bardfield group of artists: diverse in style, they created figurative work in stark contrast to the abstract art of the St Ives artists at the other end of the country. Hoyle taught at St Martin’s School of Art from 1951 - 1960, the Central School of Arts and Crafts from 1960 - 1964, and the Cambridge School of Art from 1964 - 1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Yard, and the Fry Art Gallery. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Anna Zinkeisen (1901 - 1976)
Wembley Cup Final (1934)
Lithographic poster 40 x 50 cm Signed in plate lower left, numbered 34/760, and printed by the DPC (Dangerfield Printing Company) for London Transport. Anna Zinkeisen created this design in 1934 for London Transport as a panel poster (12.5 x 10", for display within underground carriages or on buses). The Cup Final that year was between Manchester City and Portsmouth; Manchester City triumphed with a 2-1 scoreline. This particular lithograph from the same time was produced to a slightly larger scale than the panel poster, and is not recorded in the London Transport Museum archives. The process of lithography requires a skilled operator to draw a negative image on a stone plate (the Greek word 'lithos' meaning 'stone') - one plate for each colour in the image. The stone is then treated with acid and etched in a way as to produce a printing plate which can then be inked. Printing at different sizes therefore required the manual creation of new plates, and small differences between different sized versions are thus visible. Anna Zinkeisen won a scholarship to the Royal Academy Schools in 1916, focusing on sculpture and exhibiting at the Royal Academy in 1919. She was awarded the Landseer Award in 1920 and 1921, and went on to become an esteemed portrait artist, often of society ladies. She produced a series of posters for London Transport in the inter-war period. During the Second World War, Zinkeisen became a nurse, and was profoundly affected by the suffering she saw during her time working in St Mary's Hospital. This is arguably the point at which she and her sister Doris reached the pinnacle of their careers, producing some of the finest and most affecting depictions of the world at war made during this period. Condition: good. Backed to conservation paper; small loss to bottom left-hand corner and slight toning to extremities. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Selina Thorp (born 1968)
View Through an Archway, Sienna (1993)
Pastel 47 x 26 cm A view of the Duomo di Siena. Sienna has been defined architecturally by this cathedral since it was built in mediaeval times; Thorp's view of it through an archway emphasises its status as a seen symbol of the city, an object of cultural, religious, and aesthetic significance. Selina Thorp was born in Leeds in 1968 and studied at the Edinburgh College of Art. Much of her work focuses on architecture and landscape. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Trevor Bell (1930 - 2017)
Way Out Blue (1961)
Acrylic on paper 35 x 43 cm Signed and dated lower right. Bell's rosy-hued abstract composition is perhaps evoking an interior with window and curtains. The deep azure blue of the picture's title appears at the top right of the composition, curving away from the rest of the image. A sunny golden yellow drips in through the window panes, imbuing the scene with a hot, heady romanticism. Bell's idiosyncratic pictorial language allows us to experience the scene's hazy summer heat via the forms of sun, window, and wall. Bell was born in Leeds in 1930 and attended Leeds College of Art from 1947 to 1952 in a scholarship. The artist Terry Frost encouraged him to move to Cornwall, where he soon became a leading figure in the younger generation of the St Ives school. His first solo exhibition came in 1958, and the year after he was awarded the Paris Biennale International Painting Prize. The Tate began collecting his work in the 1960s, and Bell spent more time working and teaching in America. The Tate's 1985 St Ives exhibition featured Bell's work, and he was also included in the Tate St Ives' inaugural show. He returned from America in 1996 and settled down in isolated barn- and farmhouse-conversion studios near Penzance in Cornwall. He exhibited across England and America for the rest of his life, notably with his major solo exhibition at the Tate St Ives in 2004. Much of his work considers form and landscape via a dramatic use of colour and often on unusually-shaped (and sometimes multi-part) canvases. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Wilhelmina Barns-Graham (1912 - 2004)
Card for Sandra Blow's 75th birthday (1995)
Gouache and collage 34 x 21 cm Inscribed to reverse "For Sandra, Happy Birthday, with love Willie, 13/9/95". Barns-Graham's modern design features 70 vividly coloured circles; each one is different from the last, but all are geometrically aligned in neat rows and columns. Sandra Blow's initials appear separately as "S" and "B" in the design. Blow and Barns-Graham became friends in the 1950s; both spent lengthy periods of time in St Ives, and made major contributions to Britain's catalogue of post-war art. Wilhelmina Barns-Graham, known as Willie, was born in St Andrews, Fife, on 8 June 1912. Her parents were second cousins, and their respective families were well established representatives of minor Scottish gentry from both the east and west of the country. As a child, Barns-Graham showed very early signs of creative ability. It was at school that Wilhelmina decided that she wanted to be an artist, stating later in life that "painting chose me, not I it". After school she set her sights on Edinburgh College of Art where, after some dispute with her father (who was an emotional man prone to uncontrolled anger), she enrolled in 1931. During her time at Edinburgh College, Barns-Graham was taught by tutors including portrait painter David Alison and painter William MacTaggart. Her friends there included the influential Scottish painters Robert MacBryde, Robert Colquhoun, and William Gear. After her education, Barns-Graham made study trips to Paris, London, and St Tropez before moving to St Ives, Cornwall, in 1940 (at the suggestion