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US Naval Aviation Training Division
Grumann F6F Hellcat World War 2 US airplane
Original aeroplane identification poster, 1943 63 x 47 cm The Grumman Hellcat was developed for the US Navy for the latter half of World War 2, becoming the dominant carrier-based aircraft being able to outperform the A6M Mitsubishi Zero. 12,275 were built in just over two years, being credited with 5,223 enemy kills - more than any other Allied naval aircraft. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
US Naval Aviation Training Division
Junkers Ju87 Stuka Dive Bomber - World War II aeroplane
Original aeroplane identification poster, 1943 63x47cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series (click here) - have a much more arty approach to the task with shading and an interesting angle view. Making its combat debut in 1937 with the Condor Legion during the Spanish Civil War it had a very distinctive silhouette as may be seen here. Essential to the rapid conquest of Norway, the Netherlands, Belgium and France in 1940 the Stuka was very effective against ground targets but vulnerable to fighter aircraft. It remained in service until the end of the War. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
US Naval Aviation Training Division
Messerschmitt Bf 110 - World War II aeroplane
Aeroplane identification poster, 1943 63x47cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series (click here) - have a much more arty approach to the task with shading and an interesting angle view. A two-engined heavy fighter and fighter-bomber developed in German in the 1930s which saw service until the end of the war in 1945. It was a formidable radar-equipped night fighter with the top night-fighter ace Major Heinz-Wolfgang Schnaufer claiming 121 victories from 164 sorties. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
US Naval Aviation Training Division
North American Mustang P-51 World War 2 US airplane
Aeroplane identification poster, 1943 63x47cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series (click here) - have a much more arty approach to the task with shading and an interesting angle view. The Mustang is a long-range single-seat fighter/fighter-bomber that saw service during both the Second World War and Korean War. It was designed in 1940 by North American Aviation when they were commissioned to build Curtiss P-40 fighters under licence for the British Royal Air Force. Rather than build an old design, they designed this new aeroplane; the prototype was rolled out 102 days after the contract was signed. Powered by a Rolls-Royce Merlin engine over 15,000 were built with their most important role being escorting bombers over Germany. During World War II Mustang pilots accounted for a claimed 4,950 enemy aircraft. Today many survive and are a very popular 'warbird'. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
US Naval Aviation Training Division
Airspeed Horsa Glider World War 2 US airplane
Original aeroplane identification poster, 1943 63 x 47 cm In the days before helicopters it was gliders that allowed troops to be delivered to the ground. Essentially disposable aircraft (though obviously recovered where possible) they were light-weight and able to land in open fields where an aeroplane could not. Their ability to carry small tanks and other vehicles gave them a great advantage over simple paratroopers. Deployed to great effect in the D-Day Normandy landings and in the Market Garden advance, they were also widely used in Burma to supply the Chindits. One of the most terrifying methods of air transport during the War was the 'glider snatch'. A glider that had been used to deliver supplies or troops was reloaded with the wounded and then a passing aeroplane would pick up a rope attached to the front of the glider and snatch it into the air. The Horsa was a large glider, capable of accommodating 20-25 fully equipped paratroopers, and was first introduced in 1941. Made almost exclusively from wood - metal being in short supply - it was built by furniture factories. Between 3,799 and 5,000 Horsas were built - the varying numbers being down to the fact that many gliders were assembled at Maintenance Units rather than at the furniture factories (which lacked airfields). If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Royal Air Force Bristol Blenheim
US Naval Aviation Training Division Original aeroplane recognition poster (1942) 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. The Bristol Blenheim is a British light bomber aircraft designed and built by the Bristol Aeroplane Company which was used extensively in the first two years of the Second World War. Condition: Generally very good, occasional handling marks or folds. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Royal Air Force Handley Page "Hampden" Bomber
