-
Brendan Neiland (b. 1941) R.A. (Expelled)
Lady Margaret Hall
Screenprint 46 x 27 cm Signed, titled, and numbered 42/175 in pencil. A screenprint of the cupola atop Lady Margaret Hall's Talbot Building. Reflected architecture is one of Neiland’s most recurring themes. Neiland's work is widely exhibited in major museums and galleries worldwide including, in Britain, the Victoria and Albert Museum, The Tate Gallery London, The Collections of the British Council, and the Arts Council of Great Britain. He is represented by the Redfern Gallery and has had numerous shows internationally, including at the Galerie Belvedere in Singapore, who represent him in Singapore and the Far East. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Lady Margaret Hall. -
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. -
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. -
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. -
Claude Muncaster (1903 - 1974)
Stromness, Orkney
Pencil drawing 23 x 53 cm A drawing of Stromness, Orkney, with two figures in the foreground. The buildings seem tiny in comparison to the huge cliffs overlooking the town. Claude Grahame Muncaster, RWS ROI RBA SMA was the son of Oliver Hall RA. He was born Grahame Hall (his father was the Royal Academician Oliver Hall, who taught his son to paint from an early age) but adopted the name Claude Muncaster in 1922, hoping to strike out on his own and dissociate his career from that of his father. His career as a landscape painter began when he was fifteen; he spent the 1920s and 30s travelling the world with his sketchbook by boat. Muncaster’s primary choice of subject matter came from a genuine love of the sea. He made several long-distance sea voyages, including one around the Horn as a deckhand in the windjammer Olivebank in 1931, which he described in ‘Rolling Round the Horn’, published in 1933. Armed with a sketchbook, his aim was to be able to ‘paint ships and the sea with greater authority’. This he certainly achieved, perfectly capturing the limpid first light of morning over the Port of Aden, the choppy rain-grey waters of the Bay of Biscay and a streak of sunlight through gathering storm clouds at dusk in Exeter. He became an Associate of the Royal Watercolour Society in 1931 and was a founder member, and later President, of the Royal Society of Marine Artists. When the Second World War broke out, Muncaster joined the Royal Naval Reserves, training as a navigator before going on to advise on the camouflage of ships. He also worked as an official war artist. In ‘Still Morning at Aden’ (1944) he depicts Allied warships in this safe anchorage in the Middle East; the back is stamped with Admiralty approval. In 1946-7 he was commissioned by the Queen to produce watercolours of the royal residences (some of which are available below); the Duke of Edinburgh, in a foreword to a biography of Muncaster, recalls looking at these and considering the artist’s ‘unerring instinct for a subject’, his sense of atmosphere. Other commissions included large panoramas of the Thames and of Bradford. His career also included work as an etcher, illustrator, writer, lecturer and broadcaster, and his paintings can be found in the Royal Academy, Tate, National Maritime Museum Cornwall, National Railway Museum and Royal Air Force Museum. He was a frequent guest at Sandringham for the rest of his life. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
Silhouette (circa 1870)
Miss Chapman
Gouache, pen, and ink 52 x 44 cm One of the daughters of David Barclay Chapman - either Ella Maria or Eugenia Susannah. His other daughter, Adeline Mary, appears in another silhouette from this particular set. David Barclay Chapman was a partner in the bank which in 1896 became the Limited Company Barclay & Co, known today as Barclay's. Prior to photography, silhouettes were the easiest way of recording a person's appearance. This set might record the group present at a country house party, a wedding, or other similar convivial occasion. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Silhouette (circa 1870)
Lennox
Gouache, pen, and ink 52 x 44 cm Prior to photography, silhouettes were the easiest way of recording a person's appearance. This set might record the group present at a country house party, a wedding, or other similar convivial occasion. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Silhouette (circa 1870)
Miss Dodo Guinness
Gouache, pen, and ink 52 x 44 cm Adelaide Maud Guinness, nicknamed 'Dodo', was descended from the banking line of Guinnesses. Her father was the barrister and MP Richard Samuel Guinness. Dodo married Edward Cecil Guinness, the 1st Earl of Iveagh and her third cousin, in 1873. Edward's father had died in 1868, after which Edward inherited a share of the famous Guinness brewery. The Guinness family seat is Elveden Hall in Suffolk. Prior to photography, silhouettes were the easiest way of recording a person's appearance. This set might record the group present at a country house party, a wedding, or other similar convivial occasion. Condition: generally good; some staining to upper edge. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Silhouette (circa 1870)
The Hon Mrs F Byron
Gouache, pen, and ink 52 x 44 cm Likely Mary Jane Wescomb, the daughter of the daughter of Reverend William Wescomb. She married the Hon Frederick Byron in 1851; Byron was a cricketer educated at Westminster and Balliol College, Oxford, and became a fellow at All Souls College in 1843. The couple moved in to Langford Grove together after their marriage. Prior to photography, silhouettes were the easiest way of recording a person's appearance. This set might record the group present at a country house party, a wedding, or other similar convivial occasion. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Sutton Nichols (1668 - 1729)
Map of Cambridgeshire