of the Edinburgh College of Art's Principal Hubert Wellington). Barns-Graham moved near to where a group of modernist artists had settled, at Carbis Bay - this was a pivotal moment in her life. On one of her first evenings there she met the sculptor Barbara Hepworth, who made an immediate and lasting impression on her. She then went on to meet Borlase Smart, Alfred Wallis, and Bernard Leach, as well as the painter Ben Nicholson and the sculptors Naum Gabo and Margaret Mellis. After two weeks in St Ives, Barns-Graham acquired her first studio, directly below the Porthmeor Gallery which was the administrative headquarters of the St Ives Society of Artists. Her paintings at the time were heavily influenced by the Cornish landscapes and the St Ives harbour. During 1940 and 1941, Barns-Graham contributed to the war effort by volunteering in a factory making camouflage nets. In 1942 Barns-Graham became a member of the Newlyn Society of Artists, in which she exhibited with every year, and the St Ives Society of Artists. Whilst establishing herself in St Ives, Barns-Graham also continued to send work back to Scotland for major exhibitions held there such as the Royal Scottish Academy's 117th Exhibition in 1943. The 1940s were an active time for the St Ives Society of Artists who received a number of invitations to send exhibitions and groups of works to galleries in the UK and abroad, Barns-Graham's work was always included in these as the Society's secretary, Borlase Smart, thought highly of her work. Barns-Graham's first opportunity to exhibit in London came when her work was included in a group exhibition of six at the Redfern Gallery. This was due to the introduction and support of Patrick Heron, who had visited Barns-Graham's studio in St Ives and was excited by her work. Barns-Graham would later have her first one-person exhibition in London at Redfern in 1952. After a few years of tension, Barns-Graham eventually left the St Ives Society of Artists in 1949, becoming one of the founding members of a new breakaway group named Penwith Society of Arts. The first Penwith Society exhibition opened in June 1949 to huge success - 2755 paying visitors came to see it. Provenance: the Jonathan Grimble Estate; the Sandra Blow Estate. Condition: very good; in original frame. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Richard Beer (1928 - 2017)
Volterra
Etching and aquatint 60 x 45 cm Titled and numbered 4/70 lower left, and signed lower right, both in pencil. Beer's yellow-hued view of Volterra, a mountain town in Tuscany. Overseen by the beating Italian sun, a church perches atop a hill marked by trees and rocky outcrops. Born in London in 1928, just too late to serve in the Second World War, Richard Beer studied between 1945 - 1950 at the Slade School. Subsequently, a French Government scholarship allowed him to spend time in Paris at Atelier 17, working under Stanley William Hayter (1901 - 1988), one of the most significant print makers of the 20th Century – having spent the War in New York, advising as a camofleur, Hayter only returned to Paris in 1950. Subsequently Beer studied at the École des Beaux Arts, Paris. Working for John Cranko, choreographer for the Royal Ballet, Beer designed the sets and costumes for his The Lady and the Fool at Covent Garden, subsequently working for him following his move in 1961 to Stuttgart Ballet. Additionally he produced book illustrations and designed book jackets. Beer later taught print-making at the Chelsea School of Art, where he was a popular teacher. Probably his greatest work was a collaboration with John Betjeman to produce a portfolio of prints of ten Wren Churches in the City for Editions Alecto, copies of which are in The Government Art Collection. That collection contains a total of 54 prints by Beer, and the Tate Gallery’s collection holds seven. His Oxford series was also produced for Editions Alecto as was a series of predominantly architectural views in Southern Europe. Most of his prints are of architectural subjects. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
University College, Oxford (1675)
Engraving 29 x 40 cm Loggan's view of Univ from the 'Oxonia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
Trinity College, Oxford (1705)
Engraving 32 x 41 cm Loggan's view of Trinity from the second edition of the 'Oxonia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally very good; second edition. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
The University of Oxford Botanic Garden (1675)
Engraving 40 x 50 cm An eighteenth-century view of one of Oxford's dreamiest spaces: the Botanic Garden, engraved by David Loggan, the noted engraver, draughtsman, and painter. The University of Oxford Botanic Garden was founded in 1621 and is the oldest botanical garden in Great Britain. Loggan's engraving focuses on its architectural qualities, with four features of the garden highlighted for their beauty, symmetry, and prowess of design. Of particular interest in this etching are the six trompe l'oeil pieces: four gently curling pieces of paper which frame the gates of the garden, and two heraldic banners borne by cherubs and sporting legends about the garden's foundation. The Danby Gate (bottom left) at the front entrance to the garden is one of the three entrances designed by Nicholas Stone between 1632 and 1633. The gateway consists of three bays, each with a pediment; the niches contain statues of Charles I and Charles II in classical pose, and the niche in the the central pediment contains a bust of the Earl of Danby (hence the gate's name). Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: slight toning to central margin, odd marginal losses. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
St Catharine's College, Cambridge (1690)
Engraving 35 x 46 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: has previously been washed, otherwise generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
Magdalene College, Cambridge (1690)
Engraving 38 x 43 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: enerally even all-over toning; old repair to lower central fold with small loss. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
