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Queens’ College, Cambridge (1814), bridge engraving by Stadler after Westall

£340

Joseph Constantine Stadler (1755 - 1828) after William Westall (1781 - 1850) Queen's College (1814)
Aquatint with original hand colouring 19 x 28 cm Published by Rudolph Ackermann (1764 - 1834). Engraved for Ackermann's 'A History of the University of Cambridge, Its Colleges, Halls and Public Buildings'. Joseph Constantine Stadler was a prolific German émigré engraver of images after his contemporaries - here, William Westall. Stadler's engravings are wide-ranging in subject matter and include landscapes, seascapes and portraits, as well as military, sporting and decorative subjects. Stadler was employed by the leading print publisher of the time, John Boydell. Stadler lived in Knightsbridge when he died at the age of 73. William Westall was a British landscape artist. He was born in Hertford and enrolled at the Royal Academy schools in 1799. He later became the draughtsman for a voyage to Australia and the South Seas. After being shipwrecked, he travelled to Canton in China and to India, staying in Bombay for several months. He returned to England in 1805 but later set off for Madeira and Jamaica. He became a member of the Society of Painters in Water Colours (1811) and an associate of the Academy (1812). Following a mental breakdown, he regularly visited the Lake District and published ‘Views of the Valley and Vale of Keswick’ (1820). His series of aquatints of the Thames, the great universities, and England's public schools for Ackermann are among his most popular works. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Colours very good, mounted to board, old mount staining to margins within platemark, a little toning to paper.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Queens’ College, Cambridge (1814), engraving by Bluck for Ackermann

£340

John Bluck (early 19th century) after William Westall (1781 - 1850) Queens' College from the Private Walk (1814)
Aquatint with original hand colouring 19 x 28 cm Published by Rudolph Ackermann (1764 - 1834). William Westall was a British landscape artist. He was born in Hertford and enrolled at the Royal Academy schools in 1799. He later became the draughtsman for a voyage to Australia and the South Seas. After being shipwrecked, he travelled to Canton in China and to India, staying in Bombay for several months. He returned to England in 1805 but later set off for Madeira and Jamaica. He became a member of the Society of Painters in Water Colours (1811) and an associate of the Academy (1812). Following a mental breakdown, he regularly visited the Lake District and published ‘Views of the Valley and Vale of Keswick’ (1820). His series of aquatints of the Thames, the great universities, and England's public schools for Ackermann are among his most popular works. John Bluck was an aquatint engraver, mainly of topographical views, but also of marine and sporting subjects after his contemporaries. He produced plates for numerous publications. 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: Colours very good, mounted to board, old mount staining to margins within platemark, a little toning to paper.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Quadrangle of Balliol College, Oxford (1814), engraving by John Bluck for Ackermann

£470

John Bluck (early 19th century) after Frederick Mackenzie (1788 - 1854) Quadrangle of Balliol College, Oxford (1814)
Aquatint with original hand colouring 21 x 27 cm Published by Rudolph Ackermann (1764 - 1834). 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. John Bluck was an aquatint engraver, mainly of topographical views, but also of marine and sporting subjects after his contemporaries. He produced plates for numerous publications. 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 would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Proctor, University of Oxford (1814), engraving by Agar after Uwins for Ackermann

£235

John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Proctor (1814)
Aquatint with original hand colouring 27 x 21 cm Published by Rudolph Ackermann (1764 - 1834). A Proctor of the University of Oxford, splendacious in academic dress. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann's collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. He attended the Latin school in Stollberg, but his wish to study at the university was made impossible by lack of financial means, and he therefore became a saddler like his father. He worked as a saddler and coach-builder in different German cities, moved from Dresden to Basel and Paris, and then, 23 years old, settled in London. He established himself in Long Acre, the centre of coach-making in London and close to the market at Covent Garden. Ackermann then moved to Little Russell Street where he published Imitations of Drawings of Fashionable Carriages (1791) to promote his coach-making. Other publications followed. 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. During the Napoleonic wars, Ackermann was an energetic supporter of the Allied cause and made significant contributions to British propaganda through his publication of anti-Napoleonic prints and military manuals. He became a naturalised British citizen in March 1809. As one of the pioneers of modern publishing methods, Ackermann developed an international distribution network for his publications and came to have significant commercial interests in South America. The business he founded in London flourished throughout the 19th century under the management of his descendants. He was buried at St. Clement Danes in the Strand, London. In 2020, the St. Louis Mercantile Library wrote that: "Ackermann excelled in the creation of landscape and architectural engravings. He created beautiful illustrations of the city of London, his adopted home, as well as two volumes of classic views of Westminster Abbey, along with exquisite views of river scenes. One of our favorite collections are four massive volumes of lovingly illustrated exterior and interior landmarks of Oxford and Cambridge Universities created just over two hundred years ago. These publications show Ackermann’s hand at every turn of the page along with the team of assistant designers and engravers he employed to create these works. Perhaps they were a way by which the artist could lay to rest his own regret at not being able to attend [an Oxbridge] college himself in a fondly depicted idyll to learning which these prints so aptly represent." Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Peterhouse, Cambridge engraving by Stadler after Westall

£235

Joseph Constantine Stadler (1755 - 1828) after William Westall (1781 - 1850) Peterhouse: 'Part of St Peter's College' (1815)
Aquatint with original hand colouring 28 x 21 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of Peterhouse, Cambridge, formerly known as St Peter's College. Engraved for Ackermann's 'A History of the University of Cambridge, Its Colleges, Halls and Public Buildings'. Joseph Constantine Stadler was a prolific German émigré engraver of images after his contemporaries - here, 18th-century English landscape painter and diarist Joseph Farington. Stadler's engravings are wide-ranging in subject matter and include landscapes, seascapes and portraits, as well as military, sporting and decorative subjects. Stadler was employed by the leading print publisher of the time, John Boydell. Stadler lived in Knightsbridge when he died at the age of 73. William Westall was a British landscape artist. He was born in Hertford and enrolled at the Royal Academy schools in 1799. He later became the draughtsman for a voyage to Australia and the South Seas. After being shipwrecked, he travelled to Canton in China and to India, staying in Bombay for several months. He returned to England in 1805 but later set off for Madeira and Jamaica. He became a member of the Society of Painters in Water Colours (1811) and an associate of the Academy (1812). Following a mental breakdown, he regularly visited the Lake District and published ‘Views of the Valley and Vale of Keswick’ (1820). His series of aquatints of the Thames, the great universities, and England's public schools for Ackermann are among his most popular works. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Toning within platemark.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Magdalen College, Oxford Old Gate (1814), engraving by Bluck after Pugin for Ackermann

£340

John Bluck (early 19th century) after Augustus Charles Pugin (1762 - 1832) Old Gate of Magdalen College (1814)
Aquatint with original hand colouring 27 x 21 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the Old Gate of Magdalen College, Oxford, from Ackermann's 'History of Oxford'. Augustus Charles Pugin was an Anglo-French artist and architectural draughtsman. Pugin produced views of London, jointly creating the illustrations for the 'Microcosm of London' published by Rudolph Ackermann in 1811, followed by plates for Ackermann's books about Westminster Abbey, Oxford and Cambridge universities, and Winchester College. His later works included illustrations for Specimens of Gothic Architecture (1821–1823), The Royal Pavilion at Brighton (1826), Architectural Antiquities of Great Britain (1826), Specimens of the Architectural Antiquities of Normandy (1827), Illustrations of the Public Buildings of London (1825 to 1828), Paris and its Environs (1829 to 1831), and Examples of Gothic Architecture (1831). He also produced a book of furniture designs called Gothic Furniture, and assisted architects with detailing for their gothic designs. He ran a drawing school at his house in Bloomsbury. John Bluck was an aquatint engraver, mainly of topographical views, but also of marine and sporting subjects after his contemporaries. He produced plates for numerous publications. 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; the title has been moved from elsewhere in the book and pasted onto the bottom of the picture.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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University of Cambridge Nobleman (1815), engraving by John Agar

£225

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. Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. He attended the Latin school in Stollberg, but his wish to study at the university was made impossible by lack of financial means, and he therefore became a saddler like his father. He worked as a saddler and coach-builder in different German cities, moved from Dresden to Basel and Paris, and then, 23 years old, settled in London. He established himself in Long Acre, the centre of coach-making in London and close to the market at Covent Garden. Ackermann then moved to Little Russell Street where he published Imitations of Drawings of Fashionable Carriages (1791) to promote his coach-making. Other publications followed. 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. During the Napoleonic wars, Ackermann was an energetic supporter of the Allied cause and made significant contributions to British propaganda through his publication of anti-Napoleonic prints and military manuals. He became a naturalised British citizen in March 1809. As one of the pioneers of modern publishing methods, Ackermann developed an international distribution network for his publications and came to have significant commercial interests in South America. The business he founded in London flourished throughout the 19th century under the management of his descendants. He was buried at St. Clement Danes in the Strand, London. In 2020, the St. Louis Mercantile Library wrote that: "Ackermann excelled in the creation of landscape and architectural engravings. He created beautiful illustrations of the city of London, his adopted home, as well as two volumes of classic views of Westminster Abbey, along with exquisite views of river scenes. One of our favorite collections are four massive volumes of lovingly illustrated exterior and interior landmarks of Oxford and Cambridge Universities created just over two hundred years ago. These publications show Ackermann’s hand at every turn of the page along with the team of assistant designers and engravers he employed to create these works. Perhaps they were a way by which the artist could lay to rest his own regret at not being able to attend [an Oxbridge] college himself in a fondly depicted idyll to learning which these prints so aptly represent." Condition: Paper slightly toned within platemark.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Fellow Commoner, University of Oxford 1814 engraving by John Agar

£150

John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Fellow Commoner, Cambridge (1814)
Aquatint 30 x 24 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of a curly-haired Fellow from Ackermann's 'History of Oxford'. 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; slight toning to paper.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Pensioner of Trinity Hall; Doctors in Law and Physic engraving by John Agar

£160

John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Common Dress of Pensioner of Trinity Hall, Doctor in Law, and Doctor in Physic (1815)
Aquatint 25 x 30 cm Published by Rudolph Ackermann (1764 - 1834). A monochrome engraving of three variations of early nineteenth-century Oxford academic dress. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann's collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally good; a few faint spots.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Merton College Chapel (1813), engraving by J Sutherland after Pugin for Ackermann

£300

J Sutherland after Augustus Charles Pugin (1762 - 1832) Merton College, North Window of the Ante Chapel (1813)
Aquatint with original hand colouring 27 x 21 cm Published by Rudolph Ackermann (1764 - 1834). Augustus Charles Pugin was an Anglo-French artist and architectural draughtsman. Pugin produced views of London, jointly creating the illustrations for the 'Microcosm of London' published by Rudolph Ackermann in 1811, followed by plates for Ackermann's books about Westminster Abbey, Oxford and Cambridge universities, and Winchester College. His later works included illustrations for Specimens of Gothic Architecture (1821–1823), The Royal Pavilion at Brighton (1826), Architectural Antiquities of Great Britain (1826), Specimens of the Architectural Antiquities of Normandy (1827), Illustrations of the Public Buildings of London (1825 to 1828), Paris and its Environs (1829 to 1831), and Examples of Gothic Architecture (1831). He also produced a book of furniture designs called Gothic Furniture, and assisted architects with detailing for their gothic designs. He ran a drawing school at his house in Bloomsbury. Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. He attended the Latin school in Stollberg, but his wish to study at the university was made impossible by lack of financial means, and he therefore became a saddler like his father. He worked as a saddler and coach-builder in different German cities, moved from Dresden to Basel and Paris, and then, 23 years old, settled in London. He established himself in Long Acre, the centre of coach-making in London and close to the market at Covent Garden. Ackermann then moved to Little Russell Street where he published Imitations of Drawings of Fashionable Carriages (1791) to promote his coach-making. Other publications followed. 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. During the Napoleonic wars, Ackermann was an energetic supporter of the Allied cause and made significant contributions to British propaganda through his publication of anti-Napoleonic prints and military manuals. He became a naturalised British citizen in March 1809. As one of the pioneers of modern publishing methods, Ackermann developed an international distribution network for his publications and came to have significant commercial interests in South America. The business he founded in London flourished throughout the 19th century under the management of his descendants. He was buried at St. Clement Danes in the Strand, London. In 2020, the St. Louis Mercantile Library wrote that: "Ackermann excelled in the creation of landscape and architectural engravings. He created beautiful illustrations of the city of London, his adopted home, as well as two volumes of classic views of Westminster Abbey, along with exquisite views of river scenes. One of our favorite collections are four massive volumes of lovingly illustrated exterior and interior landmarks of Oxford and Cambridge Universities created just over two hundred years ago. These publications show Ackermann’s hand at every turn of the page along with the team of assistant designers and engravers he employed to create these works. Perhaps they were a way by which the artist could lay to rest his own regret at not being able to attend [an Oxbridge] college himself in a fondly depicted idyll to learning which these prints so aptly represent." Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Mary, Countess of Pembroke, Pembroke College, Cambridge engraving for Ackermann

£270

Mary, Countess of Pembroke, Foundress of Pembroke College, Cambridge
Hand-coloured aquatint 18 x 16 cm Published by Rudolph Ackermann (1764 - 1834). 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.

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Chapel of Lincoln College, Oxford (1814), engraving by Lewis after Mackenzie for Ackermann

£330

G Lewis after Frederick Mackenzie (1788 - 1854) Chapel of Lincoln College from the Ante Chapel (1814)
Hand-coloured aquatint 29 x 24 cm Published by Rudolph Ackermann (1764 - 1834). Frederick Mackenzie (circa 1788 - 1854) was a British watercolourist and architectural draughtsman. He first exhibited at the Royal Academy in 1804, and contributed eleven drawings between that year and 1828. He contributed to the Society of Painters in Water Colours exhibitions from 1813, becoming an associate in 1822, and a full member the following year. From 30 November 1831 until, his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. 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 would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Library of Trinity College, Cambridge (1814), engraving by Havell after Pugin

£400

Daniel Havell (1785 - 1822) after Augustus Charles Pugin (1762 - 1832) Library of Trinity College, Cambridge (1814)
Aquatint with original hand colouring 20 x 27 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the Wren library, Trinity College, Cambridge, from Ackermann's 'A History of the University of Cambridge, Its Colleges, Halls and Public Buildings'. Augustus Charles Pugin was an Anglo-French artist and architectural draughtsman. Pugin produced views of London, jointly creating the illustrations for the 'Microcosm of London' published by Rudolph Ackermann in 1811, followed by plates for Ackermann's books about Westminster Abbey, Oxford and Cambridge universities, and Winchester College. His later works included illustrations for Specimens of Gothic Architecture (1821–1823), The Royal Pavilion at Brighton (1826), Architectural Antiquities of Great Britain (1826), Specimens of the Architectural Antiquities of Normandy (1827), Illustrations of the Public Buildings of London (1825 to 1828), Paris and its Environs (1829 to 1831), and Examples of Gothic Architecture (1831). He also produced a book of furniture designs called Gothic Furniture, and assisted architects with detailing for their gothic designs. He ran a drawing school at his house in Bloomsbury. Daniel Havell was a member of the Havell family of Reading, Berkshire, England, which included a number of notable engravers, etchers and painters, as well as writers, publishers, educators, and musicians. Daniel and his brother Robert set up in partnership as aquatint engravers. Soon Daniel began to work independently, engraving plates for Rudolph Ackermann's History of Cambridge (1815) and hid history of various public schools including Eton, Winchester, and Rugby (1816), as well as a celebrated views of St Paul's Cathedral (1818) and various other London landmarks for Ackermann's Repository of Arts. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good; slight toning to within platemark.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Kitchen of Trinity College, Cambridge (1815), engraving by Stadler after WH Pyne

£230

Joseph Constantine Stadler (1755 - 1828) after William Henry Pyne (1769 - 1843 Kitchen of Trinity College, Cambridge (1815)
Aquatint with original hand colouring 27 x 21 cm Published by Rudolph Ackermann (1764 - 1834). The kitchen of Trinity College at the beginning of the nineteenth century, complete with scullery maids, dogs, and turning spits. Joseph Constantine Stadler was a prolific German émigré engraver of images after his contemporaries - here, 18th-century English landscape painter and diarist Joseph Farington. Stadler's engravings are wide-ranging in subject matter and include landscapes, seascapes and portraits, as well as military, sporting and decorative subjects. Stadler was employed by the leading print publisher of the time, John Boydell. Stadler lived in Knightsbridge when he died at the age of 73. William Henry Pyne was an English writer, illustrator, and painter, who also wrote under the name of Ephraim Hardcastle. He trained at the drawing academy of Henry Pars in London and first exhibited at the Royal Academy in 1790. 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; slight toning to within platemark.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Robert Woodlark, St Catharine’s College, Cambridge founder engravings

£225

Robert Woodlark Founder of Catherine Hall, Cambridge from a Picture at the Hall (1815)
Hand-coloured aquatint 24 x 20 cm Published by Rudolph Ackermann (1764 - 1834). A copy of this engraving is held by the National Portrait Gallery, reference NPG D4871. Robert Woodlark (also spelled Wodelarke) was an English academic and priest. He was the Provost of King's College, Cambridge, and the founder of St Catharine's College, Cambridge. He drew up the original statutes for the governance of the college and obtained a charter from Edward IV, 16 August 1475. Woodlark was a professor of sacred theology at the University and served as Chancellor of the University of Cambridge from 1459 to 1460, and again from 1462 to 1463. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Good. Some gentle age toning. Handsome gilded frame with elaborate wash line mount.
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John Alcock, Founder of Jesus College, Cambridge engraving for Ackermann

£275

John Alcock, Founder of Jesus College, Cambridge
Aquatint with original hand colouring 18 x 16 cm Published by Rudolph Ackermann (1764 - 1834). 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 would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Henry VIII Founder of Trinity College, Cambridge engraving for Ackermann

£225

Henry VIII Founder of Trinity College, from a Picture in the College
Aquatint with original hand colouring 27 x 21 cm Published by Rudolph Ackermann (1764 - 1834). Henry VIII, the founder of Trinity College. This engraving was published in Ackermann's 'History of Cambridge', a study of the architecture and notable figures of Cambridge's colleges. 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; slight toning to within platemark.