Aeroplane identification poster, published 1943 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. The Handley Page HP.52 Hampden is a British twin-engine medium bomber that was operated by the Royal Air Force (RAF). It was part of the trio of large twin-engine bombers procured for the RAF, joining the Armstrong Whitworth Whitley and Vickers Wellington. The Hampden was powered by Bristol Pegasus radial engines but a variant known as the Handley Page Hereford had in-line Napier Daggers. The Hampden served in the early stages of the Second World War, bearing the brunt of the early bombing war over Europe, taking part in the first night raid on Berlin and the first 1,000-bomber raid on Cologne. When it became obsolete, after a period of mainly operating at night, it was retired from RAF Bomber Command service in late 1942. By 1943, the rest of the trio were being superseded by the larger four-engined heavy bombers such as the Avro Lancaster. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
US Naval Aviation Training Division
Republic P47 Thunderbolt World War 2 US airplane
Aeroplane identification poster, 1943 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series (click here) - have a much more arty approach to the task with shading and an interesting angle view. The Thunderbolt was produced between 1941 and 1945 as a fighter-bomber ground-attack airplane. POwered by a Pratt & Whitney R-2800 Double-Wasp engine it was successful both in European and Pacific theatres as one of the main USAAF fighters of the Second World War. Many remain airworthy, it being a popular 'warbird'. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
US Naval Aviation Training Division
DH Mosquito World War 2 US airplane
Original aeroplane identification poster, 1943 63 x 47 cm The Mosquito, the 'wooden wonder', was made entirely from wood to counteract metal shortages. Being wooden, it was very light, and when powered by two Merlin engines could outrun any German aeroplane, hence its use for Photographic Reconnaissance. Goering is reputed to have said: "In 1940 I could at least fly as far as Glasgow in most of my aircraft, but not now! It makes me furious when I see the Mosquito. I turn green and yellow with envy. The British, who can afford aluminium better than we can, knock together a beautiful wooden aircraft that every piano factory over there is building, and they give it a speed which they have now increased yet again. What do you make of that? There is nothing the British do not have. They have the geniuses and we have the nincompoops. When the war is over I shall buy a British radio set. Then at least I shall have something that works." If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
US Naval Aviation Training Division
Short Stirling World War 2 US airplane
Aeroplane identification poster, 1943 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series (click here) - have a much more arty approach to the task with shading and an interesting angle view. Designed by Short Brothers, this was the RAF's first four-engined bomber entering service in 1941. Pilots liked its handling characteristics but the altitude ceiling was a matter of criticism and it was relegated to second-line duties in 1943 when the Halifax and Lancaster were available in sufficient numbers. It was subsequently used for mining harbours, as a glider tug and a supply aircraft. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
US Naval Aviation Training Division
1943 Vultee Vengeance World War 2 US airplane
Aeroplane identification poster, 1943 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series (click here) - have a much more arty approach to the task with shading and an interesting angle view. Designed in 1940 as a single-engined dive bomber for the French Armée de l'Air, with deliveries scheduled for October 1940. With the fall of France in June 1940 the order was cancelled, but the British Royal Air Force ordered 200 of these dive bombers having been impressed by the Stuka. It was a reliable aircraft, stable in flight and in a dive. It was much used in Burma, this forgotten theatre of the war being regarded as a repository for otherwise unpopular and unwanted equipment, but where it proved very effective in bombing Japanese positions. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Army Fi-156 Fieseler "Storch"
Aeroplane identification poster, published 1944 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. The Fieseler Fi 156 Storch, meaning "stork", was a small German liaison aircraft built by Fieseler before and during World War II. It was notable for its excellent short-takeoff-and-landing performance and low stall speed of 31 mph.The Douglas Skymaster was a four-engine transport aircraft used by the United States Army Air Forces in World War II and the Korean War. Like the Douglas C-47 Skytrain (the Skytrain poster from the same series is also available in our storefront), the Skymaster was derived from a civilian airliner, the Douglas DC-4. The Storch was deployed in all European and North African theatres of World War II. In addition to its liaison function, a number were used to fly a battalion of Infantry Regiment Grossdeutschland behind enemy lines during the invasion of Belgium. In 1943, the Storch played a role in Operation Eiche, the rescue of deposed Italian dictator Benito Mussolini from a boulder-strewn mountain-top near the Gran Sasso. Even though the mountain was surrounded by Italian troops, German commando Otto Skorzeny and 90 paratroopers used gliders to land on the peak and quickly captured it. However, the problem of how to get back off remained. A Focke-Achgelis Fa 223 helicopter was sent, but it broke down en route. Instead, pilot Heinrich Gerlach flew over in a Storch. After Mussolini and Skorzeny had boarded the aircraft, the Storch took off to 250 ft, even though the aircraft was overloaded. A Storch was the last aircraft shot down by the Allies on the Western Front. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