Christ's College, Cambridge (1690)
Engraving 39 x 48 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally even all-over toning; old repair to lower central fold with small loss. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Out of stock
David Loggan (1634 - 1692)
Queen's College, Cambridge (1690)
Engraving 36 x 46 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally good; mostly even over-all toning, fraction lighter down central fold; has previously been washed. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
The Church of St Mary the Virgin, Cambridge (1690)
Engraving 38 x 47 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: has been previously washed; generally good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
Emmanuel College, Cambridge (1690)
Engraving 31 x 47 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally very good; mostly even all-over toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Samuel Sparrow (active 1800) after John Kirby Baldrey (1750 - 1823)
Emmanuel College, Cambridge
Engraving 35 x 49 cm An engraving of Emmanuel College's neoclassical facade, complete with strolling undergraduates in pairs. The engraving was printed in the Cambridge Almanack in 1806. Samuel Sparrow was a British engraver of landscapes and architectural scenes after his fellow artists, often published as bookplates. John Kirkby Baldrey was a draughtsman and engraver who provided designs for the Cambridge University Almanack between 1803 and 1810. Condition: generally very good; some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
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. -
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. -
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. -
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. -
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. -
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. -
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. -
Lancaster Bomber Arming D-Day + 1
Original Silver Gelatin photograph, c. 1944 11 x 25 cm Stamped to reverse "Certified by Fox Photos Ltd as passed by censor, Press and Censorship Bureau" "Thousands of Planes Keep Up the Offensive "Thousands of planes are continuously taking part in the new offensive for the liberation of Europe. "Photograph shows: Ground staff loading up a Lancaster with a cookie and 1,000 lb bombs, ready for the new offensive. The air crew and bomb train are dwarfed when seen on the ground from one of the huge bombers. "Fox June 7 '44." D-Day was 6 June 1944 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: photograph has discoloured in some areas. -
Birth of a Lancaster
Original Silver Gelatin photograph, 1942 19 x 25 cm Stamped to reverse "Topical Press Agency Limited, Red Lion Court, Fleet Street London" and (partially obscured) "Certified by Topical Press Agency as passed by censor" "The Avro Lancaster - the fastest and greatest load carrier of all the world's heavy bombers, and scourge of the Germans from Cologne to Gdynia, Rostock to Augsburg near Munich, is now being produced so speedily that fresh squadrons are being equipped weekly, and nightly spread terror and destruction through the German industrial centres. "Photo shown: a girl inspector goes over every detail of fitting work in the bomber's nose. She is occupying the position that the bomb aimer will take on operational work. Every small part of the plane has undergone stringent inspection. "Ref number Y7119 Topical Press 2/9/42" There is nothing new in the world, a pretty girl always captures the attention of the photographer. In war-torn Britain, of course, the contribution of women to the war effort was hugely important, replacing men in factories so that the men could go off to war. 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: mostly good. -
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. -
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. -
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. -
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. -
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. -
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. -
Lancaster Bomber R5845 YW-T
Original Silver Gelatin photograph 19 x 25 cm Stamped to reverse "Copyright Hulton Press Ltd" The RAF Maintenance Unit are recovering R5845 which was on the strength of 1660 Heavy Conversion Unit Winthorpe in October 1943 from the runway. Newark Air Museum have another photograph - included in the attached photographs, but not available for sale - of the entire aeroplane on a string of Queen Mary trailers. R5845 was finally written off on the night of 18/19 July 1944 on a mission to destroy a railway junction at Revigny in France. With 11 x 1000lb and 3 x 500lb bombs nothing was heard of the aircraft after takeoff and it failed to return to base. Following the war it was established that it was intercepted by a night fighter on its way home. Four of the crew evaded capture, and one was made PoW, the Pilot F/O TEW Davis of RAAF being buried in the churchyard at Heiltz-le-Maurupt, Marne, France. 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: mostly good. -
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. -
Lancaster HK543
Original Silver Gelatin photograph 19 x 25 cm Stamped to reverse "Copyright 'the Aeroplane'" 23 July 1945 HK543 was a Lancaster III, probably produced in 1943. Here she is shown in July 1945, she was recorded photgraphically on bombing trials from Boscombe Down that month, this photograph may reasonably be assumed to be from that event. 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: mostly good. -
Lancaster Bombers under Construction
Original Silver Gelatin photograph 17 x 21 cm Stamped to reverse 'Certified by Photographic News Agencies Ltd as passed by Censor' '23 Oct 1942' This photograph shows the parts of a Lancaster bomber being assembled. At the back of the photograph, facing away from the viewer, are two nearly or newly completed aircraft, their airscrews visible attached to the wings. The factory buzzes with activity as important war work is undertaken. We have been unable to trace any other copy of this photograph. 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. -