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Hall of Trinity College, engraving by Bluck after Pugin for Ackermann

£230

John Bluck (early 19th century) after Augustus Charles Pugin (1762 - 1832) Hall of Trinity College, Cambridge (1815)
Aquatint with original hand colouring 21 x 27 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of a quiet Trinity College Hall from Ackermann's 'History of Cambridge'. Augustus Charles Pugin was an Anglo-French artist and architectural draughtsman. Pugin produced views of London, jointly creating the illustrations for the 'Microcosm of London' published by Rudolph Ackermann in 1811, followed by plates for Ackermann's books about Westminster Abbey, Oxford and Cambridge universities, and Winchester College. His later works included illustrations for Specimens of Gothic Architecture (1821–1823), The Royal Pavilion at Brighton (1826), Architectural Antiquities of Great Britain (1826), Specimens of the Architectural Antiquities of Normandy (1827), Illustrations of the Public Buildings of London (1825 to 1828), Paris and its Environs (1829 to 1831), and Examples of Gothic Architecture (1831). He also produced a book of furniture designs called Gothic Furniture, and assisted architects with detailing for their gothic designs. He ran a drawing school at his house in Bloomsbury. John Bluck was an aquatint engraver, mainly of topographical views, but also of marine and sporting subjects after his contemporaries. He produced plates for numerous publications. 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; toning to within platemark.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Hall of Queen’s College, 1815 engraving by Bluck after Pugin for Ackermann

£230

John Bluck (early 19th century) after Augustus Charles Pugin (1762 - 1832) Hall of Queen's College
Aquatint with original hand colouring 24 x 29 cm Published by Rudolph Ackermann (1764 - 1834). Augustus Charles Pugin was an Anglo-French artist and architectural draughtsman. Pugin produced views of London, jointly creating the illustrations for the 'Microcosm of London' published by Rudolph Ackermann in 1811, followed by plates for Ackermann's books about Westminster Abbey, Oxford and Cambridge universities, and Winchester College. His later works included illustrations for Specimens of Gothic Architecture (1821–1823), The Royal Pavilion at Brighton (1826), Architectural Antiquities of Great Britain (1826), Specimens of the Architectural Antiquities of Normandy (1827), Illustrations of the Public Buildings of London (1825 to 1828), Paris and its Environs (1829 to 1831), and Examples of Gothic Architecture (1831). He also produced a book of furniture designs called Gothic Furniture, and assisted architects with detailing for their gothic designs. He ran a drawing school at his house in Bloomsbury. John Bluck was an aquatint engraver, mainly of topographical views, but also of marine and sporting subjects after his contemporaries. He produced plates for numerous publications. 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 would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Hall of Emmanuel College, Cambridge (1815), engraving by Bluck after Pugin for Ackermann

£230

John Bluck (early 19th century) after Augustus Charles Pugin (1762 - 1832) Hall of Emmanuel College
Aquatint with original hand colouring 24 x 29 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the hall of Emmanuel College, Cambridge, from Ackermann's 'A History of the University of Cambridge, Its Colleges, Halls and Public Buildings'. Augustus Charles Pugin was an Anglo-French artist and architectural draughtsman. Pugin produced views of London, jointly creating the illustrations for the 'Microcosm of London' published by Rudolph Ackermann in 1811, followed by plates for Ackermann's books about Westminster Abbey, Oxford and Cambridge universities, and Winchester College. His later works included illustrations for Specimens of Gothic Architecture (1821–1823), The Royal Pavilion at Brighton (1826), Architectural Antiquities of Great Britain (1826), Specimens of the Architectural Antiquities of Normandy (1827), Illustrations of the Public Buildings of London (1825 to 1828), Paris and its Environs (1829 to 1831), and Examples of Gothic Architecture (1831). He also produced a book of furniture designs called Gothic Furniture, and assisted architects with detailing for their gothic designs. He ran a drawing school at his house in Bloomsbury. John Bluck was an aquatint engraver, mainly of topographical views, but also of marine and sporting subjects after his contemporaries. He produced plates for numerous publications. 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, paper slightly toned within platemark.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Trinity College, Cambridge Great Court engraving by Bluck for Ackermann

£360

John Bluck (early 19th century) after William Westall (1781 - 1850) Quadrangle of Trinity College, Cambridge (1815) Aquatint with original hand colouring 18 x 28 cm Published by Rudolph Ackermann (1764 - 1834). William Westall was a British landscape artist. He was born in Hertford and enrolled at the Royal Academy schools in 1799. He later became the draughtsman for a voyage to Australia and the South Seas. After being shipwrecked, he travelled to Canton in China and to India, staying in Bombay for several months. He returned to England in 1805 but later set off for Madeira and Jamaica. He became a member of the Society of Painters in Water Colours (1811) and an associate of the Academy (1812). Following a mental breakdown, he regularly visited the Lake District and published ‘Views of the Valley and Vale of Keswick’ (1820). His series of aquatints of the Thames, the great universities, and England's public schools for Ackermann are among his most popular works. John Bluck was an aquatint engraver, mainly of topographical views, but also of marine and sporting subjects after his contemporaries. He produced plates for numerous publications. 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; slight toning to within platemark.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Gentleman Commoner, University of Oxford 1814 engraving by John Agar

£230

John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Gentleman Commoner, Oxford (1814)
Aquatint with original hand colouring 27 x 21 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of a gentleman student from Ackermann's 'History of Oxford'. 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 would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Gate of Christ Church, Oxford (1814), engraving by Reeves after Mackenzie for Ackermann

£470

John Reeves (1752 - 1829) after Frederick Mackenzie (1788 - 1854) Gate of Christ Church - from Pembroke College (1814)
Hand-coloured aquatint 27 x 21 cm Published by Rudolph Ackermann (1764 - 1834). Frederick Mackenzie (circa 1788 - 1854) was a British watercolourist and architectural draughtsman. He first exhibited at the Royal Academy in 1804, and contributed eleven drawings between that year and 1828. He contributed to the Society of Painters in Water Colours exhibitions from 1813, becoming an associate in 1822, and a full member the following year. From 30 November 1831 until, his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. 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 would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Frances Sidney, Sidney Sussex College, Cambridge engraving for Ackermann

£275

Frances Sidney, Countess of Sussex, Foundress of Sidney Sussex College, Cambridge
Hand-coloured aquatint 18 x 16 cm Published by Rudolph Ackermann (1764 - 1834). 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 would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Students of Emmanuel and Trinity Colleges, Cambridge 1815 engraving by John Agar

£225

John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Fellow Commoner of Emanuel College; a Nobleman; Fellow Commoner of Trinity College (1815)
Hand-coloured aquatint 25 x 29.5 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of two students and a nobleman from Ackermann's 'A History of the University of Cambridge, Its Colleges, Halls and Public Buildings'. The three figures dwell over a pile of books and papers, clad in the appropriate academic dress. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann's collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Good. Some age toning, frame included.

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Elizabeth de Clare, Clare College, Cambridge engraving for Ackermann

£275

Elizabeth de Clare, Foundress of Clare College, Cambridge
Hand-coloured aquatint 18 x 16 cm Published by Rudolph Ackermann (1764 - 1834). 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 would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Doctor in Divinity, Oxford (1814), engraving by Agar after Uwins for Ackermann

£225

John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Doctor in Divinity (1814) Aquatint with original hand colouring 29 x 24 cm Published by Rudolph Ackermann (1764 - 1834). A Doctor in Divinity of the University of Oxford, resplendent in academic dress. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann's collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. He attended the Latin school in Stollberg, but his wish to study at the university was made impossible by lack of financial means, and he therefore became a saddler like his father. He worked as a saddler and coach-builder in different German cities, moved from Dresden to Basel and Paris, and then, 23 years old, settled in London. He established himself in Long Acre, the centre of coach-making in London and close to the market at Covent Garden. Ackermann then moved to Little Russell Street where he published Imitations of Drawings of Fashionable Carriages (1791) to promote his coach-making. Other publications followed. 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. During the Napoleonic wars, Ackermann was an energetic supporter of the Allied cause and made significant contributions to British propaganda through his publication of anti-Napoleonic prints and military manuals. He became a naturalised British citizen in March 1809. As one of the pioneers of modern publishing methods, Ackermann developed an international distribution network for his publications and came to have significant commercial interests in South America. The business he founded in London flourished throughout the 19th century under the management of his descendants. He was buried at St. Clement Danes in the Strand, London. In 2020, the St. Louis Mercantile Library wrote that: "Ackermann excelled in the creation of landscape and architectural engravings. He created beautiful illustrations of the city of London, his adopted home, as well as two volumes of classic views of Westminster Abbey, along with exquisite views of river scenes. One of our favorite collections are four massive volumes of lovingly illustrated exterior and interior landmarks of Oxford and Cambridge Universities created just over two hundred years ago. These publications show Ackermann’s hand at every turn of the page along with the team of assistant designers and engravers he employed to create these works. Perhaps they were a way by which the artist could lay to rest his own regret at not being able to attend [an Oxbridge] college himself in a fondly depicted idyll to learning which these prints so aptly represent." Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Doctor in Divinity, Cambridge engraving by Agar after Uwins for Ackermann

£225

John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Doctor in Divinity (1814) Aquatint with original hand colouring 24 x 29 cm Published by Rudolph Ackermann (1764 - 1834). A Doctor in Divinity of the University of Cambridge, resplendent in academic dress. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann's collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. He attended the Latin school in Stollberg, but his wish to study at the university was made impossible by lack of financial means, and he therefore became a saddler like his father. He worked as a saddler and coach-builder in different German cities, moved from Dresden to Basel and Paris, and then, 23 years old, settled in London. He established himself in Long Acre, the centre of coach-making in London and close to the market at Covent Garden. Ackermann then moved to Little Russell Street where he published Imitations of Drawings of Fashionable Carriages (1791) to promote his coach-making. Other publications followed. 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. During the Napoleonic wars, Ackermann was an energetic supporter of the Allied cause and made significant contributions to British propaganda through his publication of anti-Napoleonic prints and military manuals. He became a naturalised British citizen in March 1809. As one of the pioneers of modern publishing methods, Ackermann developed an international distribution network for his publications and came to have significant commercial interests in South America. The business he founded in London flourished throughout the 19th century under the management of his descendants. He was buried at St. Clement Danes in the Strand, London. In 2020, the St. Louis Mercantile Library wrote that: "Ackermann excelled in the creation of landscape and architectural engravings. He created beautiful illustrations of the city of London, his adopted home, as well as two volumes of classic views of Westminster Abbey, along with exquisite views of river scenes. One of our favorite collections are four massive volumes of lovingly illustrated exterior and interior landmarks of Oxford and Cambridge Universities created just over two hundred years ago. These publications show Ackermann’s hand at every turn of the page along with the team of assistant designers and engravers he employed to create these works. Perhaps they were a way by which the artist could lay to rest his own regret at not being able to attend [an Oxbridge] college himself in a fondly depicted idyll to learning which these prints so aptly represent." Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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University of Oxford The Divinity School (1813), engraving by Lewis after Mackenzie for Ackermann

£320

Frederick Christian Lewis (1779 - 1856) after Frederick Mackenzie (1788 - 1854) Divinity School (1813)
Hand-coloured aquatint 24 x 29 cm Published by Rudolph Ackermann (1764 - 1834). Oxford's medieval Divinity School, which was once the beating heart of theological studies at the University. Frederick Mackenzie (circa 1788 - 1854) was a British watercolourist and architectural draughtsman. He first exhibited at the Royal Academy in 1804, and contributed eleven drawings between that year and 1828. He contributed to the Society of Painters in Water Colours exhibitions from 1813, becoming an associate in 1822, and a full member the following year. From 30 November 1831 until, his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. Frederick Christian Lewis was an English etcher, engraver, and painter. He studied under Joseph Stadler and at the Royal Academy and produced the plates for the publisher John Chamberlaine's 'Original Designs of the most celebrated Masters in the Royal Collection' in 1812. His superlative skills as engraver led to frequent commissions from Royalty, and to his contribution to J. M. W. Turner's Liber Studiorum, a collection of seventy-one etchings with mezzotint, greatly influencing landscape painting. 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 would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Crypt of St Peter’s Church, Oxford (1813), engraving by Bluck after Nash for Ackermann

£230

John Bluck (early 19th century) after Frederick Nash (1782 - 1856) Crypt of St Peter's Church, Oxford (1813)
Aquatint with original hand colouring 21 x 27 cm Published by Rudolph Ackermann (1764 - 1834). Frederick Nash was born in Lambeth. He studied architectural drawing under Thomas Malton and then enrolled at the Royal Academy of Arts. From 1801 to 1809 he worked with the antiquarians John Britton and Edward Wedlake Brayley, subsequently becoming a member of the Society of Painters in Watercolours - a group of painters who had left the Royal Academy following complaints of under-recognition of their works. Nash became primarily a landscape painter and toured the rivers of Germany. John Bluck was an aquatint engraver, mainly of topographical views, but also of marine and sporting subjects after his contemporaries. He produced plates for numerous publications. 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; trimmed close to platemark at bottom.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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King’s College, Cambridge (1815), engraving by Havell for Ackermann

£225

Daniel Havell (1785 - 1822) after Frederick Mackenzie (1788 - 1854) Court of King's College (1815)
Aquatint with original hand colouring 21 x 24 cm Published by Rudolph Ackermann (1764 - 1834). Engraved for publication in Ackermann's 'History of Cambridge'. Frederick Mackenzie (circa 1788 - 1854) was a British watercolourist and architectural draughtsman. He first exhibited at the Royal Academy in 1804, and contributed eleven drawings between that year and 1828. He contributed to the Society of Painters in Water Colours exhibitions from 1813, becoming an associate in 1822, and a full member the following year. From 30 November 1831 until, his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. Daniel Havell was a member of the Havell family of Reading, Berkshire, England, which included a number of notable engravers, etchers and painters, as well as writers, publishers, educators, and musicians. Daniel and his brother Robert set up in partnership as aquatint engravers. Soon Daniel began to work independently, engraving plates for Rudolph Ackermann's History of Cambridge (1815) and hid history of various public schools including Eton, Winchester, and Rugby (1816), as well as a celebrated views of St Paul's Cathedral (1818) and various other London landmarks for Ackermann's Repository of Arts. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good, some toning within the platemark.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Pensioner of Trinity Hall; Doctors in Law and Physic engraving by John Agar

£230

John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Common Dress of Pensioner of Trinity Hall, Doctor in Law, and Doctor in Physic (1815)
Aquatint with original hand colouring 25 x 30 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of three variations of early nineteenth-century Oxford academic dress. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann's collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good; slight toning to paper.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Trinity College, Cambridge Library Colonnade (1815), engraving by Stadler after Westall

£275

Joseph Constantine Stadler (1755 - 1828) after William Westall (1781 - 1850) Colonnade under Trinity Library (1815)
Aquatint with original hand colouring 20 x 27 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the colonnade below Trinity's library, peopled with figures in academic dress and their companions. Engraved for Ackermann's 'A History of the University of Cambridge, Its Colleges, Halls and Public Buildings'. Joseph Constantine Stadler was a prolific German émigré engraver of images after his contemporaries - here, 18th-century English landscape painter and diarist Joseph Farington. Stadler's engravings are wide-ranging in subject matter and include landscapes, seascapes and portraits, as well as military, sporting and decorative subjects. Stadler was employed by the leading print publisher of the time, John Boydell. Stadler lived in Knightsbridge when he died at the age of 73. William Westall was a British landscape artist. He was born in Hertford and enrolled at the Royal Academy schools in 1799. He later became the draughtsman for a voyage to Australia and the South Seas. After being shipwrecked, he travelled to Canton in China and to India, staying in Bombay for several months. He returned to England in 1805 but later set off for Madeira and Jamaica. He became a member of the Society of Painters in Water Colours (1811) and an associate of the Academy (1812). Following a mental breakdown, he regularly visited the Lake District and published ‘Views of the Valley and Vale of Keswick’ (1820). His series of aquatints of the Thames, the great universities, and England's public schools for Ackermann are among his most popular works. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints.