Engraving 43 x 36 cm Signed in plate lower left. A beautifully coloured 18th century map engraving of Cambridgeshire. The map was produced by Robert Morden for publication in Edward Gibson's 1695 translation of William Camden's Britannia, a topographical and historical survey of Great Britain and Ireland produced to "restore antiquity to Britaine, and Britain to his antiquity" - a most noble aim. William Camden (1551 - 1623) was an English antiquarian, historian, topographer, and herald, best known as the author of Britannia, the first chorographical survey of the islands of Great Britain and Ireland, and the Annales, the first detailed historical account of the Queen Elizabeth I's reign. Sutton Nicholls was a draughtsman and engraver best known for his panoramic views of the cities of London and Westminster. Almost all of his engravings were commissioned by publishers. Nicholls specialised in topographical and architectural designs; he also produced many maps, notably illustrating John Strype’s edition of John Stowe’s ‘Survey of London’ in 1720. Condition: good. Mounted to board. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Pieter van den Keere (1571 - circa 1646) after John Speed (1551 or 1552 - 1629)
Map of Cambridgeshire (1627)
Engraving 8 x 12 cm A beautifully coloured map of Cambridgeshire, with an antique description of the county to the reverse. The map, along with many others, was published in Speed's atlas, 'The Theatre of the Empire of Great Britaine', first published in 1611. This particular miniature edition of the 'Theatre' was published in miniature by George Humble in 1627, entitled 'England Wales Scotland and Ireland Described and Abridged With ye Historic Relation of things worthy memory from a farr larger Voulume. Done by John Speed.’ Speed's original map was likely engraved for this edition by Peter van den Keere. van den Keere's maps soon came to be known as "Miniature Speeds". John Speed was an English cartographer, chronologer and historian. The son of a citizen and Merchant Taylor in London, he rose from his family occupation to accept the task of drawing together and revising the histories, topographies and maps of the Kingdoms of Great Britain as an exposition of the union of their monarchies in the person of King James I and VI. He accomplished this with remarkable success, with the support and assistance of the leading antiquarian scholars of his generation. He drew upon and improved the shire maps of Christopher Saxton, John Norden and others, being the first to incorporate the hundred-boundaries into them, and he was the surveyor and originator of many of the town or city plans inset within them. His work helped to define early modern concepts of British national identity. His Biblical genealogies were also formally associated with the first edition of the King James Bible. He is among the most famous of English mapmakers. George Humble (1572 - 1640) was an English publisher, known for his publication of John Speed's 'The theatre of the empire of Great Britaine,' the first comprehensive atlas depicting the British Isles, and his later 'A prospect of the most famous parts of the World,' the first English world atlas. Pieter van den Keere was a Flemish engraver, publisher, and globe maker who worked in England and the Dutch Republic. Condition: generally very good; some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Dower (1825 - 1901)
Map of Berkshire from an actual survey made in the years 1822 & 1823
Engraving 57 x 69 cm A large antique engraved map of Berkshire. Condition: good; some light staining. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Chapel Interior (circa 1800)
Engraving 49 x 40 cm An engraving of a magnificent chapel interior. Two men tour the chapel, one gesticulating towards the spectacular design of the chancel window. Condition: good. Some gentle discolouration; in faux burr-maple frame. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Arabesques and caricatures
Engraving 24.5 x 36 cm Condition: good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
James Redaway (1797 - 1858)
Eton from the Locks
Hand-coloured engraving 27 x 28 cm Redaway's view of Eton College, seen from the locks on the River Thames. James Redaway was a nineteenth-century engraver, principally of landscapes and architectural subjects. Condition: some staining to lower half of print. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Gerardus Mercator (1512 - 1594)
Map of the North of Scotland (1683)
Engraving with later hand colouring 35 x 45 cm A fantastically characterful and detailed map engraving of the North of Scotland from 1683. The highly detailed and beautifully coloured map is inscribed to the reverse with a description of the parts of Scotland illustrated, called the ''Troisieme Table d''Escosse''. The map comes from the 1683 French edition of Gerardus Mercator''s Atlas Major, which was first published in 1585. Gerardus Mercator was the Flemish father of mapmaking. He was a skilled geographer, cosmographer and cartographer and is most renowned for creating the 1569 world map based on a new projection which represented sailing courses of constant bearing (rhumb lines) as straight lines - an innovation that is still employed in today''s nautical charts. Mercator was a highly influential pioneer in the history of cartography and is generally considered one of the founders of the Netherlandish school of cartography and geography. He is also widely considered the most notable figure of the school. In his own day, he was a notable maker of globes and scientific instruments. In addition, he had interests in theology, philosophy, history, mathematics and geomagnetism. He was also an accomplished engraver and calligrapher. Unlike other great scholars of the age, he travelled little and his knowledge of geography came from his library of over a thousand books and maps, from his visitors and from his vast correspondence (in six