US Naval Aviation Training Division
MacArthur name "Zeke" or Zero Mitsubishi "Type 00" - Japanese fighter plane
Aeroplane identification poster, published 1943 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. The Mitsubishi A6M "Zero" was a long-range carrier-based fighter aircraft formerly manufactured by Mitsubishi Aircraft Company, a part of Mitsubishi Heavy Industries, and was operated by the Imperial Japanese Navy from 1940 to 1945. The official Allied reporting name was "Zeke", although the name "Zero" (from Type 0) was used colloquially by the Allies as well. The Zero was considered to have been the most capable carrier-based fighter in the world when it was introduced early in World War II, combining excellent manoeuvrability and very long range. The Imperial Japanese Navy Air Service (IJNAS) also frequently used it as a land-based fighter. In early combat operations, the Zero gained a reputation as a dogfighter, achieving an outstanding kill ratio of 12 to 1, but by mid-1942 a combination of new tactics and the introduction of better equipment enabled Allied pilots to engage the Zero on generally equal terms. The Zero continued to serve in a front-line role until the end of the war in the Pacific; during the final phases, it was also adapted for use in kamikaze operations. Japan produced more Zeros than any other model of combat aircraft during the Second World War. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
US Naval Aviation Training Division
MIG-3
Aeroplane identification poster, published 1942 63 x 47 cm A particularly unusual style of aeroplane identification poster, owing to the very arty images. Most such posters rely on very plain silhouettes, this series - and we have several in this series; view them here - have a much more arty approach to the task with shading and an interesting angle view. The Mikoyan-Gurevich MIG-3 was a Soviet fighter and interceptor aircraft used during World War II. It was a development of the MIG-1 by the Experimental Design Department of Factory No. 1 to remedy problems found during the MIG-1's development and operations. On 22 June 1941, at the beginning of Operation Barbarossa, some 981 MIG-3s were in service with the Soviet Air Forces, the Soviet Air Defence Forces, and Soviet Naval Aviation. The MIG-3 was difficult to fly in peacetime and much more so in combat. Originally designed as a high-altitude fighter-interceptor, combat over the Eastern Front was generally at lower altitudes, where it was inferior to the German Messerschmitt Bf 109 (a poster of which is available in our storefront) as well as most of its Soviet contemporaries. It was also pressed into service as a fighter-bomber during the autumn of 1941 but it was equally unsuited for this. The losses suffered in combat were very high, in percentage the highest among all the VVS fighters, with 1,432 shot down. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Charles Paine (1895-1967)
Army Map of England (1944)
Lithograph 99 x 75 cm Published for the National Savings Committee in London, the Scottish Savings Committee in Edinburgh, and the Ulster Savings Committee in Belfast. Printed at Field Sons & Co. Ltd., Bradford, for His Majesty's Stationery Office, London. Signed lower left in the plate. Charles Paine was a versatile and prolific designer, who drew on his training in stained glass to create bold, structured and highly stylised lithographs for a variety of companies. This decorative and brightly-coloured map illustrates the various county regiments of Great Britain, with a border of regimental badges. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Coronation Arrangements - Map of London (1953)
Lithograph 45 x 60 cm (unfolded) Published by London Transport for the Coronation of Elizabeth II, this delightfully-coloured map illustrates the route taken by the Queen when she was crowned in 1953. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
after Dorothy Wilding (1893 - 1976)
The Coronation Regalia (1953)
Original vintage poster 75 x 50 cm Issued by the National Savings Committee, London, the Scottish Savings Committee, Edinburgh, and the Ulster Savings Committee, Belfast. Crown Copyright Reserved. Printed for H.M. Stationery Office by Waterloo & Sons Limited, London and Dunstable. A fantastic piece of royalist British history. The famous portrait photographer Dorothy Wilding captured Queen Elizabeth II at her Coronation in 1952 - the photograph, used as the centrepiece of this poster, was also used on Britain's postage stamps until 1967. This particular poster was designed to be a Coronation souvenir, and features all the regalia and trappings of the United Kingdom's coronation ceremony, including crown, sword, orb, and sceptres, to name a few. The poster's margins are decorated with portraits of Britain's monarchs past, dating back to William the Conqueror. The National Savings Movement was a government-backed savings movement which began during the First World War to finance the government's wartime deficit. Savings products promoted by the movement typically offered a low level of return but the safety of a government guarantee. Various poster designs were issued by the movement to encourage ordinary people to save - we have several different designs in stock. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other National Savings posters. -
