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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. -
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. -
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. -
J Black (early 19th century) after Frederick Mackenzie (1788 - 1854)
The Choir, Westminster Abbey (1812)
Hand-coloured aquatint 28 x 19 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the vast and soaring interior of Westminster Abbey. Mackenzie's drawing was engraved by Black and published by Ackermann in his 1812 "History of Westminster Abbey". The Abbey is an historic, mainly Gothic church in the City of Westminster, London, just to the west of the Palace of Westminster. It is one of the United Kingdom's most notable religious buildings and since Edward the Confessor, a burial site for English and, later, British monarchs. Since the coronation of William the Conqueror in 1066, all coronations of English and British monarchs have occurred in Westminster Abbey. Sixteen royal weddings have occurred at the abbey since 1100. According to a tradition first reported circa 1080, a church was founded at the site (then known as Thorney Island) in the seventh century, in the time of Mellitus, Bishop of London. Construction of the present church began in 1245 on the orders of Henry III. Frederick Mackenzie (1788 - 1854) was a British watercolourist and architectural draughtsman. He first exhibited at the Royal Academy in 1804, and contributed eleven drawings between that year and 1828. He contributed to the Society of Painters in Water Colours exhibitions from 1813, becoming an associate in 1822, and a full member the following year. From 30 November 1831 till his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John 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. -
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. -
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. -
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. -
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.