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Clare College, Cambridge / Clare Hall / King’s College engraving by Stadler

£200

Joseph Constantine Stadler (1755 - 1828) after William Westall (1781 - 1850) Entrance to the Avenue, from Clare Hall Piece (1815)
Hand-coloured aquatint 25 x 30 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the gates of Clare College, formerly known as Clare Hall. The River Cam winds its way through the scene; we can see the New Buildings of King's College, Cambridge on the far bank. Victorian figures, several with parasols, picnic or promenade in the foreground. Joseph Constantine Stadler was a prolific German émigré engraver of images after his contemporaries - here, 18th-century English landscape painter and diarist Joseph Farington. Stadler's engravings are wide-ranging in subject matter and include landscapes, seascapes and portraits, as well as military, sporting and decorative subjects. Stadler was employed by the leading print publisher of the time, John Boydell. Stadler lived in Knightsbridge when he died at the age of 73. William Westall was a British landscape artist. He was born in Hertford and enrolled at the Royal Academy schools in 1799. He later became the draughtsman for a voyage to Australia and the South Seas. After being shipwrecked, he travelled to Canton in China and to India, staying in Bombay for several months. He returned to England in 1805 but later set off for Madeira and Jamaica. He became a member of the Society of Painters in Water Colours (1811) and an associate of the Academy (1812). Following a mental breakdown, he regularly visited the Lake District and published ‘Views of the Valley and Vale of Keswick’ (1820). His series of aquatints of the Thames, the great universities, and England's public schools for Ackermann are among his most popular works. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Good. Some gentle age toning.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Clare College Chapel, Cambridge (1815), engraving by Joseph Stadler for Ackermann

£300

Joseph Constantine Stadler (1755 - 1828) after Frederick Mackenzie (1788 - 1854) Clare Hall Chapel (1815)
Hand-coloured aquatint 29.5 x 21 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of Clare College Chapel, which was was built in 1763 and designed by Sir James Burrough. Frederick Mackenzie (circa 1788 - 1854) was a British watercolourist and architectural draughtsman. He first exhibited at the Royal Academy in 1804, and contributed eleven drawings between that year and 1828. He contributed to the Society of Painters in Water Colours exhibitions from 1813, becoming an associate in 1822, and a full member the following year. From 30 November 1831 until, his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. Joseph Constantine Stadler was a prolific German émigré engraver of images after his contemporaries - here, 18th-century English landscape painter and diarist Joseph Farington. Stadler's engravings are wide-ranging in subject matter and include landscapes, seascapes and portraits, as well as military, sporting and decorative subjects. Stadler was employed by the leading print publisher of the time, John Boydell. Stadler lived in Knightsbridge when he died at the age of 73. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Christ Church Cathedral, Oxford (1814), interior engraving by Bennett after Westall for Ackermann

£275

William James Bennett (1787 - 1844) after William Westall (1781 - 1850) Christ Church Cathedral (1814)
Aquatint with original hand colouring 19 x 26 cm Published by Rudolph Ackermann (1764 - 1834). An interior of Christ Church's magnificent Cathedral. Engraved for Ackermann's 'A History of the University of Cambridge, Its Colleges, Halls and Public Buildings'. William James Bennett was a British-born painter and engraver. He studied at the Royal Academy Schools and was a pupil of Westall's. He was a founder member of the "Associated Artists in Watercolour" in 1808, and twelve years later was elected an Associate of the Water-Colour Society. He went to the United States around 1826, and became a member of the National Academy of Design at New York in 1828, where he exhibited watercolour landscapes and seascapes, and engravings. In the 1830s and early 1840s he produced a series of aquatints of topographical views, from both his own paintings and those of others. William Westall was a British landscape artist. He was born in Hertford and enrolled at the Royal Academy schools in 1799. He later became the draughtsman for a voyage to Australia and the South Seas. After being shipwrecked, he travelled to Canton in China and to India, staying in Bombay for several months. He returned to England in 1805 but later set off for Madeira and Jamaica. He became a member of the Society of Painters in Water Colours (1811) and an associate of the Academy (1812). Following a mental breakdown, he regularly visited the Lake District and published ‘Views of the Valley and Vale of Keswick’ (1820). His series of aquatints of the Thames, the great universities, and England's public schools for Ackermann are among his most popular works. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good - some wear and staining to margins which will be hidden under mount and a couple of spots.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Out of stock

Chapel of Trinity College, Cambridge (1814), engraving by John Bluck for Ackermann

£320

John Bluck (early 19th century) after Frederick Mackenzie (1788 - 1854) Chapel of Trinity College, Cambridge (1814)
Aquatint with original hand colouring 27 x 21 cm Published by Rudolph Ackermann (1764 - 1834). 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. John Bluck was an aquatint engraver, mainly of topographical views, but also of marine and sporting subjects after his contemporaries. He produced plates for numerous publications. 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; slight toning within platemark.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Peterhouse, Cambridge ‘Chapel of St Peter’s College’ (1815), engraving by Havell

£275

Daniel Havell (1785 - 1822) after Augustus Charles Pugin (1762 - 1832) Peterhouse: 'Chapel of St Peter's College' (1815) Aquatint with original hand colouring 27 x 21 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the chapel of Peterhouse, Cambridge, formerly known as St Peter's College. Engraved for Ackermann's 'A History of the University of Cambridge, Its Colleges, Halls and Public Buildings'. Augustus Charles Pugin was an Anglo-French artist and architectural draughtsman. Pugin produced views of London, jointly creating the illustrations for the 'Microcosm of London' published by Rudolph Ackermann in 1811, followed by plates for Ackermann's books about Westminster Abbey, Oxford and Cambridge universities, and Winchester College. His later works included illustrations for Specimens of Gothic Architecture (1821–1823), The Royal Pavilion at Brighton (1826), Architectural Antiquities of Great Britain (1826), Specimens of the Architectural Antiquities of Normandy (1827), Illustrations of the Public Buildings of London (1825 to 1828), Paris and its Environs (1829 to 1831), and Examples of Gothic Architecture (1831). He also produced a book of furniture designs called Gothic Furniture, and assisted architects with detailing for their gothic designs. He ran a drawing school at his house in Bloomsbury. Daniel Havell was a member of the Havell family of Reading, Berkshire, England, which included a number of notable engravers, etchers and painters, as well as writers, publishers, educators, and musicians. Daniel and his brother Robert set up in partnership as aquatint engravers. Soon Daniel began to work independently, engraving plates for Rudolph Ackermann's History of Cambridge (1815) and hid history of various public schools including Eton, Winchester, and Rugby (1816), as well as a celebrated views of St Paul's Cathedral (1818) and various other London landmarks for Ackermann's Repository of Arts. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good; slight toning to within platemark.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Chapel of Caius College, Cambridge (1815), engraving by Joseph Stadler for Ackermann

£320

Joseph Constantine Stadler (1755 - 1828) after Frederick Mackenzie (1788 - 1854) Chapel of Caius College, Cambridge (1815)
Aquatint with original hand colouring 24 x 21 cm Published by Rudolph Ackermann (1764 - 1834). Frederick Mackenzie (circa 1788 - 1854) was a British watercolourist and architectural draughtsman. He first exhibited at the Royal Academy in 1804, and contributed eleven drawings between that year and 1828. He contributed to the Society of Painters in Water Colours exhibitions from 1813, becoming an associate in 1822, and a full member the following year. From 30 November 1831 until, his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. Joseph Constantine Stadler was a prolific German émigré engraver of images after his contemporaries - here, 18th-century English landscape painter and diarist Joseph Farington. Stadler's engravings are wide-ranging in subject matter and include landscapes, seascapes and portraits, as well as military, sporting and decorative subjects. Stadler was employed by the leading print publisher of the time, John Boydell. Stadler lived in Knightsbridge when he died at the age of 73. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Brasenose College, Oxford (1813), engraving by Hill after Mackenzie for Ackermann

£300

John Hill (1770 - 1850) after Frederick Mackenzie (1788 - 1854) Brasenose College, Part of the Schools etc. Taken from the top of the Radcliffe Library (1813)
Hand-coloured aquatint 24 x 29 cm Published by Rudolph Ackermann (1764 - 1834). Frederick Mackenzie (circa 1788 - 1854) was a British watercolourist and architectural draughtsman. He first exhibited at the Royal Academy in 1804, and contributed eleven drawings between that year and 1828. He contributed to the Society of Painters in Water Colours exhibitions from 1813, becoming an associate in 1822, and a full member the following year. From 30 November 1831 until, his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. John Hill was born in London in 1770, and was an engraver's apprentice. He worked in aquatint and largely produced book illustration aquatints. He went to America in 1816 and produced the notable Picturesque Views of American Scenery amongst other books of prints. 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, paper slightly toned within platemark.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Radcliffe Astronomical Observatory (1815), Oxford engraving by John Bluck for Ackermann

£200

John Bluck (early 19th century) after Frederick Mackenzie (1788 - 1854) Astronomical Observatory, Oxford (1815) Aquatint with original hand colouring 30 x 25 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the Astronomical Observatory in Oxford - that is, the Radcliffe Observatory, now a part of Green Templeton College. The observatory building commenced to designs by Henry Keene in 1772, and was completed in 1794 to the designs of James Wyatt, with a prominent octagonal tower based on the Tower of the Winds in Athens. Its tower is topped with a statue by John Bacon of Atlas holding up the World. 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. John Bluck was an aquatint engraver, mainly of topographical views, but also of marine and sporting subjects after his contemporaries. He produced plates for numerous publications. 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, paper quite toned within platemark.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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All Souls College, Oxford engraving (1814), by Bluck after Pugin for Ackermann

£410

John Bluck (early 19th century) after Augustus Charles Pugin (1762 - 1832) All Souls - taken from the top of the Radcliffe Library (1814)
Aquatint with original hand colouring 21 x 27 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of serene All Souls from Ackermann's 'History of Oxford'. Augustus Charles Pugin was an Anglo-French artist and architectural draughtsman. Pugin produced views of London, jointly creating the illustrations for the 'Microcosm of London' published by Rudolph Ackermann in 1811, followed by plates for Ackermann's books about Westminster Abbey, Oxford and Cambridge universities, and Winchester College. His later works included illustrations for Specimens of Gothic Architecture (1821–1823), The Royal Pavilion at Brighton (1826), Architectural Antiquities of Great Britain (1826), Specimens of the Architectural Antiquities of Normandy (1827), Illustrations of the Public Buildings of London (1825 to 1828), Paris and its Environs (1829 to 1831), and Examples of Gothic Architecture (1831). He also produced a book of furniture designs called Gothic Furniture, and assisted architects with detailing for their gothic designs. He ran a drawing school at his house in Bloomsbury. John Bluck was an aquatint engraver, mainly of topographical views, but also of marine and sporting subjects after his contemporaries. He produced plates for numerous publications. 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 would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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University of Cambridge student Pensioner engraving by John Agar (1815)

£200

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. Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. He attended the Latin school in Stollberg, but his wish to study at the university was made impossible by lack of financial means, and he therefore became a saddler like his father. He worked as a saddler and coach-builder in different German cities, moved from Dresden to Basel and Paris, and then, 23 years old, settled in London. He established himself in Long Acre, the centre of coach-making in London and close to the market at Covent Garden. Ackermann then moved to Little Russell Street where he published Imitations of Drawings of Fashionable Carriages (1791) to promote his coach-making. Other publications followed. 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. During the Napoleonic wars, Ackermann was an energetic supporter of the Allied cause and made significant contributions to British propaganda through his publication of anti-Napoleonic prints and military manuals. He became a naturalised British citizen in March 1809. As one of the pioneers of modern publishing methods, Ackermann developed an international distribution network for his publications and came to have significant commercial interests in South America. The business he founded in London flourished throughout the 19th century under the management of his descendants. He was buried at St. Clement Danes in the Strand, London. In 2020, the St. Louis Mercantile Library wrote that: "Ackermann excelled in the creation of landscape and architectural engravings. He created beautiful illustrations of the city of London, his adopted home, as well as two volumes of classic views of Westminster Abbey, along with exquisite views of river scenes. One of our favorite collections are four massive volumes of lovingly illustrated exterior and interior landmarks of Oxford and Cambridge Universities created just over two hundred years ago. These publications show Ackermann’s hand at every turn of the page along with the team of assistant designers and engravers he employed to create these works. Perhaps they were a way by which the artist could lay to rest his own regret at not being able to attend [an Oxbridge] college himself in a fondly depicted idyll to learning which these prints so aptly represent." Condition: Very good; slight paper toning.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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See London Vintage Style, original vintage transport poster by M.A. Welch & Brian Harris

£200

M.A. Welch & Brian Harris See London Vintage Style
Original vintage poster Lithograph 76 x 52 cm c.1972 Vintage poster advertising the bus route 100, a unique opportunity for passengers to see the London sights from the classic 1930 ST922 bus model. The poster features a classic typewriter typeface, a lovely coral orange background and a vintage photograph of the ST922, presumably taken during its hayday in the 1930s. Condition: Generally very good, a few very light handling marks.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Keeping in Touch: The Post Office in Town, original vintage Cambridge poster

£700

Keeping in Touch: The Post Office in Town Original vintage poster
Lithograph 74 x 91 cm This "Keeping in Touch: The Post Office in Town" poster is a vintage advertisement produced by the UK's General Post Office (GPO) in the 1960s. This poster is part of a series highlighting the various facets of postal services during that era, other editions included "In the Country", "At the Docks" and "At the Airport." The poster features a vibrant illustration of a street scene in Cambridge, prominently depicting Sidney Street and the historic Round Church. The artwork captures daily life in the town, emphasising the integral role of the post office in the community. Condition: Generally very good, centre fold as issued and a couple of other soft handling creases.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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London Transport Posters (1978), lithograph by Mervyn Laurence

£200

Mervyn Laurence London Transport Posters
Lithograph 76 x 52 cm This poster was produced to promote 'London Transport Posters', a book by Michael F. Levey, first published in 1976 by Phaidon Press. The 80-page volume delves into the rich history and artistic significance of posters commissioned by London Transport, showcasing how these artworks have both reflected and influenced public taste over the years. The book features a diverse collection of posters, highlighting the evolution of design and advertising strategies employed by London Transport. It serves as both a visual celebration of these artworks and an insightful commentary on their cultural impact. The image featured on this poster was originally published on a 1912 London Transport poster: 'Always Warm and Bright', designed by Mervyn Lawrence. The original painting depicts passengers travelling in a underground car. At this time, posters had become a medium for popular commercial interpretation of contemporary avant-garde art. Here, Laurence employs the strident colour of the Fauves and alludes to Matisse's 'The Red Studio', which was produced the previous year. Both paintings are windows onto full, engaging, over-furnished worlds where form is decorative and described in terms of pure colour. The artists invite you into their painting, offering you an empty underground seat, or a place at the artist's table. Condition: Generally very good, some handling marks and some marks on the poster itself.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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German Aircraft, original vintage Second World War poster