languages) with other scholars, statesmen, travellers, merchants and seamen. Mercator''s early maps were in large formats suitable for wall mounting but in the second half of his life, he produced over 100 new regional maps in a smaller format suitable for binding into his Atlas of 1595. This was the first appearance of the word Atlas in reference to a book of maps. However, Mercator used it as a neologism for a treatise (Cosmologia) on the creation, history and description of the universe, not simply a collection of maps. He chose the word as a commemoration of the Titan Atlas, "King of Mauretania", whom he considered to be the first great geographer. Mercator wrote on geography, philosophy, chronology and theology. All of the wall maps were engraved with copious text on the region concerned. As an example, the famous world map of 1569 is inscribed with over five thousand words in fifteen legends. Condition: a little spotting, primarily to margins. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
J Black (early 19th century) after Frederick Mackenzie (1788 - 1854)
East End of South Aisle, Westminster Abbey (1812)
Hand-coloured aquatint 31 x 24 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the East End of Westminster Abbey's south aisle. Mackenzie's drawing was engraved by Black and published by Ackermann in his 1812 "History of Westminster Abbey". Charles II, Queen Anne, Queen Mary II and her husband King William III, and Mary, Queen of Scots are all buried in the south aisle. The Abbey is an historic, mainly Gothic church in the City of Westminster, London, just to the west of the Palace of Westminster. It is one of the United Kingdom's most notable religious buildings and since Edward the Confessor, a burial site for English and, later, British monarchs. Since the coronation of William the Conqueror in 1066, all coronations of English and British monarchs have occurred in Westminster Abbey. Sixteen royal weddings have occurred at the abbey since 1100. According to a tradition first reported circa 1080, a church was founded at the site (then known as Thorney Island) in the seventh century, in the time of Mellitus, Bishop of London. Construction of the present church began in 1245 on the orders of Henry III. Frederick Mackenzie (1788 - 1854) was a British watercolourist and architectural draughtsman. He first exhibited at the Royal Academy in 1804, and contributed eleven drawings between that year and 1828. He contributed to the Society of Painters in Water Colours exhibitions from 1813, becoming an associate in 1822, and a full member the following year. From 30 November 1831 till his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
J Black (early 19th century) after Frederick Mackenzie (1788 - 1854)
East Side of St Erasmus' Chapel, Westminster Abbey (1812)
Hand-coloured aquatint 28 x 19 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the east side of the chapel of St Erasmus in Westminster Abbey. Mackenzie's drawing was engraved by Black and published by Ackermann in his 1812 "History of Westminster Abbey". The chapel was built in the late 15th century by order of Edward IV's wife, Elizabeth Woodville. It would have been used to worship St Erasmus, also known as St Elmo (a Christian saint and martyr venerated as the patron saint of sailors and abdominal pain). The Abbey is an historic, mainly Gothic church in the City of Westminster, London, just to the west of the Palace of Westminster. It is one of the United Kingdom's most notable religious buildings and since Edward the Confessor, a burial site for English and, later, British monarchs. Since the coronation of William the Conqueror in 1066, all coronations of English and British monarchs have occurred in Westminster Abbey. Sixteen royal weddings have occurred at the abbey since 1100. According to a tradition first reported circa 1080, a church was founded at the site (then known as Thorney Island) in the seventh century, in the time of Mellitus, Bishop of London. Construction of the present church began in 1245 on the orders of Henry III. Frederick Mackenzie (1788 - 1854) was a British watercolourist and architectural draughtsman. He first exhibited at the Royal Academy in 1804, and contributed eleven drawings between that year and 1828. He contributed to the Society of Painters in Water Colours exhibitions from 1813, becoming an associate in 1822, and a full member the following year. From 30 November 1831 till his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
J Black (early 19th century) after Frederick Mackenzie (1788 - 1854)
Screen Over the Chantry of Henry V, Westminster Abbey (1812)
Hand-coloured aquatint 26 x 31 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the gothic screen of the elaborately carved chantry chapel dedicated to Henry V, and below which lies his tomb, in Westminster Abbey. Mackenzie's drawing was engraved by Black and published by Ackermann in his 1812 "History of Westminster Abbey". The Abbey is an historic, mainly Gothic church in the City of Westminster, London, just to the west of the Palace of Westminster. It is one of the United Kingdom''s most notable religious buildings and since Edward the Confessor, a burial site for English and, later, British monarchs. Since the coronation of William the Conqueror in 1066, all coronations of English and British monarchs have occurred in Westminster Abbey. Sixteen royal weddings have occurred at the abbey since 1100. According to a tradition first reported circa 1080, a church was founded at the site (then known as Thorney Island) in the seventh century, in the time of Mellitus, Bishop of London. Construction of the present church began in 1245 on the orders of Henry III. Frederick Mackenzie (1788 - 1854) was a British watercolourist and architectural draughtsman. He first exhibited at the Royal Academy in 1804, and contributed eleven drawings between that year and 1828. He contributed to the Society of Painters in Water Colours exhibitions from 1813, becoming an associate in 1822, and a full member the following year. From 30 November 1831 till his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Attributed to Antony Vandyke Copley Fielding (1787 - 1855)