Army P-38E Lockheed "Lightning"
Aeroplane identification poster, published 1942 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. The Lockheed P-38 Lightning was an American single-seated, twin piston-engined fighter aircraft that was used during World War II. The Lightning was originally designed as a bomber-interceptor and was never intended to be a fighter. Weight was kept to a minimum and it was far more advanced and faster than its U.S. counterparts, the Bell P-39 Airacobra and Curtiss P-40 Warhawk (original Airacobra and Warhawk posters from the same 1942 series are also available in our storefront). It caught the attention of the US Army Air Corps (USAAC) very quickly. The Lightning shot down more Japanese aeroplanes than any other fighter during World War II. When first introduced in 1939, the Lightning was able to fly a steady course at 413 mph (665 km/h), making it the fastest production aeroplane in the world. It remained one of the fastest climbers right up to the end of the WW II. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Junkers "JU 52"
Aeroplane identification poster, published 1942 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. The Junkers Ju 52/3m (nicknamed Tante Ju ("Aunt Ju") and Iron Annie) was a transport aircraft that was designed and manufactured by German aviation company Junkers. Development of the Ju 52 commenced during 1930, headed by German aeronautical engineer Ernst Zindel. Its maiden flight was on 13 October 1930. Following the rise of Nazi Germany, thousands of Ju 52s were procured as a staple military transport of the nation. The Ju 52 was in production between 1931 and 1952. In a civilian role, it flew with over 12 airlines, including Swissair and Deutsche Luft Hansa, as both a passenger carrier and a freight hauler. In a military role, large numbers flew with the Luftwaffe, being deployed on virtually all fronts of the Second World War as a troop and cargo transport; it was also briefly used as a medium bomber. Additionally, the type was deployed by other nation''s militaries in conflicts such as the Spanish Civil War, the Chaco War, and the Portuguese Colonial War. During the postwar era, the Ju 52 had a lengthy service life with numerous military and civilian operators; large numbers were still in use by the 1980s. Even in the 21st century, several aircraft have remained operational, typically used for purposes such as heritage aviation displays and aerial sightseeing. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Heinkel "He 111K"
Aeroplane identification poster, published 1942 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. The Heinkel He 111 was a German bomber aircraft designed by Siegfried and Walter Günter at Heinkel Flugzeugwerke in 1934. Through development it was described as a "wolf in sheep''s clothing"; due to restrictions placed on Germany after the First World War prohibiting bombers, it masqueraded as a civil airliner, although from conception the design was intended to provide the nascent Luftwaffe with a fast medium bomber. Perhaps the best-recognised German bomber due to the distinctive, extensively glazed "greenhouse" nose of later versions, the Heinkel He 111 was the most numerous Luftwaffe bomber during the early stages of World War II. The bomber fared well until the Battle of Britain, when its weak defensive armament was exposed. Nevertheless, it proved capable of sustaining heavy damage and remaining airborne. As the war progressed, the He 111 was used in a wide variety of roles on every front in the European theatre. It was used as a strategic bomber during the Battle of Britain (and has a prominent role in the film "Battle of Britain"), a torpedo bomber in the Atlantic and Arctic, and a medium bomber and a transport aircraft on the Western, Eastern, Mediterranean, Middle Eastern, and North African Front theatres. The He 111 was constantly upgraded and modified, but became obsolete during the latter part of the war. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Army Gotha "Go 242"
Aeroplane identification poster, published 1942 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. The Gotha Go 242 was a transport glider used by the Luftwaffe during World War II. It was designed by Albert Kalkert in response to the request for a heavy transport glider to replace the DFS 230 which was then in service. The requirement was for a glider capable of carrying 20 fully laden troops, or equivalent cargo. Two prototypes flew in 1941 and the type quickly entered production, with a total of 1,528 being built. In service, Go 242s were towed into the air by Heinkel He 111s or Junkers Ju 52s. Most saw service in the Mediterranean, North Africa and Aegean. Ju 87D-2s had strengthened rear fuselage and combined tailwheel and hook for towing the Go 242. Today, there are two surviving 242s - one in the Musée de la Resistance du Vercors in Valence, France, and the other in the Technik Museum and Luftwaffenmuseum der Bundeswehr in Berlin, Germany. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Army FW-189 "Flying Eye"
Aeroplane identification poster, published 1942 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. The Focke-Wulf Fw 189 Uhu ("Eagle Owl") was a German twin-engine, twin-boom, three-seat tactical reconnaissance and army cooperation aircraft. It first flew in 1938, entered service in 1940 and was produced until mid-1944. It was nicknamed the “Flying Eye.” Patrolling the vast flatlands of Ukraine and Belarus, the Flying Eye was used extensively on the Eastern Front with great success. It was nicknamed "Rama" ("frame") by Soviet forces, in reference to its distinctive tailboom and stabiliser shapes, which gave it its characteristic quadrangular appearance. Despite its low speed, the Fw 189's manoeuvrability made it a difficult target for attacking Soviet fighters. When attacked, the Flying Eye was often able to out-turn enemy fighters by simply flying in a tight circle. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
"Rufe" Mitsubishi "Type OO"