£350

German Aircraft Original vintage Second World War poster
Lithograph 51 x 71 cm c.1941-1944 This original vintage poster, published in 1941, depicts a series of German aircraft, including the fighter plane Messcherschmitt BF 109, the Junkers Ju 87 "Stuka" – a dive bomber known for its accuracy and infamous siren–, and the Heinkel He 111--the Luftwaffe’s main medium bomber, used extensively in the Blitz. In these black-and-white technical drawings, each German aircraft is depicted from different angles, providing a clear view of their shape and markings, making it a crucial tool for aircraft reconnaissance. During the Second World War, the Ministry of Information produced a number of posters detailing the differences between British and German aircraft. In general, they were designed to help British civilians and military personnel identify enemy aircraft, distinguishing them from Allied planes. This poster is marked in the top left-hand corner as being confidential, suggesting that it was restricted to military use, rather than public distribution and served as educational tool to train pilots, anti-aircraft gunners, and air raid wardens to distinguish German planes from friendly or neutral aircraft. This is an excellent example of WWII military intelligence and training material, demonstrating how Allied forces prepared for German aerial threats. Condition: Generally very good. Slight age toning and spotting to paper, small tears at the edges and tape stains that will be covered by mount.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Wings For Victory (1943), original vintage Second World War poster

£1,100

Wings for Victory -- The Sky's the Limit for Wartime Saving Original vintage Second World War poster
Lithograph 50 x 37 cm Dated to 1943 This 'Wings for Victory' poster was a propaganda piece designed to encourage public investment in war savings programs. As part of this campaign, members of the public were encouraged to invest in war bonds and savings certificates to fund military production, in this case to 'buy' air craft through these bonds and savings certificates. Over the course of its run, this campaign was extremely successful, managing to raise millions of pounds and increase public involvement in the war effort. In a way, this poster aimed to show the British public where they were putting their money. As a result, it featured a number of key Allied bombers, including the Avro Lancaster, Handley Page Halifax and the Boeing B-17 Flying Fortress. It thereby hoped to highlight their role in securing victory. With its dramatic red and black colour scheme, strong formation of bombers and memorable slogan, this poster leaves a striking impression. Very few examples of this poster still exist day, though one is in the collection of the Philadelphia Museum of Art, making this an exciting opportunity to own a museum-grade historical poster.

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‘Join the Oxford University Ski Club’, 1934/35 Klosters Varsity Ski poster by James Riddell

£3,500

James Riddell (1909-2000) 'Join the University Ski Club'
Original vintage poster Lithograph 31 x 50 cm This charming poster was designed by professional skier James Riddell for the 1934/35 Varsity trip, bringing students from Oxford and Cambridge University together for the annual Varsity ski racing, held in Klosters. Riddell, a Cambridge alumnus, played a key role in the early days of skiing as a competitive sport and holiday industry. In his early days, he was a skiing champion: his accolades include winning the Kandahar Club's Muerren Inferno, still the longest and most demanding of amateur downhill races, and acting as vice-president at the 1936 Winter Olympics at Garmisch-Partenkirchen. After his professional skiing career, Ridell became an accomplished author, writing novels including 'The Ski Runs of Switzerland' (1957), 'The Ski Runs of Austria '(1958), 'Ski Holidays in the Alps' (1961) and 'Ski Lore and Disorder' (1962). He quit skiing in his 70s but continued to return to his much-loved Muerren, the Kandahar Club's Swiss Alpine headquarters, where he spent time painting watercolours. This poster is a fine example of art-deco art. The simplified, streamlined depiction of skiers with strong, curving lines reflects the influence of Art Deco’s geometric and dynamic design approach. The limited colour palette of blue, white, and red gives a striking and vibrant look. The lettering, with its outlined and shadowed appearance, is characteristic of the era's emphasis on bold, decorative typography. Finally, the flowing lines in the background and the dramatic positioning of the skiers create a feeling of speed and action, a hallmark of 1930s graphic design. The overall effect is dynamic, eye-catching and extremely memorable. Condition: Generally very good. Colours are excellent and the paper shows only a little sign of age.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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‘L’alliance de l’homme et de la montagne’, original skiing poster by Samivel

£950

'Samivel' Paul Gayet-Tancrède (1907 - 1992) L'alliance de l'homme et de la montagne
Original vintage poster 100 x 62 cm A man sits atop a grassy hill, taking in the nature around him and looking down into the valley below. He is surrounded by the white peaks of the French alps in the Parc national de la Vanoise. Nearby a sparrow has settled on a small boulder amongst the mountain flowers. The scene is bucolic and calls to mind traditional depictions of mountain life in the likes of Heidi. Samivel was a writer, an artist, a photographer, an explorer, and more. In 1948 he accompanied Paul Émile Victor on the first French Greenland expedition, making three documentary films in the process. His friends included Théodore Monod and Gilbert André - the latter the mayor of Bonneval-sur-Arc and one of the founders of the Vanoise National Park - and with them and others he spent his whole life aiming for the protection of the imperilled countryside. The graphic artist side of him had a life-long fascination with high mountains, and his illustrated books and series of posters of the French Alps have long been popular.

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‘We shall never surrender’, iconic Churchill poster

£8,000

Winston Churchill 'We shall never surrender.'
Original vintage poster 50 x 34 cm 'We shall not flag or fail, we shall go on to the end. We shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air. We shall defend our Island, whatever the cost may be; we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills. We shall never surrender.' Winston Churchill's 'We Shall Fight on the Beaches' speech, delivered to the House of Commons on June 4, 1940, is one of the most famous speeches of World War II. It was given in the wake of the Dunkirk evacuation (Operation Dynamo), where over 300,000 British and Allied troops were successfully rescued from France as German forces advanced. In this speech, Churchill had to describe a great military disaster, and warn of a possible invasion attempt by Nazi Germany, without casting doubt on eventual victory. The simple repetition and rhythm are unforgettable and helped to cement Churchill's reputation as an exceptional wartime leader.

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‘Join your Neighbours in the Civil Defence’, original vintage recruitment poster

£200

'Join your Neighbours in the Civil Defence'
Original vintage recruitment poster 38 x 26 cm Printed for HM Stationery Office by Stafford & Co Ltd Netherfield, Nottingham. There was no World War Two activity to which the population could not be encouraged by the use of a poster. First established in 1935, the Civil Defence Department was essential for maintaining order during air raids. Pictured here is a man in Civil Defence uniform walking along a residential street with a row of houses, exuding satisfaction at having protected the community from another night of bombing. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Oxford, original vintage map by Kerry Lee

£1,000

Kerry Lee (1903 - 1988) Oxford
Original vintage map 46 x 60 cm Published by Pictorial Maps Limited, Kerry Lee's own company c.1965 This edition of the map was produced around 1965. It illustrates a number of famous Oxford landmarks, including the Radcliffe Camera, Christ Church College's Tom Tower and all of the colleges of Oxford University. Lee also frames this map with the crest of each college and an illustration of all the college founders. Well known as a creator of pictorial maps of British cities from the mid 20th century, Kerry Lee generally draws a self-portrait in the bottom corner by his signature - as here, where he is seen painting (mustachioed and bearded, and clad in a brown tunic) with his ever-faithful dog Jim. Educated at Reading Schools of Arts and Science, the Slade and the Sorbonne in Paris, he subsequently assisted his step-father, an architect named Mr Harvey, as draftsman. Following the Depression Lee set up 'Associated Artists' at Blandford Studios off Baker Street, with a group of other commercial artists. During World War II he was based in Hertfordshire creating detailed cut-away drawings of German aircraft, and after the war - still at Blandford Studios - published a series of pictorial maps, both those for British Rail and also his own publications. Condition generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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London ‘The Bastion of Liberty’, original vintage map by Kerry Lee

£900

Kerry Lee (1903 - 1988) London 'The Bastion of Liberty' Original vintage map 46 x 60 cm Published by Pictorial Maps Limited, Kerry Lee's own company c.1965 This edition of the map was produced around 1965. It depicts a number of London's iconic landmarks, including Tower Bridge, St Paul's Cathedral, Westminster and the Houses of Parliament and Buckingham Palace, all of which are distinguishable by the red banners which highlight each London landmark. Lee frames this charming map with illustrations of London boroughs and other landmarks that lie out of the scope of the map, Hampstead, Alexandra Palance, and Greenwich, for example. Well known as a creator of pictorial maps of British cities from the mid 20th century, Kerry Lee generally draws a self-portrait in the bottom corner by his signature - as here, where he is seen painting (mustachioed and bearded, and clad in a green tunic) with his ever-faithful dog Jim. Educated at Reading Schools of Arts and Science, the Slade and the Sorbonne in Paris, he subsequently assisted his step-father, an architect named Mr Harvey, as draftsman. Following the Depression Lee set up 'Associated Artists' at Blandford Studios off Baker Street, with a group of other commercial artists. During World War II he was based in Hertfordshire creating detailed cut-away drawings of German aircraft, and after the war - still at Blandford Studios - published a series of pictorial maps, both those for British Rail and also his own publications.

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The Life of William Shakespeare and Map of Stratford-upon-Avon, original poster by Kerry Lee

£600

Kerry Lee (1903 - 1988) The Life of William Shakespeare and Map of Stratford-upon-Avon
Original vintage poster 46 x 60 cm Published by Pictorial Maps Limited, Kerry Lee's own company c.1965 This edition of the map was produced around 1965. It depicts a map of Stratford-upon-Avon with several well known landmarks including the Royal Shakespeare Theatre on the waterfront. As is typical for Lee's maps, however, this map has a unique charm as it not only illustrates the geography of the town, but also the history, recounting the life of Stratford-upon-Avon's most famous export, William Shakespeare. Lee scrawls a chronology of Shakespeare's life over any and every free green space, referring to the playwright affectionately as 'Will.' Lee also frames the map with scenes from Shakespeare's most famous plays, including Romeo and Juliet, The Tempest and Macbeth. Well known as a creator of pictorial maps of British cities from the mid 20th century, he generally draws a self-portrait in the bottom corner by his signature - as here, where he is seen painting (mustachioed and bearded, and clad in a green tunic) with his ever-faithful dog Jim. Educated at Reading Schools of Arts and Science, the Slade and the Sorbonne in Paris, he subsequently assisted his step-father, an architect named Mr Harvey, as draftsman. Following the Depression Lee set up 'Associated Artists' at Blandford Studios off Baker Street, with a group of other commercial artists. During World War 2 he was based in Hertfordshire creating detailed cut-away drawings of German aircraft, and after the war - still at Blandford Studios - published a series of pictorial maps, both those for British Rail and also his own publications.

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‘Never have so many owed so much to so few,’ original Winston Churchill poster (1940)

£8,000

Original Winston Churchill Poster
Lithograph 51 x 40 cm c.1940-1945 "Never in the field of human conflict have so many owed so much to so few." The summer of 1940 saw the Battle of Britain reach its peak. Churchill delivered this speech to the House of Commons on the 20th of August 1940. The Battle of Britain had reached its peak that summer and when Churchill famously stated "Never in the field of human conflict have so many owed so much to so few", he was paying tribute to the enormous efforts made by the fighter pilots and bomber crews to establish air superiority over England. At the end of June 1940, the Luftwaffe had a large numerical superiority over the Royal Air Force, with around 2,550 planes compared to the only 750 planes of the RAF. As a result, the pilots who fought in the victorious Battle of Britain were known as "the few." This speech figures among Churchill's most famous, standing alongside "we shall fight on the beaches", "their finest hour", and "blood, toil, tears, and sweat" in the history books. This poster features the famous quote in bold lettering with a faint outline of Churchill's face in the background. The insignia of the Royal Air Force dominates the top of the poster, linking the speech to its context within the Battle of Britain. Condition: Generally very good, backed to linen.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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German Aircraft, original vintage WW2 poster

£650

German Aircraft Original vintage poster
Lithograph 57 x 45 cm This original vintage poster, published in 1941, depicts a series of German aircraft, including the fighter plane Heinkel HE 113, the bomber plane Junkers JU 89 and the sea plane Arado Ar 196. Each plane is depicted from three different angles, illustrating their unique features and insignia. During the Second World War, the Ministry of Information produced a number of posters detailing the differences between British and German aircraft. They were designed to help British civilians and military personnel identify enemy aircraft, distinguishing them from Allied planes. Condition: Generally very good, tape stain to right hand corner, will be covered by mount.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Spires of Oxford from the Canal I, watercolour by William Matthison

£2,200

William Matthison (1853-1926) Spires of Oxford from the Canal Watercolour 22 x 55 cm Signed lower right. A charming watercolour of the spires of Oxford as seen from the canal. Matthison expertly captures the light of a cool winter evening. He depicts a charming scene in this watercolour: the sun is setting, sheep are grazing on the banks of the canal, steam rises out the chimney of one canal boat, another moves slowly through the water and a young girl guides her horse along the path. Matthison was born near Birmingham and attended King Edward’s School in the city. He learned drawing at the Birmingham Central School of Art and then became a pupil of Birmingham artist Edward Watson. He became a professional artist in 1875 and moved to Oxfordshire a few years after; this was where he had the opportunity to produce many of the Oxford views for which he is known today. In 1902 he moved to Park Town in Oxford and was commissioned by Robert Peel to paint more than seventy views of the University of Oxford, which were subsequently made into postcards. Priced at seven for a shilling, they were only available from E Cross of Pembroke Street (a long-since closed business). Raphael Tuck & Sons also commissioned him to produce postcard scenes of Cambridge. Matthison’s views of Oxford were later printed in Fifty Watercolour Drawings of Oxford, published in 1912 by Alden & Co. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other general views of Oxford, click here.

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Spires of Oxford from the Canal II, watercolour by William Matthison

£2,200

William Matthison (1853-1926) Spires of Oxford from the Canal Watercolour 22 x 55 cm Signed lower right. A charming watercolour of the spires of Oxford as seen from the canal. Matthison expertly captures the light of a warm summer's evening. He depicts a charming scene in this watercolour, with cows drinking from the canal, a canal boat quietly drifting by and a young girl leading her friend along the path on a horse. Matthison was born near Birmingham and attended King Edward’s School in the city. He learned drawing at the Birmingham Central School of Art and then became a pupil of Birmingham artist Edward Watson. He became a professional artist in 1875 and moved to Oxfordshire a few years after; this was where he had the opportunity to produce many of the Oxford views for which he is known today. In 1902 he moved to Park Town in Oxford and was commissioned by Robert Peel to paint more than seventy views of the University of Oxford, which were subsequently made into postcards. Priced at seven for a shilling, they were only available from E Cross of Pembroke Street (a long-since closed business). Raphael Tuck & Sons also commissioned him to produce postcard scenes of Cambridge. Matthison’s views of Oxford were later printed in Fifty Watercolour Drawings of Oxford, published in 1912 by Alden & Co. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other general views of Oxford, click here.

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Sidney Sussex College, Cambridge, engraving by David Loggan

£1,950

David Loggan (1634 - 1692) Sidney Sussex College, Cambridge
Engraving 33 x 45 cm An eighteenth-century view of Queens' College, Cambridge, engraved by David Loggan, the noted engraver, draughtsman, and painter. 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' (c. 1708). The contemporary artist Andrew Ingamells (b.1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of Sidney Sussex, please click here.

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Queens’ College, Cambridge, engraving by David Loggan

£1,950

David Loggan (1634 - 1692) Queens' College, Cambridge
Engraving 33 x 45 cm An eighteenth-century view of Queens' College, Cambridge, engraved by David Loggan, the noted engraver, draughtsman, and painter. 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' (c. 1708). The contemporary artist Andrew Ingamells (b.1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of Queens' College, please click here.

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Sidney Sussex, Cambridge, engraving by David Loggan

£1,950

David Loggan (1634 - 1692) Sidney Sussex College, Cambridge
Engraving 33 x 45 cm An eighteenth-century view of Sidney Sussex, Cambridge, engraved by David Loggan, the noted engraver, draughtsman, and painter. 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' (c. 1708). The contemporary artist Andrew Ingamells (b.1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of Sidney Sussex, please click here.