The Royal Dragoons - Men in Armour
c. 1960 Lithographic poster 76x51cm A soldier, headphones to his ear, binoculars in his hand, and beret on his head is shown before a tank, an army helicopter, and an armoured vehicle. Worsley was a war artist during World War II who was captured by the Germans and then an illustrator for Eagle comic. Click here for further biographical details and other posters by Worsley. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
John Barnicoat MA ARCA (1924 - 2013)
Untitled abstract composition (1968)
Tempera on board 27 x 26 cm Initialled and dated lower right. John Barnicoat was a painter of oils and works on paper using tempera, conté, acrylic, pen, and ink. He was brought up in Cornwall and educated at King’s College, Taunton. He joined the Royal Naval Volunteer Reserves and took part in D-Day, aged 29. He went on to read history at Lincoln College, Oxford, and also studied at the Ruskin School of Drawing. He attended the Royal College of Art in the early 1950s, eventually becoming the Senior Tutor at the RCA Painting School between 1976 and 1980. He was the head of Falmouth School of Art 1972 - 1976 and Head of the Chelsea School of Art 1980 - 1989. He wrote 'Posters: a Concise History' in 1972, and organised and curated exhibitions in the UK and Russia on the art of poster design. From 1989 onwards he produced numerous drawings and oils of the bridges of London, women’s heads, acrylic and conté works on paper, and pen and wash drawings of women dressing. His work is represented in both government and private collections, and was recently shown at The Belgrave Gallery, St Ives (2017 - 2022). Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Raymond Weston
Fabric design
Gouache 32 x 37 cm Label to reverse. A fabric design for a dress, produced by a student at the Loughborough College of Art. The colours and forms suggest a mid-century design; the label to the reverse indicates that it would have been machine printed on silk, to be made into a dress. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
The Ninth (Queen's Royal Lancers) Officer 1899 uniform
Lithograph 50 x 31 cm Produced for the Institute of Army Education. Printed for HM Stationery Office by I A Limited, Southall 51. These posters were produced by the Institute of Army Education, likely for display in barracks. Created in the 1950s, they illustrate the 'vintage' uniforms worn by the Corps during the First World War. Condition: punched holes to corners as issued; otherwise generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage Institute of Army Education uniform posters. -
A E Agar (artist) Original passenger list brochure for Shaw Savill Albion Line, c. 1940s or 1950s.
24x34cm (approx) Provenance: the artist's estate As new, unissued printer's proof. Could be trimmed to the brochure size if desired. Fine image of ocean liner to front cover, map - via Panama Canal - to back cover. From the great age of Ocean Liners. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent. -
A E Agar (artist) Original advertising poster for Shaw Savill Albion Line, c. 1940s or 1950s.
51x38cm Provenance: the artist's estate Fine image of ocean liner. From the great age of Ocean Liners. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
S Clapham (active 1940 - 1960)
A Heraldic Primer
Gouache and pencil 53 x 67 cm A delightful, brightly-coloured study of the various elements of heraldic shields. Condition: good; a few short and neatly-repaired marginal tears. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
A J Meyer (British, fl 1900-1930) Dulwich College
Etching 22x30cm Sadly little is known of Meyer, an accomplished artist and particularly producer of etchings. He was one of many artists to join the craze for etchings started by Whistler and that died out after the 1929 Wall Street crash. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Mounted to board; generally good to very good. -
Leslie Macdonald "Max" Gill (1884 - 1947)
A Map of the Colne Valley Cloth District (1946)