Dinan Tour de l’Horloge (Dinan Clock Tower)
Watercolour 28 x 21 cm A spirited watercolour of Dinan, Brittany. Dinan's famous clock tower looks over a French street scene: men, women, and children weave through the town's half-timbered houses, shops, and ateliers. The characterful mediaeval stonework and architecture of the town are paramount, and the artist adds a bright blue hue to his depiction of Dinan's roofs. Dinan is a walled medieval Breton town and commune in the Côtes-d'Armor department of northwestern France. Enclosed by nearly three kilometres of ramparts, the town and its 14th-century castle proudly overlook the Rance river. Anthony Vandyke Copley Fielding, commonly called Copley Fielding, was an English painter famous for his watercolour landscapes. At an early age Fielding became a pupil of John Varley. In 1810 he became an associate exhibitor in the Old Watercolour Society (later known as the Royal Society of Watercolours), in 1813 a full member, and in 1831 the Society's President. In 1824 he won a gold medal at the Paris Salon, alongside Richard Parkes Bonington and John Constable. Examples of his work are held by the Victoria and Albert Museum and other major museums in Britain. Condition: good. Some spotting to sky; handsomely framed. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Chessell Buckler (1793 - 1894)
Horham Hall, Essex (1830)
Watercolour 25 x 34 cm Signed and dated lower right; titled below. Horham Hall was built in Thaxted, Essex by Sir John Cutte in the early sixteenth century. The original hall was a timber-framed moated manor house built circa 1470, but it was largely demolished by Cutte, who built the present house between 1510 and 1515. Cutte was under-treasurer in the households of Henry VII and Henry VIII. The mansion was built in brick in two storeys in a quadrilateral layout with a gatehouse and incorporated some elements of the former building. The house was visited three times by Elizabeth I as the guest of Sir John Cutte. It is believed that the Tower was built for her to watch the local hunt. It was while staying at Horham in 1578 that the Queen received the envoy of the Duke of Alençon proposing marriage. John Chessell Buckler was a British architect, the eldest son of the architect John Buckler. His work included restorations of country houses and at the University of Oxford. Buckler received art lessons from the painter Francis Nicholson. He began working for his father's architectural practice in 1810, and ran it from 1830 onwards with his younger brother George. They worked in partnership until 1842. Buckler did a lot of work in Oxford, carrying out repairs and additions to St. Mary's Church, and Oriel, Brasenose, Magdalen, and Jesus Colleges. He also restored Oxburgh Hall, Norfolk, and Hengrave Hall, Suffolk, and designed Dunston Hall, Norfolk, and Butleigh Court in Somerset. In 1836 he came second, behind Charles Barry, in the competition to rebuild the Palace of Westminster following its destruction by fire. Buckler's writings included the text accompanying his father's engravings of Views of the Cathedral Churches of England and Wales (1822). In 1823 he published 'Observations on the Original Architecture of St. Mary Magdalen College, Oxford', in which he expressed his hostility towards changes in the quadrangle of Magdalen College. Some of his later writings, such as 'A History of the Architecture of the Abbey Church of St Alban' (1847), were written in collaboration with his own son, Charles Alban Buckler. He wrote a further polemical work, 'A Description And Defense Of The Restorations Of The Exterior Of Lincoln Cathedral' (1866), a scathing response to accusations that, in capacity as honorary architect to Lincoln Cathedral, he had overseen a damaging restoration involving the 'scraping' of the cathedral fabric. He died at the grand old age of 100 in 1894. Condition: good. Some spots to the sky, as visible in photograph. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Richard Westmacott (1775 - 1856)
Edinburgh Castle (1800)
Watercolour 29 x 41 cm A watercolour depicting Edinburgh Castle. A Georgian couple gaze up at the immensity of Castle Rock, and the 11th-century fortress perched upon it. Richard Westmacott was British artist who primarily worked as a sculptor. Westmacott studied with his father, also named Richard Westmacott, at his studio in Mount Street, off Grosvenor Square in London, before going to Rome in 1793 to study under Antonio Canova. Upon his return to London in 1797, he established his own studio. He exhibited at the Royal Academy between 1797 and 1839 and was elected an associate of the Royal Academy in 1805, and a full academician in 1811. Condition: very good; handsomely framed. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
J Black (early 19th century) after Frederick Mackenzie (1788 - 1854)
The Choir, Westminster Abbey (1812)
Hand-coloured aquatint 28 x 19 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the vast and soaring interior of Westminster Abbey. Mackenzie's drawing was engraved by Black and published by Ackermann in his 1812 "History of Westminster Abbey". The Abbey is an historic, mainly Gothic church in the City of Westminster, London, just to the west of the Palace of Westminster. It is one of the United Kingdom's most notable religious buildings and since Edward the Confessor, a burial site for English and, later, British monarchs. Since the coronation of William the Conqueror in 1066, all coronations of English and British monarchs have occurred in Westminster Abbey. Sixteen royal weddings have occurred at the abbey since 1100. According to a tradition first reported circa 1080, a church was founded at the site (then known as Thorney Island) in the seventh century, in the time of Mellitus, Bishop of London. Construction of the present church began in 1245 on the orders of Henry III. Frederick Mackenzie (1788 - 1854) was a British watercolourist and architectural draughtsman. He first exhibited at the Royal Academy in 1804, and contributed eleven drawings between that year and 1828. He contributed to the Society of Painters in Water Colours exhibitions from 1813, becoming an associate in 1822, and a full member the following year. From 30 November 1831 till his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Pieter van der Aa (1659-1733), after David Loggan (1634–1692)