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Watching Over the Fire, pencil drawing by Hillary Hennes

£350

Hillary Hennes (1919-1993) Watching Over the Fire
Pencil drawing 43 x 28 cm Hillary Hennes was a British artist and illustrator. Her father was a curator at the South London Art Gallery and she was consequently initiated into the art world from a young age. After attending the Blackheath High School, Hennes (then Miller) studied at the Blackheath School of Art and then spent a further three years at the Royal College of Art. After graduating, Miller taught at the South East Sussex Technical College and in 1946 married the artist Hubert Hennes. Between 1948 and 1967 Miller frequently exhibited paintings at the Royal Academy in London and also illustrated a number of books on gardening and natural history, such as The Living World and Boff's Book of Gardening. This pencil drawing depicts a woman resting by the fireplace. Her legs are crossed and she is slumped gently to the side. Hennes excellently captures the light of the room: the mirror in the background reflects a sunny day and the woman is basked in light, though it is unclear if this from the gentle glow of a fire or the sun rays peaking through the window. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Christ’s College Chapel, Cambridge, 1842 by R.A.E Little

£850

R.A.E Little Christ's College Chapel, Cambridge, 1842
Watercolour 20 x 26 cm Charming watercolour depicting a view of Christ's College Chapel in the mid nineteenth century. In this painting, Little pays special attention to the watercolours and the light and shadows that fill the chapel. Thanks to this care, the scene is imbued with an uplifting ambiance. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of Christ's College, Cambridge, please click here.

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Girton College, Cambridge, watercolour by Joy Fox

£600

Joy Fox (née Hollings) Girton College
Watercolour 24 x 17 cm Signed to bottom right. Little is known about Joy Fox. It seems that she studied at Girton College, Cambridge between 1939 and 1942. This charming watercolour depicting the main gate at the college featured in Douglas de Lacey's book 'Girton's War: the Village 1939-1945.' The work included memories of rationing and the various strategies employed to keep warm and to find clothes for coming up to Girton. There are also descriptions of lectures, college rules, entertainments and war work. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of Girton College, please click here.

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Pencil design for stained glass window by Jane Gray

£350

Jane Gray (b.1931) Design for stained glass window
Pencil and coloured pencil on paper 52 x 68 cm Dated 1975 to lower right. Jane Gray A.R.C.A. (b.1931) is a British stained glass artist. She studied stained glass at the Kingston School of Arts (1949-51) and later at the Royal College of Art (1951-55) under Lawrence Lee. Lee was so impressed with Gray’s work that he asked her to work alongside him on the design of ten nave windows for Coventry Cathedral. This six-year-long design project culminated in their final installation in 1962 after the cathedral’s consecration. Gray was the first woman to become a liveryman of the Worshipful Company of Glaziers and has designed more than a hundred windows in private and public buildings, chapels and over forty churches across the country, including St Peter’s, Martindale, Shrewsbury Abbey, St Oswald, Oswestry and St Mary, Chirk. Gray’s designs mark a crucial turning point in the history of stained glass art as the Victorian style gave way to a modern aesthetic. In her work, Gray navigates this shift with a style that, whilst distinctly modern, retains a deep rooted sense of the medieval. Despite many of her commissions being for church windows, stained glass design was not simply about religious depiction for Gray, but more about ‘colour, shapes, luminosity, [and] playing with rainbows’. This stained glass cartoon depicts a lovely wildflower meadow. In keeping with her love of colour and luminosity, the flowers included in this design promise to breathe a breath of fresh air into any room. Although it remains unclear if and where this design was realised in glass, Gray's drawing and annotations offer valuable insights into her working process.

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Naess Sovereign, lithograph by Laurence Dunn

£200

Laurence Dunn (1910 - 2006) Naess Sovereign
Pencil drawing 29 x 43 cm A vibrantly coloured lithograph depicting the Naess Sovereign at sea. The Naess Sovereign was originally built in 1961 by Mitsubishi Zosen, Nagasaki. When delivered, she was the third largest vessel in the world, and the largest vessel under British flag. In 1963, she was then followed by her sister vessel: the Naess Champion. Both ships were owned by the Naess group, one of the largest private shipping countries in the world. They were subsequently sold to Burmah Oil and the Sovereign was eventually laid up in 1975 and broken up in 1977. Laurence Dunn was a well-known British marine artist and writer 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. Upon his death in 2006, the World Ship Society published the following obituary: 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.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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HMS Hermes, lithograph by Laurence Dunn

£200

Laurence Dunn (1910 - 2006) HMS Hermes
Pencil drawing 20 x 38 cm A vibrantly coloured lithograph depicting the HMS Hermes with illustrations of uniforms on the HMS Hermes to the reverse. As per Dunn's notes, this lithograph was produced for the builders and admiralty following the ship's reconstruction. HMS Hermes (R12) was a Centaur-class aircraft carrier of the British Royal Navy, commissioned in 1959. It served in multiple roles over its career, including as a strike carrier, commando carrier, and anti-submarine warfare carrier. It was originally commissioned in 1959 and was designed as a as a strike carrier for fixed-wing aircraft. During the 1980s it served as the flagship of the British task force against Argentina, playing a crucial role in air defence and amphibious operations. It was eventually sold to India in 1987 and was recommissioned as INS Viraat, before being taken out of service in 2017. Laurence Dunn was a well-known British marine artist and writer 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. Upon his death in 2006, the World Ship Society published the following obituary: 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.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Container Ship, pencil drawing by Laurence Dunn

£200

Laurence Dunn (1910 - 2006) Container Ship
Pencil drawing 41 x 21 cm Laurence Dunn was a well-known British marine artist and writer 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. Upon his death in 2006, the World Ship Society published the following obituary: 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.

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Out of stock

Keble College, Oxford, etching by Mabel Oliver Rae

£195

Mabel Oliver Rae (1868-1956) Keble College, Oxford
c.1920 Etching 14 x 18 cm Signed in pencil below. Mabel Oliver Rae was born in Cambridge, Cambridgeshire, and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works with the pseudonym 'M.Oliver Rae', a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. This particular etching depicts a lovely view of Keble College, Oxford. Condition: Generally very good, mounted to board, residual glue to margins under the mount.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

For other views of Keble College, Oxford, click here.

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Clare Bridge Cambridge, etching by Mabel Oliver Rae

£195

Mabel Oliver Rae (1868-1956) Clare Bridge, Cambridge
c.1920 Etching 13 x 17 cm Signed in pencil below. Mabel Oliver Rae was born in Cambridge, Cambridgeshire, and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works with the pseudonym 'M.Oliver Rae', a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. This particular etching depicts a lovely view of Clare Bridge, Cambridge. Rae expertly captures the reflections of the bridge's arcs and the shadows of the trees on the water surface. In the foreground of the etching, a punter enjoys the tranquil scene and the work is consequently imbued by the atmosphere of a warm summer's day. Condition: generally very good, slight age toning to paper.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of Clare College, Cambridge, please click here.

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Merton Tower, Oxford, etching by Mabel Oliver Rae

£195

Mabel Oliver Rae (1868-1956) Tom Tower, Oxford c.1920 Etching 12 x 9 cm Signed in pencil below. Mabel Oliver Rae was born in Cambridge, Cambridgeshire, and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works with the pseudonym 'M.Oliver Rae', a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. This particular etching depicts a lovely view of Merton Tower, Oxford. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

For other views of Merton College, Oxford, click here.

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Abstract Landscape, watercolour by Colin Fifield

£500

Colin Fifield (1940-2022) Abstract landscape
Watercolour 26 x 36 cm Colin Fifield was a British artist specialising in painting and pottery. He trained at the Camberwell School of Arts and Crafts before specialising in painting and etching at the Slade School of Art. Over the course of his long career, Fifield displayed a variety of interests, ranging from landscape paintings in oils, watercolours and acrylics to pen and ink drawings. Many of his paintings take inspiration from the landscapes of Kent in South East England, featuring the bucolic pastures and fields. This painting is characteristic of Fifield's artistic output. He playfully depicts a rural landscape scene, incorporating wavy shapes and bright colours. In doing so, he brings the painting to life. The waves through the long crops and grasses evoke the wind breezing through them. The hazy clouds in the sky seem to be moving, and a man-- simplistic in form--walks down the country-lane, appreciating the tranquility of the moment.

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Tom Tower, Oxford, etching by Mabel Oliver Rae

£175

Mabel Oliver Rae (1868-1956) Tom Tower, Oxford c.1920 Etching 12 x 9 cm Signed in pencil below. Mabel Oliver Rae was born in Cambridge, Cambridgeshire, and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works with the pseudonym 'M.Oliver Rae', a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. This particular etching depicts a lovely view of Tom Tower, Oxford. Condition: Generally very good, small tear to bottom right and slight age toning to paper.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of Christ Church, Oxford, click here.

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Out of stock

King’s College Cambridge, etching by Mabel Oliver Rae

£175

Mabel Oliver Rae (1868-1956) Kings College, Cambridge (view from the Meadow) c.1920 Etching 12 x 9 cm Signed in pencil below. Mabel Oliver Rae was born in Cambridge, Cambridgeshire, and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works with the pseudonym 'M.Oliver Rae', a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. This particular etching depicts a lovely view of King's chapel from the backs. The River Cam is also visible in the foreground, with what seems to be a punter making their way across the river.

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Rufford Old Hall- Door Details, pencil drawing by M R A Hollis

£400

M R A Hollis Rufford Old Hall, Door Details
Pencil drawing 56 x 77 cm Professor Malcolm A Hollis was a chartered surveyor, arbitrator and professor of Building Pathology. He produced this architectural sketch while studying at the Liverpool College of Building. The study depicts details of the door at Rufford Old Hall. Hollis' accuracy is impressive: the clean lines all seem to be perfectly spaced, the presumably metal detailing on the door symmetrical and aesthetically pleasing. His commendable precision make this a striking piece. Rufford Old Hall is a historic Tudor manor house in Rufford, Lancashire, England. It was built in the 16th century and was the home of the Hesketh family for over 400 years. It is also notable as a stomping ground for the young William Shakespeare. It is now managed as a National Trust property and is a popular tourist attraction.

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The Local History Society Presents Prehistoric Animals, vintage poster by M R A Hollis

£300

M R A Hollis The Local History Society Presents Prehistoric Animals
Vintage poster Gouache 38 x 55 cm Professor Malcolm A Hollis was a chartered surveyor, arbitrator and professor of Building Pathology. This poster very clearly stands apart from his other architectural sketches. It is playful and bold, depicting a stegosaurus.

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Rufford Old Hall, pencil drawing by M R A Hollis

£400

M R A Hollis Rufford Old Hall, Charles II Wing
Pencil drawing 56 x 77 cm Professor Malcolm A Hollis was a chartered surveyor, arbitrator and professor of Building Pathology. He produced this architectural sketch while studying at the Liverpool College of Building. The study depicts a view of the Charles II Wing at Rufford Old Hall. As is typical of Hollis' drawings, the sketch is characterised by extremely clean lines, attention to detail and a strong architectural perspective. Particular attention is paid to the grouting of the brick work and the building's crest, signalling that it was originally built in 1662. Rufford Old Hall is a historic Tudor manor house in Rufford, Lancashire, England. It was built in the 16th century and was the home of the Hesketh family for over 400 years. It is also notable as a stomping ground for the young William Shakespeare. It is now managed as a National Trust property and is a popular tourist attraction.

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The Old Bluecoat School, pencil drawing by M R A Hollis

£400

M R A Hollis The Old Bluecoat School
Pencil drawing 56 x 77 cm Professor Malcolm A Hollis was a chartered surveyor, arbitrator and professor of Building Pathology. He produced this architectural sketch while studying at the Liverpool College of Building. The study depicts a frontal view of the Bluecoat School, showcasing its grand 18th-century architecture and is characterised by clean lines and a strong sense of architectural perspective. The Bluecoat School is the oldest building in both central Liverpool and the city's UNESCO World Heritage Site. It was originally built in 1717 to house the Blue Coat School for Orphans. After almost 200 years, the school moved to a different premises in 1906 and in 1907 the Sandon Studios Society, a breakaway from University of Liverpool’s School of Applied Art, moved into the vacant building, establishing one of the first dedicated art centres in the world. It continues to serve this purpose today and celebrated its 300 year anniversary in 2017.

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The Bluecoat School, pencil drawing by M R A Hollis

£400

M R A Hollis The Old Bluecoat School
Pencil drawing 56 x 77 cm Professor Malcolm A Hollis was a chartered surveyor, arbitrator and professor of Building Pathology. He produced this architectural sketch while studying at the Liverpool College of Building. The work is characterised by clean lines and a strong sense of architectural perspective. His appreciation of architecture and attention to detail particularly shine through, however, in his careful depiction of the plaster mouldings on the columns. The Bluecoat School is the oldest building in both central Liverpool and the city's UNESCO World Heritage Site. It was originally built in 1717 to house the Blue Coat School for Orphans. After almost 200 years, the school moved to a different premises in 1906 and in 1907 the Sandon Studios Society, a breakaway from University of Liverpool’s School of Applied Art, moved into the vacant building, establishing one of the first dedicated art centres in the world. It continues to serve this purpose today and celebrated its 300 year anniversary in 2017.

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‘The Splendid Outcast’, stage designs by Rosemary Anne Sisson

£250

Rosemary Anne Sisson (1923-2017) 'The Splendid Outcast', stage designs
20 x 28 cm Watercolour (set of three) Cesar Borgia has ambitious plans and one of them is to take over the Kingdom of Naples...What follows in 'the Splendid Outcast' is a sordid love story. Marriages slip into affairs, affairs turn into assassinations, lust transforms to greed... Sisson wrote this play in 1960. The stage designs that followed in 1961 are vibrant, marked with the warm tones one might expect in a play set in Renaissance period Italy. Although a writer by craft, Sisson also proves herself adept with a brush and palette, executing playful mise-en-abimes as she incorporates miniature works of art into her stage designs. The abundance of windows and light in these watercolours also gestures to a world beyond her play, quite literally breathing a breath of fresh air and life into these works. Rosemary Anne Sisson was born in 1923 in Middlesex to the well-known Shakespeare scholar Charles Jasper Sisson, Lord Northcliffe. She developed a reputation as an acclaimed writer and playwright and was subsequently described by playwright Simon Farquhar in 2014 as being "one of television's finest period storytellers."

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Clare Bridge, watercolour by Mark McCrum

£250

Mark McCrum Clare Bridge
Watercolour 29 x 39 cm Signed and dated to lower right Mark McCrum, born in Cambridge, England, is a distinguished author and artist known for his diverse body of work spanning travel writing, ghostwriting, crime fiction, and landscape painting. An accomplished landscape painter, McCrum specialises in watercolours, often painting en plein air to capture the immediacy of the scene. His works feature landscapes from Cambridge and regions such as North Norfolk, Scotland's Outer Hebrides, and the West of Ireland. He has held multiple solo exhibitions, showcasing his evocative portrayals of natural settings. This lovely watercolour depicts Clare bridge in Cambridge, with the still water of the Cam reflecting the arches of the bridge. Although unfinished, the greenery of the trees gestures outwards and it is not hard to imagine the serene scene surrounding the bridge. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of Clare College, please click here.