Engraving with later hand-colouring 32 x 48 cm Signed in the plate and dated 1946. Produced for Huddersfield and District Woollen Export Group. Gill's vibrant and detailed map depicts the Colne Valley District. The Colne Valley was a loom-weaving area which played a significant role in the development of the Industrial Revolution when water-powered textile mills were brought in. Born in Brighton, Max Gill was the second son in a family of thirteen children; his elder brother was Eric Gill, the typographer and sculptor. Both Gills exhibited significant talent at a young age. Max Gill’s first map was made for a school map-drawing project following which he entered maps into competitions in boys’ magazines. In 1903 he moved to London as assistant to the ecclesiastical architects Sir Charles Nicholson and Hubert Corlette. By 1908 he had started his own architectural practice, but in 1909 Sir Edwin Lutyens commissioned Gill to paint a “wind dial” map for Nashdom, a large house in Buckinghamshire. The wind dial was set over the fireplace and attached to a weather vane on the roof, allowing the occupant to know the direction of the wind from the comfort of the house. He produced seven further wind dials including for Lutyens’s Lindisfarne Castle and for the Allhusen Room at Trinity College, Cambridge. Although Gill continued to practice as an architect, Frank Pick commissioned him to create seven pictorial maps for the Underground, the first being the famous 1913 ‘Wonderground Map of London Town.’ In 1917 he joined the Imperial War Graves Commission’s headstone design committee, designing the typeface and regimental badges. Gill’s memorials for the fallen in the First World War include for Balliol and Worcester Colleges and Christ Church in Oxford. During the 1920s and 30s Gill undertook many commercial commissions for advertising materials. The Empire Marketing Board and Shell-Mex as well as further maps for the Underground. He designed in 1922 the first diagrammatic map of the Underground which provided the foundation for Beck’s more famous map. By the 1930s his major works were murals. Those of the Arctic and Antarctic on the ceilings of the Scott Polar Research Institute in Cambridge are beautiful, but the most impressive is the map of the North Atlantic in the first-class dining room of the Queen Mary (maiden voyage: 1936, now moored at Long Beach, California). During the Second World War he created a series of propaganda posters for the Ministry of Information. Condition: very good. In new hand-finished frame. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other decorative maps. -
S Clapham (active 1940 - 1960)
A Modernist Church
Pencil 29 x 43 cm A design for an octagonal church in the modernist mid-century style. Clapham was an architect based in Stockwell in London. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
John Cromby (20th century)
A Passenger Ship in Liverpool Harbour
Oil on board 34 x 59 cm Signed lower right. A liner steers between a bright blue sky and a deep blue sea. Small steamships sail nearby, and seagulls wind their way among the various vessels. In the background, Liverpool's skyline is silhouetted. Cromby was a Liverpool-based artist, renowned for his paintings of Liverpool docks. Condition: excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Barnicoat MA ARCA (1924 - 2013) Harbour (1975)
Tempera on card 26 x 26 cm Initialled B and dated '75. John Barnicoat was a painter of oils and works on paper using tempera, conté, acrylic, pen, and ink. He was brought up in Cornwall and educated at King’s College, Taunton. He joined the Royal Naval Volunteer Reserves and took part in D-Day, aged 29. He went on to read history at Lincoln College, Oxford, and also studied at the Ruskin School of Drawing. He attended the Royal College of Art in the early 1950s, eventually becoming the Senior Tutor at the RCA Painting School between 1976 and 1980. He was the head of Falmouth School of Art 1972 - 1976 and Head of the Chelsea School of Art 1980 - 1989. He wrote 'Posters: a Concise History' in 1972, and organised and curated exhibitions in the UK and Russia on the art of poster design. From 1989 onwards he produced numerous drawings and oils of the bridges of London, women’s heads, acrylic and conté works on paper, and pen and wash drawings of women dressing. His work is represented in both government and private collections, and was recently shown at The Belgrave Gallery, St Ives (2017 - 2022). Provenance: the artist's estate. Condition: generally very good; in hand-finished frame. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other Modern British original paintings. -
Adelboden
Original vintage poster 104 x 63 cm A fantastic original vintage poster advertising the Swiss ski resort of Adelboden, tucked away in the Bernese Oberland. Printed in Switzerland by Brügger AG. The photograph was taken by the Swiss photographers Emanuel Gyger and Arnold Klopfenstein. The pair were renowned for their captivating skiing images. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more original vintage skiing posters. -
Adriaen Collaert (c. 1560-1618) after Maerten de Vos (1532 - 1603) "Pastores venerunt festinantes; et inuenerunt Mariam et Ioseph, et infantem positum in praesepio" - Luke 2
Engraving, From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 16.5x21.8cm From the Gospel of Luke, Chapter 2 Verse 16 - And the shepherds came with haste, and found Mary, and Joseph, and the babe lying in a manger. Adriaen Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Adriaen Collaert (c. 1560-1618) after Maerten de Vos (1532 - 1603) 5. "Postquam consummati sunt dies octo ut circuncideretur puer; vocatum est nomen eius Iesus" - Luke 2