Aeroplane identification poster, published 1942 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. This Japanese floatplane, known to the Allies as a "Rufe", was developed from the Mitsubishi A6M Type 0 - the famous ''Zero'' figher, mainly to support amphibious operations and defend remote bases. It was based on the A6M-2 Model 11 fuselage, with a modified tail and added floats. A total of 327 were built, including the original prototype. The aircraft was deployed in 1942 and was only used in operations taking place in the Aleutians and Solomon Islands. Such seaplanes were effective in harassing American patrol torpedo boats at night. They could also drop flares to illuminate the American boats which were vulnerable to destroyer gunfire, and depended on cover of darkness. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Royal Air Force Handley Page "Hampden" Bomber
Aeroplane identification poster, published 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. The Handley Page HP.52 Hampden is a British twin-engine medium bomber that was operated by the Royal Air Force (RAF). It was part of the trio of large twin-engine bombers procured for the RAF, joining the Armstrong Whitworth Whitley and Vickers Wellington. The Hampden was powered by Bristol Pegasus radial engines but a variant known as the Handley Page Hereford had in-line Napier Daggers. The Hampden served in the early stages of the Second World War, bearing the brunt of the early bombing war over Europe, taking part in the first night raid on Berlin and the first 1,000-bomber raid on Cologne. When it became obsolete, after a period of mainly operating at night, it was retired from RAF Bomber Command service in late 1942. By 1943, the rest of the trio were being superseded by the larger four-engined heavy bombers such as the Avro Lancaster. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Handley-Page "Halifax"
Aeroplane identification poster, published 1942 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. The Halifax bomber was a twin-engined bomber that entered service with the RAF in 1940. Viewed by Arthur ''Bomber'' Harris as inferior to the Lancaster, on account of its smaller payload, the crews preferred it. 1,833 aircraft were lost in service with Bomber Command, across a total of 82,733 operations. Only three survive, one at the Yorkshire Air Museum in Elvington (based on a fuselage that had been in use at a chicken farm following a crash near Stornoway), one at the National Air Force Museum of Canada (which was discovered in 1991 in Norway and subsequently restored), and one at the RAF Museum in London (that crash landed in Norway following an attack on the German battleship Tirpitz; rediscovered in 1971, it has been left unrestored). Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Navy and Army Grumman "Duck"
Aeroplane identification poster, published 1942 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. The Grumman J2F Duck was an American single-engine amphibious biplane. It was used by each major branch of the U.S. armed forces from the mid-1930s until just after World War II, primarily for utility and air-sea rescue duties. It was also used by the Argentine Navy, who took delivery of their first J2F in 1937. Apart from general utility and light transport duties, its missions included mapping, reconnaissance, anti-submarine patrol, air-sea rescue work, photographic surveys, and target tug. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
1942 RAF General Hotspur II
Aeroplane identification poster, published 1942 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. A particularly unusual style of aeroplane recognition poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series - have a much more arty approach to the task with shading and an interesting angle view. The General Aircraft GAL.48 Hotspur was a military glider designed and built by the British company General Aircraft Ltd during World War II. When the British airborne establishment was formed in 1940 by order of Prime Minister Winston Churchill, it was decided that gliders would be used to transport airborne troops into battle. General Aircraft Ltd were given a contract by the Ministry of Aircraft Production in June 1940 to design and produce an initial glider for use by the airborne establishment, which resulted in the Hotspur. Conceived as an "assault" glider which necessitated a compact design and no more than eight troops carried, tactical philosophy soon favoured larger numbers of troops being sent into battle aboard gliders. Due to this, the Hotspur was mainly relegated to training where it did excel and it became the basic trainer for the glider schools that were formed. The Hotspur was named after Sir Henry Percy, a significant captain during the Anglo-Scottish wars who was also known as "Hotspur". A Hotspur Mark II (HH268) replica is on display at the Museum of Army Flying in Hampshire, England. The front fuselage of a Hotspur was preserved at the Parachute Regiment And Airborne Forces Museum in Aldershot prior to the museum''s 2007 closing, in anticipation of a move to the Imperial War Museum Duxford. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Army Fi-156 Fieseler "Storch"
Aeroplane identification poster, published 1944 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 Fieseler Fi 156 Storch, meaning "stork", was a small German liaison aircraft built by Fieseler before and during World War II. It was notable for its excellent short-takeoff-and-landing performance and low stall speed of 31 mph.The Douglas Skymaster was a four-engine transport aircraft used by the United States Army Air Forces in World War II and the Korean War. Like the Douglas C-47 Skytrain (the Skytrain poster from the same series is also available in our storefront), the Skymaster was derived from a civilian airliner, the Douglas DC-4. The Storch was deployed in all European and North African theatres of World War II. In addition to its liaison function, a number were used to fly a battalion of Infantry Regiment Grossdeutschland behind enemy lines during the invasion of Belgium. In 1943, the Storch played a role in Operation Eiche, the rescue of deposed Italian dictator Benito Mussolini from a boulder-strewn mountain-top near the Gran Sasso. Even though the mountain was surrounded by Italian troops, German commando Otto Skorzeny and 90 paratroopers used gliders to land on the peak and quickly captured it. However, the problem of how to get back off remained. A Focke-Achgelis Fa 223 helicopter was sent, but it broke down en route. Instead, pilot Heinrich Gerlach flew over in a Storch. After Mussolini and Skorzeny had boarded the aircraft, the Storch took off to 250 ft, even though the aircraft was overloaded. A Storch was the last aircraft shot down by the Allies on the Western Front. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Army A-20 A, B, Navy BD- 1, 2, UK "Boston" I, II, III, "Havoc" I, II, French DB-7B Douglas "A-20"