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The Holy Sepulchre at Northwold in the county of Norfolk, 1795, engraving by James Basire

£295

James Basire & Robert Blemmel Schnebbelie The Holy Sepulchre at Northwold in the county of Norfolk
Engraving 45 x 60 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing by the English painter and illustrator Robert Blemmel Schnebbelie. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This particular edition depicts the Holy Sepulchre at Northwold in Norfolk. This sepulchre probably dated to the late 15th century and was used for the Deposition and Resurrection rituals on Good Friday and Easter Sunday-- an in depth commentary on such sepulchre in Norfolk was written by Veronica Sekules for the University of Missouri. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Architectural View of Exeter Cathedral, 1797, engraving by James Basire

£1,200

James Basire & John Carter Architectural View of Exeter Cathedral
Engraving 61 x 95 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, based on drawing by the English architect and draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This particular edition depicts a side-view of Exeter Cathedral. Basire's creation of contrasts between light and dark creates a strong sense of architectural perspective as the arms of the transept protrude away from the nave. Basire's strong command of the medium also allows him to expertly capture the fine details of the stained glass windows, presenting a lovely view over this majestic building. Condition: Generally very good, slight spotting to the central fold.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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St Albans Cathedral, 1810, engraving by James Basire

£1,200

James Basire & John Carter Floor plan of St Albans Cathedral
Engraving 61 x 95 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire, based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This particular edition depicts a cross section of St Alban's Cathedral, offering a unique insight into both the architectural features of the building and its finer masonry and design details. Condition: Generally very good, slight spotting to the central fold.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Floor Plan of St Albans Cathedral, 1810, engraving by James Basire

£800

James Basire & John Carter Floor Plan of St Albans Cathedral
Engraving 61 x 95 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire, based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This particular edition depicts the architectural floor plan of St Albans Cathedral. The cruciform architecture is striking, as portrayed from an aerial view. Basire and Carter also expertly preserve the finer details of this beautiful cathedral in these plans, depicting the details of the floor tiling and the masonry of the columns. This attention both to the architecture and the details produces a unique overall view of the cathedral. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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A Chimney Piece in the Bishop’s Palace at Exeter, 1797, engraving by James Basire after William Turner Davey

£295

James Basire & William Turner Davey A Chimney Piece in the Bishop's Palace at Exeter
Engraving 45 x 60 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing by the English artist and engraver William Turner Davey. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts an ornate chimney piece in the Bishop's Palace at Exeter. It features a number of crests and Basire's masterful engraving technique expertly captures the fine masonry of the piece. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Architectural Fragments of St Albans Cathedral, 1810, engraving by James Basire

£295

James Basire & John Carter Architectural Fragments of St Albans Cathedral
Engraving 60 x 44 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire, based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Architectural Fragments of St Albans Cathedral, 1810, engraving by James Basire

£295

James Basire & John Carter Architectural Fragments of St Albans Cathedral
Engraving 60 x 44 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire, based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Architectural Fragments of St Albans Cathedral, 1810, engraving by James Basire

£295

James Basire & John Carter Architectural Fragments of St Albans Cathedral
Engraving 60 x 44 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire, based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Architectural Fragments of St Albans Cathedral, 1810, engraving by James Basire

£295

James Basire & John Carter Architectural Fragments of St Albans Cathedral
Engraving 60 x 44 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire, based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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The Abbey Church of St Albans, 1810, engraving by James Basire

£295

James Basire & John Carter The Abbey Church of St Albans
Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising St Albans Cathedral as one of England's most significant medieval structures, the society commissioned a series of engravings by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Architectural Details of St Albans Cathedral, 1810, engraving by James Basire

£295

James Basire & John Carter Architectural Details of St Albans Cathedral
Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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St Albans Cathedral, 1810 engraving by James Basire

£700

James Basire & John Carter St Albans Cathedral
Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This particular engraving is especially striking, as Carter expertly creates contrasts between light and dark, giving his work a strong sense of depth and conveying the impressive stature of St Albans Cathedral. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Architectural Fragments of St Albans Cathedral, 1810, engraving by James Basire

£295

James Basire & John Carter Architectural Fragments of St Albans Cathedral
Engraving 44 x 62 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good, some spotting to the corners.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Specimens of the Architecture of St Albans Cathedral, 1810, engraving by James Basire

£295

James Basire & John Carter Specimens of the Architecture and Ornaments of the Abbey Church at St Albans
Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good, some spotting to the corners.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Plan of the Rood Loft in St George’s Chapel at Windsor, 1790, engraving by James Basire

£295

James Basire & Henry Emlyn Plan and Elevation of the Rood Loft in St George's Chapel at Windsor Engraving 47 x 55 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing by Henry Emlyn. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts the plan and elevation of the rood loft in St George's Chapel in Windsor. The strong lines and striking shapes stand out in this work, with the two cross sections of each column leaving a particularly strong impression. Condition: Generally very good.
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Architectural Fragment of St Albans Cathedral, 1810, engraving by James Basire after John Carter

£295

James Basire & John Carter Architectural Fragment of St Albans Cathedral
Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, in 1810 the society commissioned a series of engravings of St Albans Cathedral by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts an architectural fragment of St Albans Cathedral, focussing on the tiered windows that line the nave. Condition: Generally very good.
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Architectural Fragment of St Albans Cathedral, 1810, engraving by James Basire after John Carter

£295

James Basire & John Carter Architectural Fragment of St Albans Cathedral
Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, in 1810 the society commissioned a series of engravings of St Albans Cathedral by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts an architectural fragment of St Albans Cathedral, focussing on the tiered windows that line the nave. Condition: Generally very good.
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Stalls in Tiltey Church Essex & in Rochester Cathedral, 1790, engraving by James Basire

£295

James Basire & John Carter Stalls in Tiltey Church Essex & Stalls in the Choir of Rochester Cathedral
Engraving 50 x 32 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing by John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts the stalls in Tiltey Church Essex and Rochester Cathedral. Each set of stalls has its own set of distinguishing features. Although the stalls in Tiltey Church are comparatively pared back with their bare bricks and simple stone masonry, these nooks are not simply stalls but are in fact a three-levelled sedilia with a piscina, as was typical in medieval churches. The sedilia in Rochester Cathedral is, in contrast, extremely ornate, figuring as a fine example of Gothic architecture, specifically from the Decorated period (c. 1250–1350). Condition: Generally very good.
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Wainflete School, Lincolnshire, 1790, engraving by James Basire

£295

James Basire & Robert Blemmell Schnebbelie Wainflete School, Lincolnshire
Engraving 50 x 32 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing by Robert Schnebbelie. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts a north-westerly view of a school in Wainflete, Lincolnshire. It is likely that the building pictured illustrates the Magdalen College School, opened in 1484 by William Patten of Wainlete as a feeder school for Magdalen College, which he founded in 1458. The engraving showcases the lovely red-brick building and the effigies of his father Richard Patten, presumably designed to feature in the school. Condition: Generally very good.
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Monument of King Edward IV in St George’s Chapel at Windsor, 1790, engraving by James Basire

£295

James Basire & Robert Blemmell Schnebbelie Monument of King Edward IV in St George's Chapel at Windsor
Engraving 50 x 32 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing by Henry Emlyn. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts the ornate monument of King Edward IV in St George's Chapel at Windsor. Condition: Generally very good.
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Fonts in Suffolk, 1792, engraving by James Basire

£295

James Basire, after James Johnson and John Carter Fonts in Suffolk
Engraving 50 x 32 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on drawings by James Johnson and John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts fonts in Suffolk. The first illustration, originally executed by James Johnson, represents the ornate font in Ufford Church, complete with a uniquely suspended font cover. The second illustration, originally drawn by John Carter depicts a similarly ornate font in St Gregory's Church Sudbury. Condition: Generally very good.
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The Chancel of Chatham Church, Kent, 1790, engraving by James Basire after Robert Schnebbelie

£295

James Basire & Robert Blemmell Schnebbelie The Chancel of Chatham Church, Kent
Engraving 48 x 33 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing the English painter and illustrator Robert Blemmell Schnebbelie. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts the Chancel of Chatham Church, Kent, 'as it appeared the 13th March 1788.' Across three figures, Schnebbelie depicts the dismantling of the church, illustrating the ornate finds uncovered by the workers and their pickaxes. Condition: Generally very good.
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The Holy Sepulchre at Heckington in Lincoln, 1795, engraving by James Basire after Robert Schnebbelie

£295

James Basire & Robert Blemmell Schnebbelie The Holy Sepulchre at Heckington in Lincoln
Engraving 45 x 30 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of architectural engravings in 1810 by James Basire, this one based on a drawing the English painter and illustrator Robert Blemmell Schnebbelie. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts the Holy Sepulchre at Heckington in the County of Lincoln. It illustrates the remarkable Easter Sepulchre at St Andrew's Church, Heckington. This carved structure features striking Gothic tracery, religious figures, and scenes related to Christ’s resurrection, all captured excellently by Basire's precision in engraving. Condition: Generally very good.
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Architectural details of St Albans Cathedral, 1810, engraving by James Basire after John Carter

£295

James Basire & John Carter Architectural details of St Albans Cathedral
Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Alban's Cathedral in 1810 by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good.
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St Albans Cathedral, 1810, engraving by James Basire after John Carter

£795

James Basire & John Carter St Albans Cathedral
Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral in 1810 by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This striking engraving depicts a cross section of the cathedral, allowing the viewer to appreciate both the architectural details of the exterior and glimpse usually hidden areas of the building including the inside of the bell tower. Condition: Generally very good, repaired tear to the bottom right hand corner
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St John’s College Oxford (1783), watercolour by Michael Angelo Rooker

£2,750

Michael Angelo Rooker (1746–1801) St John's College, Oxford
Watercolour 25 x 40 cm Depicting a lovely view over the gardens of St John's College, Oxford, this watercolour may have been produced for the 1783 edition of the Oxford Almanack. This almanack ran between 1674 and 2019 and traditionally included engravings and information about Oxford University. Michael Angelo Rooker (1746–1801) was an English painter, engraver, and illustrator, best known for his topographical landscapes and architectural scenes. His works often depicted picturesque views of British towns, universities, and ruins, executed with meticulous detail and atmospheric effects. He was particularly well-regarded for his ability to blend topographical accuracy with artistic beauty, making his works valuable both as historical records and as fine art. This watercolour exemplifies beautifully his fine attention to detail, atmosphere and architectural perspective, as he expertly depicts the façade of the college, while also capturing the long shadows cast by the trees on this seemingly warm summer's day. Condition: Generally very good.
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Brasenose College Quadrangle, watercolour by George Pyne

£2,500

George Pyne (1800 - 1884) Brasenose College Quadrangle Watercolour 16 x 22 cm Signed and dated to lower right A well-executed watercolour of the quadrangle at Brasenose College, Oxford. Pyne expertly depicts the main gate with the Radcliffe Camera behind and the spire of the University Church of St Mary shrouded in a light mist. He also intriguingly captures the smaller details of the scene: a scholar in academic dress wandering around the periphery of the quad, the shadows and relief of a statue which no longer stands in the Old Court, the reflections in the old single-glazed windows. In doing so, he captures the unique charm of Brasenose College on this sunny day in the late 19th Century. George Pyne was related to two founders of the Society of Painters in Watercolours – William Henry Pyne was his father, and John Varley his father-in-law. Pyne trained as an architectural draughtsman and lived in Oxford from the 1850s until his death in 1884, specialising in views of the city and its colleges. His Oxford pictures are both architecturally-minded and romantically creative, often combining intensely detailed depictions of college buildings with imagined pedestrian scenes. Pyne was also noted for his views of Cambridge and Eton, and for his drawing manuals ‘A Rudimentary and Practical Treatise on Perspective for Beginners’ (1848) and ‘Practical Rules on Drawing for the Operative Builder, and Young Student in Architecture’ (1854); the latter texts offer an insight into his method of depicting architecture and its surroundings. Condition: Generally very good, a couple of spots to the sky.
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Keble College Chapel, watercolour by David Garland

£2,500

David Garland Keble College Chapel
Watercolour 28 x 38 cm This richly coloured watercolour was painted by David Garland for the 1971 edition of the 'Oxford Almanack.' This almanac was published annually by the Oxford University Press for the University of Oxford from 1674 to 2019. These almanacs traditionally included engravings and information about Oxford University, including the Heads of Colleges and a university calendar. This painting was a warm and colourful contribution to the edition, capturing the distinctively striated red bricks of Keble College. Condition: Generally very good.
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High Holborn, watercolour by Sidney Cardew

£250

Sidney Cardew RSMA (1931-2017) High Holborn
Watercolour 30 x 18 cm Sidney Cardew (1931–2017) was a British artist celebrated for his evocative watercolour paintings, particularly those depicting marine and coastal scenes. Born in London, Cardew developed an early passion for drawing and painting during his school years. After completing his national service in the Royal Air Force, he pursued a career as a senior design engineer with the Ford Motor Company. In his early thirties, Cardew began to paint earnestly, initially focusing on oil painting before transitioning to watercolours, attracted by their immediacy and fluidity. Cardew's artistic approach was deeply influenced by renowned artists such as Edward Seago, John Singer Sargent, William Russell Flint, Ted Wesson, and Jack Merriott. He often painted en plein air, employing minimal preliminary drawing and emphasizing wet-into-wet techniques to capture the transient qualities of light and atmosphere. In 1990, after attending sessions with the Wapping Group of Artists as a guest, Cardew was elected as a full member. Two years later, in 1992, he became a member of the Royal Society of Marine Artists (RSMA). Throughout his career, he exhibited with prestigious institutions such as the Royal Institute of Painters in Water Colours (RI) and the Royal Society of British Artists (RBA), and his works are held in various provincial galleries. As well as producing many maritime paintings, as a member of the Wapping Group of Artists Cardew frequently depicted scenes along the River Thames and its surroundings and was adept at capturing the essence of London's architecture and street life. This painting of High Holborn is a particularly fine example of Cardew's cityscapes, featuring splashes of colour, moving cars and a strong architectural focus. Condition: generally very good.
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Queen’s College in the High Street Oxford, watercolour by J. C. Buckler

£2,800

J. C. Buckler (1793-1894) Queen's College in the High Street Oxford
Watercolour 29 x 36 cm Signed to lower right. John Chessell Buckler (1793–1894) was a British architect and artist, renowned for his contributions to Gothic Revival architecture and his detailed architectural drawings. Throughout his career, Buckler did a lot of work in Oxford. He carried out repairs and additions to St Mary's Church, and Oriel, Brasenose, Magdalen, and Jesus colleges. During this period, he was also an extremely prolific artist, creating works characterised by his fastidious attention to detail and strong sense of architectural perspective. Between 1797 and 1830 he created no less than 625 Indian ink and 19 watercolour drawings, many of which are now housed in the Bodeleian libraries. As one of only 19 watercolour paintings produced by Buckler, this painting of Queen's College constitutes a rare opportunity to own such a fine example of Buckler's work. It depicts the façade of Queen's College using strong lines, exemplifying Buckler's strong sense of architectural perspective. Scholars, all dressed in academic robes, also wander down the street, breathing life into this architectural drawing. Condition: Generally very good.
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Christ Church College, Oxford, pastel drawing by William Steeple Davis

£295

William Steeple Davis (1884-1961) Christ Church College, Oxford
Pastel drawing 31 x 23 cm William Steeple Davis (1884–1961) was an American artist known for his diverse artistic talents, including pastel drawings. While he primarily focused on etchings, hand-coloured prints, and block prints, he also created notable works using pastels. In his later years, particularly during the 1950s, Davis traveled to England, where he produced a series of pastel artworks. These pieces often depicted English landscapes and landmarks, including this drawing of Christ Church College, Oxford. Alongside his talents in painting, print making, photography and the graphic arts, these pastel works highlight Davis's ability to capture the essence of various locales, showcasing his versatility and keen observational skills.

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Watercolour of Queens’ College and Mathematical Bridge

£295

Queens' College and Mathematical Bridge Watercolour 26 x 35 cm An idyllic depiction of the famous view down the Cam towards mathematical bridge, this watercolour captures the soothing reflections of the medieval architecture of Queens' College and the gentle ripples created as a kayaker floats down the river. Sumptuous greenery and warm tones imbue this lovely watercolour with a calming effect.