Stonehenge (1727)
Engraving 12 x 16 cm Two eighteenth-century views of the pagan and mystical Stonehenge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: a good impression. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
H. Fluiss
Charles Payne, Huntsman to the Pytchley Hounds on Redtape with the hound Trueman (1862)
Watercolour with body colour 36 x 43 cm A mid-nineteenth century watercolour depicting Charles Payne (1884–1967), huntsman to the Pytchley. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Darton and Harvey (publisher)
Map of London, Southwark, and parts adjacent (1800)
Engraving 42 x 56 cm Condition: generally very good; backed to linen with some evidence of use. -
William Verner Longe (1857-1924)
Cottenham, December 1904
Watercolour 29 x 45 cm Signed and inscribed 'Red Coat Race, "Ewe Lamb ii" wins from "Why Not"'. A lively racing scene by William Verner Longe, and English artist noted for his scenes of racing, hunting, and other equestrian activities. He was educated at the Ipswich School of Arts and then the Royal Academy of Fine Arts in Antwerp. Condition: generally very good; original frame with antique glass. Some discolouration to margins. -
J. Lewis (fl. 1801-1808)
Eton College from the River
Oil on canvas 41 x 62 cm Signed lower left. While not a prolific artist, Lewis was noted for his views of the Thames - this view of Eton College is remarkable for its depiction of the river and wider environs of the school, as well as its architecture. Two snowy swans and boater-clad boys complete the view from the other sides of the Thames. Condition: very good. -
Samuel Howitt (1765-1822) after Thomas Williamson (1758-1817)
Exhibition of a Battle between a Buffalo & a Tiger' from Oriental Field Sports (1819)
Hand-coloured aquatint 35 x 47 cm Captain Thomas Williamson served in a British regiment in Bengal, India. He was known as a keen sportsman and, after returning to England, his notable interest in contemporary Indian sports attracted the attention of the publisher Edward Orme. Orme was a British engraver, painter and publisher of illustrated books, and in 1805 he commissioned Williamson to produce a work focused on Oriental sports and animals. The book took two years to complete, with the painter Samuel Howitt commissioned to produce watercolours based on original sketches by Williamson, most of which he had created while in India. The book in which the aquatint plates after Howitt were published was called Oriental Field Sports, which describes itself as 'being a complete, detailed, and accurate description of the wild sports of the East and exhibiting, in a novel and interesting manner, the natural history of the elephant, the rhinoceros, the tiger, and other undomesticated animals'. -
Frank Algernon Stewart (1877-1945) The Heythrop at Stow on the Wold Lithograph 24 x 63cm Signed in pencil. Framed. A typical hunting print by Stewart, showing one of the country's leading packs. Condition: Slight, even, loss of colour, as expected. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Franz Herbelot (French, active 1940s-1950s) Paris: La Rue de Chevalier de la Barre la nuit Lithograph 28 x 22 cm A fantastic lithograph by Herbelot which brilliantly captures the spirit of mid-century Paris. Little is known of Herbelot's life, but he is most notable for his views of Paris. The Rue de Chevalier de la Barre is a street in Montmartre named after the Knight de la Barre, François-Jean Lefebvre de la Barre, who died in 1766. Here, we see the street as it was in the 20th century, brimming with ladies and gentlemen dressed à la mode, bathed in the warm light of thriving bistros and hotels. -
Claude Muncaster
The Bow Wash
Pen and watercolour 21x28cm Framed Provenance: Martin Muncaster, the artist's son. Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.ukor call us on 07929 749056. -
Anonymous (19th century) Eton College Courtyard
Lithograph 29 x 38 cm We have a pair of these rather fine 19th century lithographs: see the second one here. Mounted to board. -
Anonymous (19th century) Eton College
Lithograph 29 x 38 cm We have a pair of these rather fine 19th century lithographs; view the other picture here. Condition: Mounted to board. -
JAK (Raymond Allen Jackson) 1927-1997
"I think we should let the Germans keep it next time" (1992)
Visitez La Belle France, Fly Air France 51x59cm Pen, ink and monochrome wash with inscriptions in pencil. For the London Evening Standard JAK was one of Britian's best-known political cartoonists, working for the London Evening Standard and the Daily Mail between the 1950s and 1990s. He left school at the age of 14, and after a brief career as a messenger boy studied at Willesden College of Technology, studying art with the aim of becoming an art teacher. Following National Service (in the Territorial Army, teaching conscripts to paint), in 1950 he became a staff artist at Link House Publications, and then at advertising agency J Keymer & Co. Whilst working here he submitted cartoons to Punch and other journals, joining the Evening Standard in 1952 as illustrator, also drawing occasional cartoons. In 1966, following the suicide of 'Vicky' (Victor Weisz), he became policital cartoonist at the Evening Standard. Some of his cartoons were highly controversial. In 1970 he caricatured power workers (then striking to improve their conditions) as stupid, greedy and deaf to reason; the entire Evening Standard staff nearly went on strike in response. In 1982 a cartoon in response to the Northern Ireland situation (he frequently depicted Irish people negatively) caused Ken Livingstone to withdraw all advertising from the Standard. His style was distinctive, drawn in ink on 17" x 21.5" board using a mapping pen and brush. His signature was always in a bottom corner, with blob-like serifs, and the title and other instructions were drawn on the picture in pencil. He also drew cartoons for the Mail on Sunday, Daily Express, and Sunday Express. -