Aeroplane identification poster, published 1942 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. The Douglas A-20 was a medium bomber, attack aircraft, night intruder, night fighter, and reconnaissance aircraft of World War II. Designed to meet an Army Air Corps requirement for a bomber, it was ordered by France for their air force before the USAAC decided it would also meet their requirements. French DB-7s were the first to see combat. The A-20 served with several Allied air forces, principally the United States Army Air Forces (USAAF), the Soviet Air Forces (VVS), Soviet Naval Aviation (AVMF), and the Royal Air Force (RAF) of the United Kingdom. A total of 7,478 aircraft were built, of which more than a third served with Soviet units. It was also used by the air forces of Australia, South Africa, France, and the Netherlands during the war. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Navy SBD-3, 4, 5, Army A-24 Douglas "Dauntless"
Aeroplane identification poster, published 1942 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. The Douglas SBD Dauntless was a World War II American naval scout plane and dive bomber that was manufactured by Douglas Aircraft from 1940 through 1944. The SBD ("Scout Bomber Douglas") was the United States Navy''s main carrier-based scout/dive bomber from mid-1940 through mid-1944. The SBD was also flown by the United States Marine Corps, both from land air bases and aircraft carriers. The SBD is best remembered as the bomber that delivered the fatal blows to the Japanese carriers at the Battle of Midway in June 1942. During Midway, four squadrons of Dauntless dive bombers attacked and sank or fatally damaged all four Japanese fleet carriers present, disabling three of them in the span of just six minutes (Akagi, Kaga, and Sōryū) and, later in the day, Hiryū. During its combat service, the SBD proved to be an excellent naval scout plane and dive bomber. It possessed long range, good handling characteristics, manoeuvrability, potent bomb load, great diving characteristics from the perforated dive brakes, good defensive armament, and ruggedness. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
1942 Navy R5D-1 Army C-54A Douglas "Skymaster"
Aeroplane identification poster, published 1942 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. The Douglas Skymaster was a four-engine transport aircraft used by the United States Army Air Forces in World War II and the Korean War. Like the Douglas C-47 Skytrain (the Skytrain poster from the same series is also available in our storefront), the Skymaster was derived from a civilian airliner, the Douglas DC-4. To meet military requirements, the first civil production aircraft had four additional auxiliary fuel tanks in the main cabin which reduced the passenger seats to 26. The following batch of aircraft, designated C-54A, were built with a stronger floor and a cargo door with a hoist and winch. The first C-54A was delivered in February 1943. Skymasters used by the United States Navy were designated Douglas R5D. As well as being used for cargo transport, the C-54 also carried presidents, prime ministers, and military staff. Dozens of variants of the C-54 were employed in a wide variety of non-combat roles such as air-sea rescue, scientific and military research, and missile tracking and recovery. During the Berlin Airlift it hauled coal and food supplies to West Berlin. After the Korean War it continued to be used for military and civilian uses by more than 30 countries. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Fairey Swordfish
Aeroplane identification poster, published 1942 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. The Fairey Swordfish is a biplane torpedo bomber designed by the Fairey Aviation Company. Originating in the early 1930s, the Swordfish, nicknamed "Stringbag", was operated by the Fleet Air Arm of the Royal Navy, it was also used by the Royal Air Force (RAF), as well as several overseas operators, including the Royal Canadian Air Force (RCAF) and the Royal Netherlands Navy. It was initially operated primarily as a fleet attack aircraft. During its later years, the Swordfish became increasingly used as an anti-submarine and training platform. The type was in frontline service throughout the Second World War. Despite being obsolete by 1939, the Swordfish achieved some spectacular successes during the war. Notable events included sinking one battleship and damaging two others of the Regia Marina (the Italian Navy) during the Battle of Taranto, and the famous attack on the Bismarck, which contributed to her eventual demise. By the end of the war, the Swordfish held the distinction of having caused the destruction of a greater tonnage of Axis shipping than any other Allied aircraft. The Swordfish remained in front-line service until V-E Day, having outlived multiple aircraft that had been intended to replace it in service. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
US Naval Aviation Training Division
MacArthur name "Zeke" or Zero Mitsubishi "Type 00" - Japanese fighter plane