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Queen’s College and the High, Oxford, 18th century watercolour

£975

Anonymous Queen's College and the High, Oxford Watercolour 12 x 16 cm Initialled to bottom left This highly-detailed watercolour depicts everyday life in front of Queen's College and on the High in Oxford in the Eighteenth Century. Well-dressed city dwellers wander along the high street while merchants tidy up after a carriage mishap and a dog dashes across the road. The noise of city life is intriguingly captured in this watercolour, harking back to days-gone-by. Condition: Generally very good, mounted to board.
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Air Raid, Second World War charcoal sketch

£500

Anonymous Air Raid Charcoal sketch 34 x 43 cm At first glance, this charcoal sketch seems fairly innocuous, after all it seems to simply depict a series of parked military vehicles at an operational centre. Look more closely, however, and you will notice the fleet of German bombers flying in formation, swooping through the air. Look even closer and you will notice the clusters of lines radiating outwards: bombs are falling, buildings are being hit and dust is clouding the air. The base has been hit no less than four times and the chaos seems to stretch beyond the narrow frames of this sketch as the bombers fly into the horizon. Condition: generally very good.
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Camp Northampton, charcoal sketch

£500

Anonymous Camp Northampton Charcoal sketch 34 x 43 cm At first glance, this charcoal sketch seemingly depicts three barns lining a country lane. The scene seems idyllic, trees and farmland forming a rural idyll. The caption of the sketch 'Camp Northampton' reveals it to be, however, a depiction of one of the seven Prisoner of War camps in Northamptonshire. These camps primarily housed German pilots who would work in the adjacent fields to support the farming industry. Some of these camps still stand today, their wooden shells acting as eery reminders of this dark past. Condition: Generally very good.
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Bomber Plane Coming in to Land, charcoal sketch

£500

Anonymous A Bomber Plane Coming in to Land
Charcoal sketch 34 x 43 cm This charcoal sketch depicts a four-engine bomber coming into land, featuring a further two bombers stationary in a hangar in the background. The circular insignia on the landing plane side distinguishes it as a part of the RAF, although its highly stylised form makes it impossible to identify which of the RAF bomber planes it is. The dynamism of this sketch is particularly striking, as the artist captures the speed of the plane using horizontal lines parallel to the ground.

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Second World War Naval Battle, charcoal sketch

£500

Anonymous Naval Battle
Charcoal sketch 34 x 46 cm Indistinctly inscribed to mount This striking charcoal sketch depicts a naval battle during the Second World War. It is a tumultuous scene, as bombs hit the water, making large splashes, planes fly overhead and naval vessels move through the water. The sketched nature of this drawing conveys the dynamism of the scene, everything moving at an accelerated past as the chaos of war unfurls.

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Erasmus’ Tower, Queens’ College Cambridge, watercolour by E. T. Talbot

£950

E. T. Talbot Erasmus' Tower, Queens' College Cambridge
Watercolour 35 x 21 cm Signed, dated and inscribed to the reverse. A richly-coloured watercolour painting of Erasmus' Tower, Queens' College Cambridge. Part of the Old Court of Queens' College, dating back to the 16th century, Erasmus' tower was named after the humanist and scholar Desiderius Erasmus, who lived in the college in the early 16th century. It remains a symbol of the college’s rich academic history and its connections to the Renaissance scholar. Talbot expertly captures the charm of this medieval tower, using careful brushstrokes to depict the voluminous greenery. Condition: Generally very good, mounted to board.
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Christ Church Cathedral, 1816, from the Dean’s gardens, engraving by John Cowey

£195

John Cowey (1786-1833) Christ Church Cathedral, Oxford, 1816, from the Dean's gardens
Engraving 23 x 32 cm Condition: generally very good, slight age toning to paper.
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Christ’s College Gate, etching by Mabel Oliver Rae

£220

Mabel Oliver Rae (1868-1956) Christ's College Gate
27 x 19 cm Etching Signed and titled. Mabel Oliver Rae was born in Cambridge and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works as ‘M. Oliver Rae’, a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. This particular etching depicts the Great Gate at Christ's College Cambridge in the early 20th century. People can be seen walking along the pavement and a scholar sporting academic dress is making his way into the college. A car also trundles along the road, acting as a visual marker for the period during which this work was produced.

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Oxford Spires, lithograph by Brenda Cripps

£195

Brenda Cripps Oxford Spires
Lithograph 20 x 29 cm Titled, signed and dated to lower right hand corner. This lithograph depicts a view over the Oxford skyline. The Old Tom Tower of Christchurch, the Radcliffe Camera, the Church of St Mary the Virgin, and the Sheldonian Theatre tower over the canopy of luscious trees and stand out against the blue summer sky. Condition: Generally very good.
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Pembroke College, Cambridge, engraving by Andrew Ingamells

£1,150

Andrew Ingamells (1956 - ) Pembroke College, Cambridge
Etching 45 x 47 cm Publisher's proof, signed to lower right. This meticulously detailed gravure etching by Andrew Ingamells is the first etching or engraving to depict Pembroke College Cambridge from an aerial perspective since David Loggan's celebrated engraving of the 1680s. Ingamells trained at St Albans School of Art and the London College of Printing, subsequently working as a graphic designer and illustrator. Based in London, he began making drawings of the buildings and landscapes of London. Ingamells’ work is in many public collections including those of the Tate Gallery, The National Trust, The Paul Mellon Centre for British Art, and the City of London Guildhall Library. His pictures are also in several private collections, including those of various Oxford and Cambridge colleges, HRH King Charles III, and Shell Oil. The artist is currently part-way through his epic project to record all the colleges of Oxford and Cambridge, a project undertaken in homage to David Loggan. Condition: Generally very good, comes with frame.
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For other views of Pembroke College, click here.

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Concerto da Camera, drawing by Cyril Kenneth Bird ‘Fougasse’ for Punch Magazine

£1,950

Cyril Kenneth Bird ‘Fougasse’ (1887 - 1965) Concerto da Camera
Ballpoint pen and ink 35 x 24 cm Sold with original catalogue and invoice. "Concerto da Camera. I suppose I'm hopelessly unmusical, but I still sometimes sigh for the days when one could sit peacefully in one's seat and listen to the music, instead of having to spend the entire performance swooping about all over the studio with the TV cameraman." The cartoon "Concerto da Camera" was published in Punch magazine on October 22, 1952. This piece humorously reflects on the experience of attending televised concerts, expressing a nostalgic preference for the days when one could sit peacefully and listen to music without the distractions of television production. It exemplifies Fougasse's signature style, characterised by minimalist line work and insightful commentary on contemporary life, providing a lighthearted yet poignant critique of societal changes. Fougasse was a British cartoonist. He was art editor of Punch between 1937 and 1949, and subsequently editor until 1953. He is best known for his ‘Careless Talk Costs Lives’ series of posters, and the other posters for the Ministry of Information and London Transport. As the Second World War progressed, the Ministry of Information’s poster campaign had become less and less effective. There were posters instructing the population to save old clothes for rags, turn off the lights, save food, dig for victory, watch out for spies, and keep calm and carry on. With this instruction overload, the population had ceased paying attention to the posters. Fougasse noticed this, and offered his services unpaid to the Ministry of Information, with a view to bringing a touch of humour to the posters. His amusing designs with pithy captions, reminiscent of newspaper cartoons, helped to get the Ministry's messages across in a novel way.

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Stage Design by Sir Terry Frost RA

£3,400

Terry Frost (1915-2003) Stage Design
Wax crayon drawing 21 x 42 cm Sir Terry Frost was a British abstract artist known for his vibrant use of colour, geometric forms, and expressive compositions. His work often explored movement, rhythm, and balance, influenced by his experiences in Cornwall and his interactions with leading modernist artists. Frost's artistic career began at the age of 30. During a period of internment at a prisoner of war camp in Bavaria, Frost was encouraged by the artist Adrian Heath to paint. Immediately after the war he enrolled at the Birmingham College of Art and subsequently spent a year studying at the St Ives School of Painting. Alongside exhibiting in various galleries, including the Leicester Galleries in London's West End, Frost also led a successful academic career, teaching at the University of Leeds and of Reading. He was eventually elected a Royal Academician in 1994 and knighted for his contributions to British art in 1998. This crayon sketch appears to depict a sequence of movements, possibly for a dance or performance piece. The red and black palette gives a sense of contrast and rhythm, emphasising the energy of the composition. Frost may have produced it for the Aldeburgh Festival, a renowned music and arts festival founded by composer Benjamin Britten, Peter Pears, and Eric Crozier in 1948. His abstract and dynamic use of colour and form, as exemplified by this striking work, would have complemented the festival’s innovative approach to opera and music. Condition: generally very good, comes framed.

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Radcliffe Camera, lithograph by David Gentleman

£450

David Gentleman Radcliffe Camera
Lithograph 53 x 64 cm Signed and numbered 41/200. Born on the 11th March 1930, David Gentleman is a British artist, illustrator, and designer known for his distinctive watercolours, engravings, and graphic work. He originally studied art and painting at the Royal College of Art under Edward Bawden and John Nash and has since produced work at scales ranging from platform-length murals for Charing Cross Underground Station in London to postage stamps and logos. His work is generally characterised by precise line drawings, detailed engravings, and delicate watercolour paintings, often depicting landscapes, architecture, and urban scenes. He notably distinguishes his work through his skilful ability to blend traditional techniques with modern sensibilities, rendering his work highly recognisable. He has left a lasting legacy on British graphic design and illustration and his work is now represented in the Tate Britain, the British Museum, the Victoria and Albert Museum, the Imperial War Museum and the Fitzwilliam Museum, Cambridge. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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St John’s College, Cambridge, lithograph by Hugh Casson

£395

Hugh Casson (1910 - 1999) St John's College, Cambridge
Lithograph 29 x 37 cm Signed and numbered 427/500, both in pencil. Sir Hugh Casson was educated at Eastbourne College; St John’s College, Cambridge; and the Bartlett School of Architecture. Trained in the 1930s in the early modernist style, he taught at the Cambridge School of Architecture. After employment as a camoufleur during World War 2 by the Air Ministry, in 1948 he was appointed as director of architecture for the Festival of Britain. A close friend of the Royal Family, he undertook designs for the 1953 coronation, designed the interior of the Royal Yacht Britannia (“The overall idea was to give the impression of a country house at sea”), and taught the young Charles III to paint in watercolours. Amongst his architectural achievements are the Elephant House at London Zoo, the 1978 redevelopment of Bristol Docks, the Raised Faculty Building for The University of Cambridge, and a building for the Royal College of Art. He published a number of illustrated books, of which Casson’s Oxford and Casson’s Cambridge are probably the best known. A limited edition series of prints was produced from the paintings. This lithograph depicts a view over Kitchen Bridge in St John's College. As is typical in many of his works, Casson expertly captures the architecture of this Cambridge college, while also portraying the everyday comings-and-goings of college life. In this case, a punt floats past a group of students basking in the sun and another group crosses over the bridge, perhaps on their way to get their lunch from the cafe. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of St John's College, click here.

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Watercolour of the Radcliffe Camera from the Great Quadrangle of All Souls College, Oxford by Rev. William Henry Barnard

£5,000

Rev. William Henry Barnard (Co. Donegal or Co. Derry 1767-1818 London) The Radcliffe Camera from the Great Quadrangle of All Souls College, Oxford
Pen and brown ink and watercolour, on paper 30 x 44 cm Signed with initials 'H.B.' (lower right) Rev William Henry Barnard was an extremely well-connected artist and clergyman -being first cousin of Prime Minister George Canning, grandson of William Barnard, Bishop of Derry, and nephew of Thomas Barnard, Dean of Derry and Bishop of Limerick. He graduated from Pembroke College, Oxford in 1797. During his time at university he studied drawing with John Baptist Malchair (1731 – 1812) and produced numerous drawings and watercolours, often depicting humble Oxford street scenes using a black monochrome wash. He is now represented in a number of important collections. TATE acquired twelve of his paintings in 1996 and a drawing by Barnard of Windsor Castle was purchased for the Royal Collection in 1947. This watercolour depicts a view of the Radcliffe Camera from the great quadrangle of All Souls College, Oxford. It demonstrates a strong sense of architectural perspective as Barnard expertly captures the angles and masonry of the baroque architecture. In keeping with Barnard's tendency to capture humble Oxford street scenes, this loftier rendering of this Oxford landmark still presents gardeners and academics alongside each other. He thereby adeptly depicts everyday life in this Oxford college in the early Eighteenth Century. Provenance: The Collection of the Late John Appleby: A Channel Island. Condition: Generally very good, comes framed.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Notre Dame de Paris, etching and aquatint by Julian Trevelyan

£1,600

Julian Trevelyan (1910-1988) Notre Dame
Etching and aquatint, stamped signature, numbered 42/50 35 x 48 cm Nephew of the historian G M Trevelyan, he was educated at Bedales and Trinity College, Cambridge, reading English. Moving to Paris and becoming an artist, studying engraving at Stanley William Hayter’s school he worked alongside artists such as Max Ernst, Joan Miro and Pablo Picasso. Marrying the potter Ursula Darwin in 1934, in 1935 they moved to Hammersmith, buying Durham Wharf beside the River Thames which was Trevelyan’s studio – and home – for the rest of his life. His wartime service was – like so many artists – as a camofleur. A Royal Engineer from 1940-43, he served in North Africa and Palestine, forcing the German Afrika Korps to use resources against a dummy army whilst real tanks were disguised as more harmless equipment. In the desert nothing could be hidden, but it could be disguised. On one occasion however the German Luftwaffe flattened a real installation, leaving only a – dummy – railhead the camofleurs had built. The following day they returned and dropped a wooden bomb on the railhead making it clear they had seen through the disguise. Following the dissolution of his marriage in 1950 he married the painter Mary Fedden. Teaching at Chelsea School of Art Trevelyan eventually became head of the Etching Department and his pupils included David Hockney and Peter Ackroyd. This particular edition depicts a view of the rear of the Notre Dame de Paris. Three fishermen line the promenade and the Square de l'Ile de France protrudes into the Seine, this combined with the curved river bank gives almost a sense of three dimensionality to the etching, as is characteristic of Trevelyan's playful manipulations of perspective.

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Old Court of Selwyn College, Cambridge, lithograph by Jane Carpanini

£295

Jane Carpanini Old Court, Selwyn College
Lithograph 30 x 42 cm Born in Bedfordshire, Jane Carpanini studied at Brighton College of Art and the University of Reading. Since the start of her career she has been known for meticulous architectural paintings. Wales has been a favourite subject and she has paintings in the collections of the National Library of Wales and National Museum of Wales. Her renowned series of views of Oxford and Cambridge Colleges were published by Contemporary Watercolours and have since featured regularly in the Oxford and Cambridge Today magazines. Throughout her career, Carpanini has exhibited widely and her work is held by many public and private collections both in the UK and abroad. She was a regular exhibitor with the major Societies and was the first woman officer of the Royal Watercolour Society, serving as the Honorary Treasurer and also as Vice-President. In 2003 she was also nominated for the Presidency of the RWS becoming the first ever female candidate for the post. This lithograph depicts a sunny day over the Old Court at Selwyn College, featuring the Chapel, Master's Lodge and the Hall, recognisable by its distinctive stairs. A few students or academics wander round the periphery, perhaps enjoying this summery Cambridge scene. Condition: generally very good, can come framed.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Selwyn College, Cambridge, lithograph by Jane Carpanini

£295

Jane Carpanini Selwyn College
Lithograph 30 x 42 cm Born in Bedfordshire, Jane Carpanini studied at Brighton College of Art and the University of Reading. Since the start of her career she has been known for meticulous architectural paintings. Wales has been a favourite subject and she has paintings in the collections of the National Library of Wales and National Museum of Wales. Her renowned series of views of Oxford and Cambridge Colleges were published by Contemporary Watercolours and have since featured regularly in the Oxford and Cambridge Today magazines. Throughout her career, Carpanini has exhibited widely and her work is held by many public and private collections both in the UK and abroad. She was a regular exhibitor with the major Societies and was the first woman officer of the Royal Watercolour Society, serving as the Honorary Treasurer and also as Vice-President. In 2003 she was also nominated for the Presidency of the RWS becoming the first ever female candidate for the post. This lithograph depicts the comings-and-goings of the main entrance at Selwyn College, Cambridge. A student cycles along Grange Road, keeping pace with their walking friend, perhaps on their way to lectures at the nearby Sidgwick Site; another student is wheeling their bike towards the nearby bicycle parking. The weather is sunny and the trees are covered in leaves. This is a lovely representation of everyday life at the university and Selwyn College. Condition: Generally very good, can come with frame.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Male Nude, sketch by Keith Vaughan