James Fittler (1758-1835) after George Robertson (1748-1788)
North West View of Windsor Castle in the County of Berks (1782)
47x58cm London: Published by John Boydell Fittler engraved two views of Windsor by Robertson. Trained at Royal Academy Schools, he was a skilled engraver and etcher and joined the mid-18th century trend for recording the landscape of the British Isles, producing and selling prints to tourists. A copy of this print is in the National Trust's collection at Anglesea Abbey, from Lord Fairhaven's extraordinary collection of views of Windsor Castle. -
Laurence Dunn (1910-2006)
Karel Doorman About to Sail
Watercolour 15 x 23 cm (sheet size 99 x 73 cm) Signed to backing board, with extensive inscription by Dunn. HNLMS Karel Doorman (R81) was a Colossus-class aircraft carrier of the Royal Netherlands Navy. Formerly the British ship HMS Venerable, she was sold to the Netherlands in 1948 as a light attack carrier. In 1960, she was involved in the decolonization conflict in Western New Guinea with Indonesia. In the mid 1960s, her role was changed to anti-submarine warfare carrier and only ASW aircraft and helicopters were carried. An engine room fire took her out of service in 1968. She was sold to Argentina in 1969 and renamed ARA Veinticinco de Mayo. Laurence Dunn was an artist known for his depictions of ships. He grew up in Devon, where he practised drawing passing ships, and went on to study at the Central School of Art. He then worked for shipbuilding firm John I. Thornycroft & Company Limited, where he assisted with the design of the royal yacht.During the Second World War, Dunn worked for naval intelligence. In the early 1960s he created many line drawings of Atlantic ocean liners. The World Ship Society published the following obituary for Laurence Dunn in 2006: DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home. Condition: very good. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Laurence Dunn (1910-2006)
SS New Brooklyn (c.1927)
4 x 17 cm Ink and bodycolour on paper SS New Brooklyn was built in Belfast by Harland & Wolff in 1920 for Elder Dempster & Co, and was known initially as New Romance. In 1954, she was sold to Mageolia Nav SA, Panama and renamed Marianna. She was scrapped in 1959 at La Spezia. She was an 'N' Type fabricated ship with straight frames which was introduced in 1917 to utilise the capacity of bridge building companies which had very little of their normal bridge-building work to do during the war. Dunn's drawings of coastal tramps are early works, likely sketched from the side of the Thames estuary near his home. The World Ship Society published the following obituary for the well-published maritime artist and writer in 2006: DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home. Condition: Generally very good, slight toning to paper. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
C.A. Hay
Llangollen Bridge, Wales (early 19th century)
Pen, ink and monochrome watercolour 8 x 12 cm Llangollen Bridge is built across the River Dee at the North end of the high street of Llangollen in the county of Denbigshire in Wales. The Bridge is listed as one of the seven wonders of Wales and is Grade I listed. There has been a bridge across the Dee at Llangollen since at least 1284. Some historians believe that the bridge was constructed in the 1540s; there is evidence of sepulchral slabs within the bridge's masonry, indicating that it was rebuilt following the dissolution of Henry VIII's dissolution of the monasteries. We also have in stock an en-suite watercolour of the nearby Valle Crucis abbey, from which some of the bridge's stone might have been taken. Condition: Generally very good. Signed lower right. -
C.A. Hay
Valle Crucis Abbey, Wales (early 19th century)
Pen, ink and monochrome watercolour 8 x 12 cm Valle Crucis is a Cistercian abbey located in Llantysilio in Denbighshire, Wales. The abbey was built in 1201 by Madog ap Gruffydd Maelor, Prince of Powys Fadog. In 1537, at the height of Henry VIII's Dissolution of the Monasteries, Valle Crucis was dissolved and fell into disrepair. The abbey is now a ruin, though large parts of the original structure still survive. We also have in stock an en-suite watercolour of the nearby Llangollen Bridge; it is likely that some of the abbey's stone was used to build the bridge after the abbey had been dissolved. Condition: Generally very good. Signed lower right. -
Benjamin Cole (1697-1783)
South Prospect of Somerset House (c. 1753)
Engraving 24 x 37 cm Stow's Survey of London, a ward-by-ward topographical and historical tour of the City of London giving an account of buildings, social conditions and customs, was first published in 1598. Cole's architectural view of Somerset House illustrates the clean neoclassical proportions for which it is known. Condition: Trimmed by the binder's knife within plate marks; some offsetting from facing page; occasional soft creases; generally good. -
Benjamin Cole (1697-1783)
Southwark Cathedral (c. 1753)
