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David Loggan (1634 - 1692)
Exeter College, Oxford (1675)
Engraving 30 x 42 cm Loggan's view of Exeter College from the 'Oxonia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells (born 1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: very good; a couple of tiny marks to margins. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Exeter College, Oxford. -
Gladys Williamson (1914 - 2007)
Imperial Stationary
Gouache 23 x 31 cm A design for an Imperial Stationery writing paper box. Gladys Williamson was a Welsh artist best known for her poster designs, for which she received many high profile commissions in the 1930s. Though little is known about the artist's life - indeed, as auctioneer David Roger-Jones noted, "it sadly seems as though she didn't like to talk about how successful she'd been during the 1930s", it is believed she studied at Liverpool Art College in the late 1920s, before working at an exclusive London fashion house. Here she made dresses for the Royal Collection - including garments for Queen Mary and Princess Marina. Regrettably, the artist left behind her successful career to move to the Netherlands around 1936, but the impressive body of work she leaves behind is a testament to, Roger-Jones offers, her "cutting-edge style." Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
Christ's College, Cambridge (1690)
Engraving 39 x 48 cm Loggan's view of College, Cambridge from the 'Cantabrigia Illustrate', with later hand colouring. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells (born 1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally very good; a little staining to margins, a tiny wormhole between tree and coat of arms on left side, a pin hole in the tree on the left, two short old creases in paper below 'Collegium Christi' and a small area of thinning on the extreme right. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Christ’s College, Cambridge. -
Savings Are Like the Best Books
Original vintage poster 38 x 26 cm Issued by the National Savings Committee, London. Printed for HM Stationery Office by James Haworth & Brother Ltd., London. Peter Pan, Alice in Wonderland, The Bible - just a selection of the great works of English literature gracing the shelf on the poster. Another book which should be regarded as one of their number is the small National Savings stamp book depicted below - just like the best literature, much improvement might be found within its pages. Condition: very good; pinholes in each top corner. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage National Savings posters. -
We've Got To Keep On Saving
Original vintage poster 38 x 26 cm Issued by the National Savings Committee, London, the Scottish Savings Committee, Edinburgh, the Ulster Savings Committee, Belfast. Printed for HM Stationery Office by Flemings, Leicester. RAF bomber crews run towards four Short Stirling bomber aircraft, ready on a runway. The poster illustrates how money saved with the National Savings Committee might help to finance the war effort. Condition: generally very good; fold as issued 1cm repared tear to left side; and a couple of old gentle creases. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage National Savings posters. -
Save for Prosperity - The Road Ahead (c. 1950s)
Original vintage poster 38 x 26 cm Issued by the National Savings Committee, London; the Scottish Savings Committee, Edinburgh, and the Ulster Savings Committee, Belfast. Printed for HM Stationery Office by W R Royle & Son, Ltd. An architecturally accomplished poster: a steam train pass over a railway bridge, under which various vehicles progress. The National Savings Committee tells us that our 'road ahead' to prosperity, our means of progress, is saving. Condition: generally very good; a couple of old creases and two pin holes to each top corner. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage posters. -
Save for Prosperity - Building Homes for Heroes (c. 1950s)
Original vintage poster 38 x 26 cm Issued by the National Savings Committee, London; the Scottish Savings Committee, Edinburgh, and the Ulster Savings Committee, Belfast. Printed for HM Stationery Office by W R Royle & Son, Ltd. A stylish, interesting poster: two men are hard at work building a house, and other scaffolded houses-to-be appear in the background. The National Savings Committee tells us that building new homes for war veterans is one of the scheme's priorities. The artist uses the same red of the houses' roofs to colour the men's necks and arms - illustrating, perhaps, the tension and strength of their muscles. Condition: generally very good; couple of old creases and five pin holes to top. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage posters. -
Save for Prosperity - Build for the Future (c. 1950s)
Original vintage poster 38 x 26 cm Issued by the National Savings Committee, London; the Scottish Savings Committee, Edinburgh, and the Ulster Savings Committee, Belfast. Printed for HM Stationery Office by W R Royle & Son, Ltd. A schoolboy looks up at a scaffold being raised before him - to build a new school perhaps, or a house in which he might one day live. The boy's upturned, hopeful face encourages us to save via the National Savings scheme, to advance our own prosperity, and the nation's. Condition: generally very good; three pin holes to top and short crease to bottom right hand corner. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage posters. -
Save for Prosperity - Export and Thrive (c. 1950s)
Original vintage poster 38 x 26 cm Issued by the National Savings Committee, London; the Scottish Savings Committee, Edinburgh, and the Ulster Savings Committee, Belfast. Printed for HM Stationery Office by W R Royle & Son, Ltd. An architecturally accomplished poster: a busy shipyard in red and black, with motion on all fronts. Condition: generally very good; three pin holes to top and a couple of gentle handling creases. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage posters. -
John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857)
Vice Chancellor, Esquire Beadle, Yeoman Beadle (1814)
Aquatint with original hand colouring 27 x 21 cm Published by Rudolph Ackermann (1764 - 1834). A Vice Chancellor, Esquire Beadle, and Yeoman Beadle of the University of Oxford, apparently en route to a ceremony. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann's collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words “four doors nearer to Somerset House”, the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other Oxford pictures. -
John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857)
Pensioner, Cambridge (1815)
Aquatint with original hand colouring 30 x 25 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of a pensioner (one who paid a fixed annual fee in order to study) of the University from Ackermann's 'A History of the University of Cambridge, Its Colleges, Halls and Public Buildings'. The student pores over an open book with quill poised nearby. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann's collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words “four doors nearer to Somerset House”, the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, and decorative prints. Condition: very good; slight paper toning. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other Cambridge pictures. -
John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857)
Nobleman, Cambridge (1815)
Aquatint with original hand colouring 30 x 25 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of a nobleman studying at Cambridge, from Ackermann's 'A History of the University of Cambridge, Its Colleges, Halls and Public Buildings'. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann's collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words “four doors nearer to Somerset House”, the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: paper slightly toned within platemark. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other Cambridge pictures. -
We Save for Victory
Original vintage poster 38 x 26 cm Issued by the National Savings Committee, London, SW1. Printed for HMSO by Messrs M’Corquodale & Co. Ltd., Glasgow. Saving becomes an act of patriotism in this poster, published to encouraged saving via the National Savings Scheme. Condition: generally very good; two pin holes to each corner; a few tiny edge tears (repaired); and the odd handling crease. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other National Savings posters. -
Frank Wootton (1914 - 1998)
Britain Delivers the Goods Thanks to the British Navy
Original vintage poster 10 x 15 cm Frank Wootton OBE was an aviation artist, famous for his works depicting the Royal Air Force during the Second World War. He studied at the Eastbourne School of Art and created the bestselling book How to Draw Aircraft in 1939. He became a war artist for the RAF and Royal Canadian Air Force, painting RAF subjects from England to France and Belgium before travelling to Southeast Asia at the end of the Second World War. The 1983 inaugural of the National Air and Space Museum featured an exhibition on Wootton's work. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage WW2 posters. -
Norman Wade (20th century)
Durham Cathedral (1972)
Silkscreen print 24 x 43 cmNumbered 50/100 and titled lower left, and signed and dated lower right, all in pencil.An imposing view of the cathedral by British artist Norman Wade, who is known for his depictions of Durham Cathedral.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 St John’s College, Cambridge.