£995

Keith Vaughan Male Nude
Ballpoint pen sketch 17 x 13 cm Born in 1912, Keith Vaughan was a British painter known for his modernist and semi-abstract depictions of the male figure. He was self-taught as an artist but during his time as a conscientious objector in the Second World War, he befriended the painters Graham Sutherland and John Minton. Through these contacts, he formed part of the neo-romantic circle of the immediate post-war period. Over time, Vaughan's idiosyncratic style evolved away from the group as he focussed on male nudes and groups, often rendered in a geometric yet lyrical manner. Vaughan was openly gay at a time when homosexuality was criminalised in Britain. As a result, his work often reflected themes of isolation and desire, capturing both the physical and emotional aspects of human existence. He continues to be celebrated today and his works are held in several major galleries, inlcuding the National Galleries of Scotland, the National Portrait Gallery, the Tate and the Victoria and Albert Museum. This sketch depicting a male nude was taken from Vaughan's 'Ischia Cheese & Grill' sketchbook. Together the drawings in the sketchbook record Vaughan's experimentalism with landscape, abstraction and notably his commitment to the human form. This collection was sold as part of Peter Adam's estate; Adam was not just a close friend of Vaughan but his executor, biographer and the curator of multiple exhibitions of his work after he died in 1977. This sketch represents the unique opportunity to own a small piece of Keith Vaughan's oeuvre as he continues to grow in popularity. Condition: generally very good.
UpdateIf you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Side Profiles, sketch by Keith Vaughan

£995

Keith Vaughan Side Profiles
Ballpoint pen sketch 17 x 13 cm Born in 1912, Keith Vaughan was a British painter known for his modernist and semi-abstract depictions of the male figure. He was self-taught as an artist but during his time as a conscientious objector in the Second World War, he befriended the painters Graham Sutherland and John Minton. Through these contacts, he formed part of the neo-romantic circle of the immediate post-war period. Over time, Vaughan's idiosyncratic style evolved away from the group as he focussed on male nudes and groups, often rendered in a geometric yet lyrical manner. Vaughan was openly gay at a time when homosexuality was criminalised in Britain. As a result, his work often reflected themes of isolation and desire, capturing both the physical and emotional aspects of human existence. He continues to be celebrated today and his works are held in several major galleries, inlcuding the National Galleries of Scotland, the National Portrait Gallery, the Tate and the Victoria and Albert Museum. This sketch was taken from Vaughan's 'Ischia Cheese & Grill' sketchbook. It depicts two sculptures in side profile and an antelope skull. This intriguing combination of sculpture and skulls is suggestive of an ancient civilisation, perhaps indicating that he produced this sketch during a jaunt through a natural history museum while on his travels. Together the drawings in the sketchbook record Vaughan's experimentalism with landscape, abstraction and notably his commitment to the human form. This collection was sold as part of Peter Adam's estate; Adam was not just a close friend of Vaughan but his executor, biographer and the curator of multiple exhibitions of his work after he died in 1977. This sketch represents the unique opportunity to own a small piece of Keith Vaughan's oeuvre as he continues to grow in popularity. Condition: generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Male Nudes II, sketch by Keith Vaughan

£995

Keith Vaughan Male Nudes II
Ballpoint pen sketch 17 x 13 cm Born in 1912, Keith Vaughan was a British painter known for his modernist and semi-abstract depictions of the male figure. He was self-taught as an artist but during his time as a conscientious objector in the Second World War, he befriended the painters Graham Sutherland and John Minton. Through these contacts, he formed part of the neo-romantic circle of the immediate post-war period. Over time, Vaughan's idiosyncratic style evolved away from the group as he focussed on male nudes and groups, often rendered in a geometric yet lyrical manner. Vaughan was openly gay at a time when homosexuality was criminalised in Britain. As a result, his work often reflected themes of isolation and desire, capturing both the physical and emotional aspects of human existence. He continues to be celebrated today and his works are held in several major galleries, inlcuding the National Galleries of Scotland, the National Portrait Gallery, the Tate and the Victoria and Albert Museum. This sketch was taken from Vaughan's 'Ischia Cheese & Grill' sketchbook. It depicts a number of male nudes, each drawn with a sculptural quality, seemingly modelled from busts in an art gallery; interestingly it also seems to be a reiteration of another of his sketches of male nudes, drawn from a more distanced perspective, allowing the viewer to better take in the surrounding busts and sculptures. Together the drawings in the sketchbook record Vaughan's experimentalism with landscape, abstraction and notably his commitment to the human form. This collection was sold as part of Peter Adam's estate; Adam was not just a close friend of Vaughan but his executor, biographer and the curator of multiple exhibitions of his work after he died in 1977. This sketch represents the unique opportunity to own a small piece of Keith Vaughan's oeuvre as he continues to grow in popularity.

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Male Nudes, sketch by Keith Vaughan

£995

Keith Vaughan Male nudes
Ballpoint pen sketch 17 x 13 cm Born in 1912, Keith Vaughan was a British painter known for his modernist and semi-abstract depictions of the male figure. He was self-taught as an artist but during his time as a conscientious objector in the Second World War, he befriended the painters Graham Sutherland and John Minton. Through these contacts, he formed part of the neo-romantic circle of the immediate post-war period. Over time, Vaughan's idiosyncratic style evolved away from the group as he focussed on male nudes and groups, often rendered in a geometric yet lyrical manner. Vaughan was openly gay at a time when homosexuality was criminalised in Britain. As a result, his work often reflected themes of isolation and desire, capturing both the physical and emotional aspects of human existence. He continues to be celebrated today and his works are held in several major galleries, inlcuding the National Galleries of Scotland, the National Portrait Gallery, the Tate and the Victoria and Albert Museum. This sketch was taken from Vaughan's 'Ischia Cheese & Grill' sketchbook. It depicts a number of male nudes, each drawn with a sculptural quality as if modelled from busts in an art gallery. Together the drawings record Vaughan's experimentalism with landscape, abstraction and notably his commitment to the human form. This sketchbook was sold as part of Peter Adam's estate; Adam was not just a close friend of Vaughan but his executor, biographer and the curator of multiple exhibitions of his work after he died in 1977. This sketch represents the unique opportunity to own a small piece of Keith Vaughan's oeuvre as he continues to grow in popularity. Condition: Generally very good.

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Gentleman in Black-Tie, sketch by Keith Vaughan

£995

Keith Vaughan Gentleman in Black-Tie
Ballpoint pen sketch 17 x 13 cm Born in 1912, Keith Vaughan was a British painter known for his modernist and semi-abstract depictions of the male figure. He was self-taught as an artist but during his time as a conscientious objector in the Second World War, he befriended the painters Graham Sutherland and John Minton. Through these contacts, he formed part of the neo-romantic circle of the immediate post-war period. Over time, Vaughan's idiosyncratic style evolved away from the group as he focussed on male nudes and groups, often rendered in a geometric yet lyrical manner. Vaughan was openly gay at a time when homosexuality was criminalised in Britain. As a result, his work often reflected themes of isolation and desire, capturing both the physical and emotional aspects of human existence. He continues to be celebrated today and his works are held in several major galleries, inlcuding the National Galleries of Scotland, the National Portrait Gallery, the Tate and the Victoria and Albert Museum. This sketch of a gentleman in black-tie was taken from Vaughan's 'Ischia Cheese & Grill' sketchbook. Together the drawings record Vaughan's experimentalism with landscape, abstraction and notably his commitment to the human form. This sketchbook was sold as part of Peter Adam's estate; Adam was not just a close friend of Vaughan but his executor, biographer and the curator of multiple exhibitions of his work after he died in 1977. This sketch represents the unique opportunity to own a small piece of Keith Vaughan's oeuvre as he continues to grow in popularity.

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Forest Landscape, watercolour by George Bissill

£250

George Bissill (1896-1973) Forest Landscape
Watercolour 9 x 18 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This watercolour forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This petite watercolour depicts a forestscape with a light clearing surrounded by dark trees and fields in the distance. Although the piece has a sketchy quality, produced by his layering of pencil and watercolour, multiple figures and a horse are discernible at the centre of the composition, perhaps passersby wandering through the forest trail. Condition: generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Landscape watercolour by George Bissill

£200

George Bissill (1896-1973) View through the village
Watercolour 26 x 31 cm Initialled to bottom right Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This watercolour forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. Condition: generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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View Through the Village, watercolour by George Bissill

£350

George Bissill (1896-1973) View through the village
Watercolour 26 x 21 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This watercolour forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. In this watercolour, Bissill paints a view through a village. Houses line a small road leading to a clearing where three horses are frolicking. Bissill combines watercolour and pencil in this multimedia composition, using pencil to detail the minimalistic horses, for example. This painting offers therefore a unique insight into Bissill's working processes as he frantically sketches and paints life around him. Condition: generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Rolling Hills in the Countryside, watercolour by George Bissill

£450

George Bissill (1896-1973) Rolling hills in the countryside
Watercolour 20 x 28 cm Signed to bottom right Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This watercolour forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. In this watercolour, one colour blends beautifully into the next, as the green rolling hills of the foreground shift into the dark blue fields of the background. What is particularly striking about this painting, however, is Bissill's brushwork. Each individual stroke of the tumultuous sky is distinguishable from the next. This suggests Bissill's high speed of working as he attempts to capture the atmosphere of this countryside scene, perhaps as he works in the manner of the French impressionists. Condition: generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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View Over a Bridge, watercolour by George Bissill

£275

George Bissill (1896-1973) View over the bridge
Watercolour 18 x 22 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This watercolour forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. In this watercolour, one colour blends beautifully into another, be it in the browns and purples of the foreground, or the greens and yellows of the fields in the background. Bissill demonstrates an expert command over the medium in his shading of the bridge, capturing the light and sun-rays of this summer's day excellently. Condition: generally very good, slight age toning to paper.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Cottage View, watercolour by George Bissill

£250

George Bissill (1896-1973)

Cottage View
Watercolour 20 x 28 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This watercolour forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This watercolour depicts a quaint scene: a traditional thatched cottage with a small country road running by. The scene is dominated by greenery with grass, trees and a lovely English garden. In contrast to the the more flowing use of watercolour in the trees, Bissill uses strong lines, shading and careful detailing to create a sense of architectural perspective, allowing his idyllic cottage to stand out from its surroundings. Condition: generally very good, slight spotting to paper.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Exploring the Lake District, watercolour by George Bissill

£900

George Bissill (1896-1973) Exploring the Lake District
Watercolour 20 x 28 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This watercolour forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. One of Bissill's most powerful and expertly executed watercolours, this painting depicts a view over the shores of a lake in the Lake District. The sky is overcast, the fells are sparse--painted with muddy tones--, and yet flashes of colour appear on the shoreline as visitors enjoy the offerings of the majestic scenery. The figures seem to be passing their time skimming pebbles, conversing and hiking up the craggy paths of the fells, with their presence lending a lightness to the dramatic scenery. Condition: generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Joseph Constantine Stadler (1755 - 1828) after William Westall (1781 - 1850) Queen's College (1814)

John Bluck (early 19th century) after William Westall (1781 - 1850) Queens' College from the Private Walk (1814)

John Bluck (early 19th century) after Frederick Mackenzie (1788 - 1854) Quadrangle of Balliol College, Oxford (1814)

John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Proctor (1814)

Joseph Constantine Stadler (1755 - 1828) after William Westall (1781 - 1850) Peterhouse: 'Part of St Peter's College' (1815)

John Bluck (early 19th century) after Augustus Charles Pugin (1762 - 1832) Old Gate of Magdalen College (1814)

John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Nobleman, Cambridge (1815)

John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Fellow Commoner, Cambridge (1814)

John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Common Dress of Pensioner of Trinity Hall, Doctor in Law, and Doctor in Physic (1815)

J Sutherland after Augustus Charles Pugin (1762 - 1832) Merton College, North Window of the Ante Chapel (1813)

Mary, Countess of Pembroke, Foundress of Pembroke College, Cambridge

G Lewis after Frederick Mackenzie (1788 - 1854) Chapel of Lincoln College from the Ante Chapel (1814)

Daniel Havell (1785 - 1822) after Augustus Charles Pugin (1762 - 1832) Library of Trinity College, Cambridge (1814)

Joseph Constantine Stadler (1755 - 1828) after William Henry Pyne (1769 - 1843 Kitchen of Trinity College, Cambridge (1815)

Robert Woodlark Founder of Catherine Hall, Cambridge from a Picture at the Hall (1815)

John Alcock, Founder of Jesus College, Cambridge

Henry VIII Founder of Trinity College, from a Picture in the College

John Bluck (early 19th century) after Augustus Charles Pugin (1762 - 1832) Hall of Trinity College, Cambridge (1815)

John Bluck (early 19th century) after Augustus Charles Pugin (1762 - 1832) Hall of Queen's College

John Bluck (early 19th century) after Augustus Charles Pugin (1762 - 1832) Hall of Emmanuel College

John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Gentleman Commoner, Oxford (1814)

John Reeves (1752 - 1829) after Frederick Mackenzie (1788 - 1854) Gate of Christ Church - from Pembroke College (1814)

Frances Sidney, Countess of Sussex, Foundress of Sidney Sussex College, Cambridge

John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Fellow Commoner of Emanuel College; a Nobleman; Fellow Commoner of Trinity College (1815)

Elizabeth de Clare, Foundress of Clare College, Cambridge

Frederick Christian Lewis (1779 - 1856) after Frederick Mackenzie (1788 - 1854) Divinity School (1813)

John Bluck (early 19th century) after Frederick Nash (1782 - 1856) Crypt of St Peter's Church, Oxford (1813)

Daniel Havell (1785 - 1822) after Frederick Mackenzie (1788 - 1854) Court of King's College (1815)

John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Common Dress of Pensioner of Trinity Hall, Doctor in Law, and Doctor in Physic (1815)

Joseph Constantine Stadler (1755 - 1828) after William Westall (1781 - 1850) Colonnade under Trinity Library (1815)

Joseph Constantine Stadler (1755 - 1828) after William Westall (1781 - 1850) Entrance to the Avenue, from Clare Hall Piece (1815)

Joseph Constantine Stadler (1755 - 1828) after Frederick Mackenzie (1788 - 1854) Clare Hall Chapel (1815)

William James Bennett (1787 - 1844) after William Westall (1781 - 1850) Christ Church Cathedral (1814)

John Bluck (early 19th century) after Frederick Mackenzie (1788 - 1854) Chapel of Trinity College, Cambridge (1814)

Joseph Constantine Stadler (1755 - 1828) after Frederick Mackenzie (1788 - 1854) Chapel of Caius College, Cambridge (1815)

John Hill (1770 - 1850) after Frederick Mackenzie (1788 - 1854) Brasenose College, Part of the Schools etc. Taken from the top of the Radcliffe Library (1813)

John Bluck (early 19th century) after Augustus Charles Pugin (1762 - 1832) All Souls - taken from the top of the Radcliffe Library (1814)

John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Pensioner, Cambridge (1815)

M.A. Welch & Brian Harris See London Vintage Style

Keeping in Touch: The Post Office in Town Original vintage poster

Mervyn Laurence London Transport Posters

German Aircraft Original vintage Second World War poster

Wings for Victory -- The Sky's the Limit for Wartime Saving Original vintage Second World War poster

James Riddell (1909-2000) 'Join the University Ski Club'

'Samivel' Paul Gayet-Tancrède (1907 - 1992) L'alliance de l'homme et de la montagne

Winston Churchill 'We shall never surrender.'

'Join your Neighbours in the Civil Defence'

Kerry Lee (1903 - 1988) Oxford

Kerry Lee (1903 - 1988) The Life of William Shakespeare and Map of Stratford-upon-Avon

Original Winston Churchill Poster

German Aircraft Original vintage poster

David Loggan (1634 - 1692) Sidney Sussex College, Cambridge

David Loggan (1634 - 1692) Queens' College, Cambridge

David Loggan (1634 - 1692) Sidney Sussex College, Cambridge

Hillary Hennes (1919-1993) Watching Over the Fire

R.A.E Little Christ's College Chapel, Cambridge, 1842

Joy Fox (née Hollings) Girton College

Jane Gray (b.1931) Design for stained glass window

Laurence Dunn (1910 - 2006) Naess Sovereign

Laurence Dunn (1910 - 2006) HMS Hermes

Laurence Dunn (1910 - 2006) Container Ship

Mabel Oliver Rae (1868-1956) Keble College, Oxford

Mabel Oliver Rae (1868-1956) Clare Bridge, Cambridge

Colin Fifield (1940-2022) Abstract landscape

M R A Hollis Rufford Old Hall, Door Details

M R A Hollis The Local History Society Presents Prehistoric Animals

M R A Hollis Rufford Old Hall, Charles II Wing

M R A Hollis The Old Bluecoat School

M R A Hollis The Old Bluecoat School