Engraving 24 x 33 cm Stow's Survey of London, a ward-by-ward topographical and historical tour of the City of London giving an account of buildings, social conditions and customs, was first published in 1598. This view of Southwark Cathedral, labelled here as 'the South Prospect of the Church of St Saviour in Southwark', offers a charming perspective of the building's architecture and churchyard. Condition: Generally very good; slight offsetting from facing page and old library stamp to reverse. -
Laurence Dunn (1910 - 2006)
The Emperor and Grosvenor
Watercolour 8 x 9 cm Laurence Dunn was an artist known for his depictions of ships. He grew up in Devon, where he practised drawing passing ships, and went on to study at the Central School of Art. He then worked for shipbuilding firm John I. Thornycroft & Company Limited, where he contributed to the design of the Royal Yacht. During the Second World War, Dunn worked in naval intelligence. In the early 1960s, he created many line drawings of Atlantic ocean liners. The World Ship Society published the following obituary for Laurence Dunn in 2006: DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home. Condition: very good. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Anonymous, c.1850
'The handsome Ritualistic Priest, arrayed in purple and fine linen irresistible with the "Devout Women"' Caricature
Pen, ink and watercolour 20 x 24 cm By repute this item was found in the rooms of John Keble (1792-1866) at the Hermitage Hotel in Eastbourne after his death in 1866, together with another caricature watercolour of the 'Cotton-ia Worcester-ienisis' which we also have for sale. Condition: Generally very good, slight toning to paper. -
William Roxby Beverley (1811-1889, British)
Durham Cathedral From the North East (c.1860)
16 cm x 24 cm Watercolour Provenance: Sotheby's lot 25, 25th January 1989. William Roxby Beverley was an English theatrical scene painter, known also as an artist in oils and watercolours. William John Lawrence, writing in the Dictionary of National Biography, considered him second only to Clarkson Stanfield among British scene painters of the nineteenth century. Condition: Slight loss of colour in sky area and very light foxing in same, otherwise generally very good. -
Johannes 'Jan' Kip (1652/3 - 1722)
The North Prospect of Gloster Cathedral (c.1716)
43 x 47 cm Copper engraving Johannes "Jan" Kip was a Dutch engraver, draughtsman and print dealer. After producing works for the court of William of Orange in Amsterdam, Kip followed William and Mary to London, settling in Farringdon and selling prints. Later, Kip collaborated with draughtsman and painter Leonard Knyff, and together they made a popular series of engraved views of English country houses. This print is from Sir Robert Atkyn's 'The Ancient and Present State of Gloucestershire'. In his usual manner - Kip was probably the foremost engraver of his time in England - he has placed figures before the Cathedral to give life - and scale - to the building. Condition: Generally very good with central vertical fold and adjacent parallel creases; one diagonal crease mid left to bottom centre. Will look very good when framed. -
Laurence Dunn (1910-2006)
SS Denmark Maru (c.1927)
4 x 17 cm Ink and bodycolour on paper SS Denmark Maru was built by Kawasaki Shipyard Co in Japan. Until 1935 she was in service on K Line's Hamburg - New York route. Dunn's drawings of coastal tramps are early works, likely sketched from the side of the Thames estuary near his home. The World Ship Society published the following obituary for the well-published maritime artist and writer in 2006: DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home. Condition: Generally very good, slight toning to paper. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Anon. Eton College
Watercolour 31.5x40.5cm If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Cuthbert "CB" Bradley for Vanity Fair Magazine 'A Judge': The Rev Cecil Legard
11 July 1901 Lithograph 21 x 37 cm CB's cartoon depicts The Rev Cecil Legard (1843-1918), the Rector of Cottesbrooke and heir to the baronetcy. As well as a clergyman, Legard was a noted sportsman and hound expert; he was a steeplechase rider, and also edited the Foxhound Kennel Stud Book. CB depicts him judging hounds, excellently outfitted; as the biography on the reverse of the mounted lithograph notes, he might be 'the best judge of a foxhound in England'. A copy of the cartoon is held by the Kingston Lacy Estate in Dorset. Cuthbert Bradley was also a sporting man - he famously authored 'Fox-Hunting from Shire to Shire with Many Noted Packs' and worked as a sporting journalist for The Field. As well as illustrating for Vanity Fair, he painted polo and foxhunting scenes, and other pictures of equestrian interest. The majority of his Vanity Fair cartoons are of hunting men. The Vanity Fair magazine of 1868 to 1914 was subtitled 'A Weekly Show of Political, Social and Literary Wares'. Founded by Thomas Gibson Bowles, who aimed to expose the contemporary vanities of Victorian society, it featured regular full-page, colour lithographs of famous (or infamous) contemporary figures. It is for these caricatures that the original Vanity Fair is best known today. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. -
Cuthbert "CB" Bradley for Vanity Fair Magazine 'Otho': Otho Paget
30 January 1902 Lithograph 21 x 37 cm CB's cartoon depicts John Otho Paget, noted beagler and author of 'Beagles and Beagling'. Cuthbert Bradley was also a sporting man - he famously authored 'Fox-Hunting from Shire to Shire with Many Noted Packs' and worked as a sporting journalist for The Field. As well as illustrating for Vanity Fair, he painted polo and foxhunting scenes, and other pictures of equestrian interest. The majority of his Vanity Fair cartoons are of hunting men. The Vanity Fair magazine of 1868 to 1914 was subtitled 'A Weekly Show of Political, Social and Literary Wares'. Founded by Thomas Gibson Bowles, who aimed to expose the contemporary vanities of Victorian society, it featured regular full-page, colour lithographs of famous (or infamous) contemporary figures. It is for these caricatures that the original Vanity Fair is best known today. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. -