Aeroplane identification poster, published 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. The Mitsubishi A6M "Zero" was a long-range carrier-based fighter aircraft formerly manufactured by Mitsubishi Aircraft Company, a part of Mitsubishi Heavy Industries, and was operated by the Imperial Japanese Navy from 1940 to 1945. The official Allied reporting name was "Zeke", although the name "Zero" (from Type 0) was used colloquially by the Allies as well. The Zero was considered to have been the most capable carrier-based fighter in the world when it was introduced early in World War II, combining excellent manoeuvrability and very long range. The Imperial Japanese Navy Air Service (IJNAS) also frequently used it as a land-based fighter. In early combat operations, the Zero gained a reputation as a dogfighter, achieving an outstanding kill ratio of 12 to 1, but by mid-1942 a combination of new tactics and the introduction of better equipment enabled Allied pilots to engage the Zero on generally equal terms. The Zero continued to serve in a front-line role until the end of the war in the Pacific; during the final phases, it was also adapted for use in kamikaze operations. Japan produced more Zeros than any other model of combat aircraft during the Second World War. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
US Naval Aviation Training Division
MIG-3
Aeroplane identification poster, published 1942 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. The Mikoyan-Gurevich MIG-3 was a Soviet fighter and interceptor aircraft used during World War II. It was a development of the MIG-1 by the Experimental Design Department of Factory No. 1 to remedy problems found during the MIG-1's development and operations. On 22 June 1941, at the beginning of Operation Barbarossa, some 981 MIG-3s were in service with the Soviet Air Forces, the Soviet Air Defence Forces, and Soviet Naval Aviation. The MIG-3 was difficult to fly in peacetime and much more so in combat. Originally designed as a high-altitude fighter-interceptor, combat over the Eastern Front was generally at lower altitudes, where it was inferior to the German Messerschmitt Bf 109 (a poster of which is available in our storefront) as well as most of its Soviet contemporaries. It was also pressed into service as a fighter-bomber during the autumn of 1941 but it was equally unsuited for this. The losses suffered in combat were very high, in percentage the highest among all the VVS fighters, with 1,432 shot down. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
US Naval Aviation Training Division
Messerschmitt BF 210
Aeroplane identification poster, published 1942 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. The Messerschmitt Me 210 was a two-seater German heavy fighter and ground-attack aircraft of World War II. Initial development of the 210 was started by Messerschmitt in 1938 at the request of the Luftwaffe. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
US Naval Aviation Training Division
Messerschmitt BF 109
Aeroplane identification poster, published 1942 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. The Messerschmitt Bf 109 is a German World War II fighter aircraft that was, along with the Focke-Wulf Fw 190, the backbone of the Luftwaffe's fighter force. The Bf 109 first saw operational service in 1937 during the Spanish Civil War and was still in service at the dawn of the jet age at the end of World War II in 1945. It was one of the most advanced fighters when it first appeared, with an all-metal monocoque construction, a closed canopy, and retractable landing gear. It was powered by a liquid-cooled, inverted-V12 aero engine. It was called the Me 109 by Allied aircrew and some German aces, even though this was not the official German designation. It was designed by Willy Messerschmitt and Robert Lusser who worked at Bayerische Flugzeugwerke during the early to mid-1930s. It was conceived as an interceptor, although later models were developed to fulfil multiple tasks, serving as bomber escort, fighter-bomber, day-, night-, all-weather fighter, ground-attack aircraft, and reconnaissance aircraft. It was supplied to several states during World War II and served with several countries for many years after the war. The Bf 109 is the most produced fighter aircraft in history, with a total of 33,984 airframes produced from 1936 to April 1945. Some of the Bf 109 production took place in Nazi concentration camps through slave labor. The Bf 109 was flown by the three top-scoring fighter aces of all time, who claimed 928 victories among them while flying with Jagdgeschwader 52, mainly on the Eastern Front. The highest-scoring, Erich Hartmann, was credited with 352 victories. The aircraft was also flown by Hans-Joachim Marseille, the highest-scoring ace in the North African Campaign who shot down 158 enemy aircraft. It was also flown by many aces from other countries fighting with Germany, notably the Finn Ilmari Juutilainen, the highest-scoring non-German ace. Pilots from Italy, Romania, Croatia, Bulgaria, and Hungary also flew the Bf 109. Through constant development, the Bf 109 remained competitive with the latest Allied fighter aircraft until the end of the war. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
US Naval Aviation Training Division
Short Sunderland
Aeroplane identification poster, published 1942 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. The Avro Lancaster is a British Second World War heavy bomber. It was designed and manufactured by Avro as a contemporary of the Handley Page Halifax, both bombers having been developed to the same specification, as well as the Short Stirling, all three aircraft being four-engined heavy bombers adopted by the Royal Air Force (RAF) during the same wartime era. The Short Sunderland was a British flying boat patrol bomber, developed and constructed by Short Brothers for the Royal Air Force (RAF). The aircraft took its service name from the town (latterly, city) and port of Sunderland in North East England. The Sunderland was one of the most powerful and widely used flying boats throughout the Second World War. In addition to the RAF, the type was operated by other Allied military air wings, including the Royal Australian Air Force (RAAF), Royal Canadian Air Force (RCAF), South African Air Force (SAAF), Royal New Zealand Air Force (RNZAF), French Navy, Norwegian Air Force, and the Portuguese Navy. During the conflict, the Sunderland was heavily involved in Allied efforts to counter the threat posed by German U-boats in the Battle of the Atlantic. On 17 July 1940, a RAAF Sunderland (of No. 10 Squadron) performed the type's first unassisted U-boat kill. The Sunderland also played a major role in the Mediterranean theatre, performing maritime reconnaissance flights and logistical support missions. During the evacuation of Crete, shortly after the German invasion of the island, several aircraft were used to transport troops. Numerous unarmed Sunderlands were also flown by civil operator British Overseas Airways Corporation (BOAC), traversing routes as far afield as the Pacific Ocean. Condition: generally very good, occasional handling marks. If you are interested, 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. -