Sir Leslie "Spy" Ward for Vanity Fair Magazine 'The Huntsman': Thomas Firr
1 November 1884 Lithograph 21 x 37 cm Depicting Thomas Firr, Huntsman of the Quorn, on the day of the season's opening meet. The illustrated volume 'Tom Firr of the Quorn: Huntsman Extraordinary' details Firr's days with the hunt, and considers him 'the greatest huntsman in England'. He was huntsman to the Quorn for 27 years from 1872 to 1899. The Quorn Hunt has a claim to be the oldest hunt in the country, having been founded in 1696 by Mr Thomas Boothby of Tooley Park, Leicestershire. Tooley Park lies about eight miles southwest of Leicester, just to the north of the Hinckley road. The hunt takes its name from the village of Quorn, where the hounds were kennelled from 1753 to 1904. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. Mounted to board, some age toning. -
Roland "Ao" / "Armadillo" L'Estrange for Vanity Fair Magazine 'Berks and Bucks': Sir Robert Rodney Wilmot
5 November 1903 Lithograph 21 x 37 cm Depicting Sir Robert Rodney Wilmot, in red hunting clothes and whip, of the Berks & Bucks Draghounds at their opening meet. Wilmot was educated at Eton and Oxford, and his hobbies famously included croquet. The Vanity Fair magazine of 1868 to 1914 was subtitled 'A Weekly Show of Political, Social and Literary Wares'. Founded by Thomas Gibson Bowles, who aimed to expose the contemporary vanities of Victorian society, it featured regular full-page, colour lithographs of famous (or infamous) contemporary figures. It is for these caricatures that the original Vanity Fair is best known today. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. Mounted to board, some age toning. -
Vanity Fair Spy Magazine President of St john's College Oxford
1 April 1893 Lithograph If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Theodoor Galle (c. 1571-1633) Jan Collaert (1545-1628) after Maerten de Vos (1532 - 1603) 50. Penetrabo omnes inferiores partes terre, et inspiciam omnes dormientes, et illuminabo omnes sperantes in Domino. Eccles. 24.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm
From the Gospel of Ecclesiasticus, Chapter 24 "Penetrate all the lower parts of the earth, and behold all and illuminate all who hope in the Lord." Theodoor Galle was the son of Philip Galle, a Dutch publisher best known for his old master prints, from whom he learnt the craft. Theodoor married a daughter of the prominent family of Plantin in Antwerp. His marriage established the productive partnership between the Galle workshop and the Plantin Moretus printing house. A talented workman, Galle quickly became a respected engraver, print publisher and a member of the guild of St Luke, a city guild for artists in 1595. In the years to follow he became the guild's deacon. Adriaen Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Theodoor Galle (c. 1571-1633) Jan Collaert (1545-1628) after Maerten de Vos (1532 - 1603) 49. Accepto corpore Ioseph inuoluit in sindone munda: et posuit illud in monumento suo nouo, quod exciderat in petra. Matth. 27.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Matthew, Chapter 27 "Taking the body, wrapped in a linen cloth and placed it in his own new tomb, which had been cut into the rock." Theodoor Galle was the son of Philip Galle, a Dutch publisher best known for his old master prints, from whom he learnt the craft. Theodoor married a daughter of the prominent family of Plantin in Antwerp. His marriage established the productive partnership between the Galle workshop and the Plantin Moretus printing house. A talented workman, Galle quickly became a respected engraver, print publisher and a member of the guild of St Luke, a city guild for artists in 1595. In the years to follow he became the guild's deacon. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Theodoor Galle (c. 1571-1633) Adrian Collaert (c.1560-1618) after Maerten de Vos (1532 - 1603) 47. In Caluarie loco crucifixerunt eum, et cum eo alios duos, hinc, medium autem Iesum. Ioan. 19.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of John, Chapter 19 "There they crucified him, and with him two others—one on each side and Jesus in the middle." Theodoor Galle was the son of Philip Galle, a Dutch publisher best known for his old master prints, from whom he learnt the craft. Theodoor married a daughter of the prominent family of Plantin in Antwerp. His marriage established the productive partnership between the Galle workshop and the Plantin Moretus printing house. A talented workman, Galle quickly became a respected engraver, print publisher and a member of the guild of St Luke, a city guild for artists in 1595. In the years to follow he became the guild's deacon. Adriaen Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Theodoor Galle (c. 1571-1633) Adrian Collaert (c.1560-1618) after Maerten de Vos (1532 - 1603) 46. Et postquam venerunt in locum qui voctur Caluarie, ibi crucifixerunt eum. Luc. 23.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Luke, Chapter 23 "When they came to the place called the Skull, they crucified him there." Theodoor Galle was the son of Philip Galle, a Dutch publisher best known for his old master prints, from whom he learnt the craft. Theodoor married a daughter of the prominent family of Plantin in Antwerp. His marriage established the productive partnership between the Galle workshop and the Plantin Moretus printing house. A talented workman, Galle quickly became a respected engraver, print publisher and a member of the guild of St Luke, a city guild for artists in 1595. In the years to follow he became the guild's deacon. Adriaen Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image.