US Naval Aviation Training Division
Vickers Wellington
Aeroplane identification 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 Vickers Wellington was a British twin-engined, long-range medium bomber. It was designed during the mid-1930s at Brooklands in Weybridge, Surrey. Led by Vickers-Armstrongs' chief designer Rex Pierson; a key feature of the aircraft is its geodetic airframe fuselage structure, which was principally designed by Barnes Wallis. Development had been started in response to Air Ministry Specification B.9/32, issued in the middle of 1932, for a bomber for the Royal Air Force. This specification called for a twin-engined day bomber capable of delivering higher performance than any previous design. Other aircraft developed to the same specification include the Armstrong Whitworth Whitley and the Handley Page Hampden. During the development process, performance requirements such as for the tare weight changed substantially, and the engine used was not the one originally intended. The Wellington was used as a night bomber in the early years of the Second World War, performing as one of the principal bombers used by Bomber Command. During 1943, it started to be superseded as a bomber by the larger four-engined "heavies" such as the Avro Lancaster. The Wellington continued to serve throughout the war in other duties, particularly as an anti-submarine aircraft. It holds the distinction of having been the only British bomber that was produced for the duration of the war, and of having been produced in a greater quantity than any other British-built bomber. The Wellington remained as first-line equipment when the war ended, although it had been increasingly relegated to secondary roles. The Wellington was one of two bombers named after Arthur Wellesley, 1st Duke of Wellington, the other being the Vickers Wellesley. A larger heavy bomber aircraft designed to Specification B.1/35, the Vickers Warwick, was developed in parallel with the Wellington; the two aircraft shared around 85% of their structural components. Many elements of the Wellington were also re-used in a civil derivative, the Vickers VC.1 Viking. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
US Naval Aviation Training Division
Avro Lancaster
Aeroplane identification poster, published 1942 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. The Avro Lancaster is a British Second World War heavy bomber. It was designed and manufactured by Avro as a contemporary of the Handley Page Halifax, both bombers having been developed to the same specification, as well as the Short Stirling, all three aircraft being four-engined heavy bombers adopted by the Royal Air Force (RAF) during the same wartime era. The Lancaster has its origins in the twin-engine Avro Manchester which had been developed during the late 1930s in response to the Air Ministry Specification P.13/36 for a capable medium bomber for "world-wide use". Originally developed as an evolution of the Manchester (which had proved troublesome in service and was retired in 1942), the Lancaster was designed by Roy Chadwick and powered by four Rolls-Royce Merlins and in one version, Bristol Hercules engines. It first saw service with RAF Bomber Command in 1942 and as the strategic bombing offensive over Europe gathered momentum, it was the main aircraft for the night-time bombing campaigns that followed. As increasing numbers of the type were produced, it became the principal heavy bomber used by the RAF, the Royal Canadian Air Force (RCAF) and squadrons from other Commonwealth and European countries serving within the RAF, overshadowing the Halifax and Stirling. A long, unobstructed bomb bay meant that the Lancaster could take the largest bombs used by the RAF, including the 4,000 lb (1,800 kg), 8,000 lb (3,600 kg) and 12,000 lb (5,400 kg) blockbusters, loads often supplemented with smaller bombs or incendiaries. The "Lanc", as it was known colloquially, became one of the most heavily used of the Second World War night bombers, "delivering 608,612 long tonnes of bombs in 156,000 sorties". The versatility of the Lancaster was such that it was chosen to equip 617 Squadron and was modified to carry the Upkeep "bouncing bomb" designed by Barnes Wallis for Operation Chastise, the attack on German Ruhr valley dams. Although the Lancaster was primarily a night bomber, it excelled in many other roles, including daylight precision bombing, for which some Lancasters were adapted to carry the 12,000 lb (5,400 kg) Tallboy and then the 22,000 lb (10,000 kg) Grand Slam earthquake bombs (also designed by Wallis). This was the largest payload of any bomber in the war. In 1943, a Lancaster was converted to become an engine test bed for the Metropolitan-Vickers F.2 turbojet. Lancasters were later used to test other engines, including the Armstrong Siddeley Mamba and Rolls-Royce Dart turboprops and the Avro Canada Orenda and STAL Dovern turbojets. Postwar, the Lancaster was supplanted as the main strategic bomber of the RAF by the Avro Lincoln, a larger version of the Lancaster. The Lancaster took on the role of long range anti-submarine patrol aircraft (later supplanted by the Avro Shackleton) and air-sea rescue. It was also used for photo-reconnaissance and aerial mapping, as a flying tanker for aerial refuelling and as the Avro Lancastrian, a long-range, high-speed, transatlantic passenger and postal delivery airliner. In March 1946, a Lancastrian of BSAA flew the first scheduled flight from the new London Heathrow Airport. Condition: generally very good, occasional handling marks. If you are interested, 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.