Engraving, From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 16.5x21.8cm From the Gospel of Luke, Chapter 2 Verse 21 - And when eight days were accomplished for the circumcising of the child, his name was called Jesus. Adriaen Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Adriaen Collaert (c. 1560-1618) Jacob de Bye (1581-1640) after Maerten de Vos (1532 - 1603) 9. Tunc Herodes videns quonium illusus esset a magis, iratus est valde; et mittens occidit omnes pueros qui erant in Bethleem, et in omnibus finibus eius Matth. 2.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 16.5x21.8cm Hand-finished black frame included (UK shipping only) From the Gospel of Matthew, chapter 2 "Then Herod, when he saw that he was mocked of the Wise-men, was exceeding wroth, and sent forth, and slew all the male children that were in Bethlehem, and in all the borders thereof". Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Adriaen Collaert (c. 1560-1618) Cornelius Galle (1576-1650) after Maerten de Vos (1532 - 1603) 2. Ingressus angelus, ad eam dixit, Aue gratia plana, Dominus tecum, benedicta tu in mulieribus. Luke. 1.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm Hand-finished black frame included (UK shipping only) From the Gospel of Luke, chapter 1 "And the angel came in unto her, and said, Hail, thou that art highly favoured, the lord is with thee". Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Adriaen Collaert (c. 1560-1618) John de Barbe (1578–1649) after Maerten de Vos (1532 - 1603) 19. Accesserunt ad eum discipuli eius, et suscitaverunt eum, dicentes, Domine, salua nos, perimus. Matth. 8.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Matthew, chapter 8 "Then His disciples came to Him and awoke Him, saying, “Lord, save us! We are perishing!” Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Adriaen Collaert (c. 1560-1618) John de Barbe (1578–1649) after Maerten de Vos (1532 - 1603) 18. Socrus simonis tenebatur magnis febribus; et rogauerunt illum pro ea. Et stans super illum imperauit febri; et dimiset illum. Luke. 4.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Luke, chapter 4 "Simon’s mother-in-law was very sick. She had a high fever. They asked Jesus to do something to help her. He stood very close to her and ordered the sickness to go away". Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Adriaen Collaert (c. 1560-1618) Jacob de Bye (1581–1640) after Maerten de Vos (1532 - 1603) 23. Dicit iesus Surge tolle grabatum tuum, et ambula. Et statim sanus factus est, et sustulit grabatum suum et ambulabat. John. 5.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of John, chapter 5 "He says Rise, take up your bed and walk. He immediately became well, and picked up his bed and walked.” Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Adriaen Collaert (c. 1560-1618) Jacob de Bye (1581–1640) after Maerten de Vos (1532 - 1603) 22. Ecce mulier quat sanguinis fluxum patiebatur duodecim annis, accessit retro, et tetigit fimbriam vestimenti eius. Matth. 9.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Matthew, chapter 9 "And suddenly, a woman who had a flow of blood for twelve years came from behind and touched the hem of His garment.” Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Adriaen Collaert (c. 1560-1618) John de Barbe (1578–1649) after Maerten de Vos (1532 - 1603) 15. Iesus fatigatus ex itinere, sedebat sic supra fontem. Uenit mulier de Samaria haurire aquam. Dicit ei Iesus, Da mihi bibere. John 4.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm Hand-finished black frame included (UK shipping only) From the Gospel of John, chapter 4 "Jesus, being wearied from his journey, was sitting thus on the well. A Samaritan woman came to draw water. Jesus said to her, “Will you give me a drink?” Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Jean Baptist Barbé (1578?-1649) Adriaen Collaert (c. 1560-1618) after Maerten de Vos (1532 - 1603) 12. Accedens tentator dixit ei fi lius, Dei es, dic vt lapides isti panes fiant. Matt. 4.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 16.5x21.8cm From the Gospel of Matthew, chapter 4 "If thou be the Son of God, command that these stones be made bread" Adriaen Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Jean Baptist Barbé (1578?-1649) Adriaen Collaert (c. 1560-1618) after Maerten de Vos (1532 - 1603) 11. Verit Iesus a Galilaea in Iordanem ad Iohannem, vt baptifartur ab eo. Matthew. 3.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 16.5x21.8cm From the Gospel of Matthew, chapter 3 "Then Jesus came from Galilee to the Jordan to be baptized by John." Adriaen Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Adriaen Collaert (c. 1560-1618) John de Barbe (1578–1649) after Maerten de Vos (1532 - 1603) 14. Cum fecisset quasi flagellum de funiculis, omnes eiecit de templo, oues quoq et boues, et numulariorum effudit aes, et mensas subuertit. John. 2.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm Hand-finished black frame included (UK shipping only) From the Gospel of John, chapter 2 "So he made a whip out of cords, and drove all from the temple courts, both sheep and cattle; he scattered the coins of the money changers and overturned their tables”. Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Adriaen Collaert (c. 1560-1618) Theodoor Galle (1571–1633) after Maerten de Vos (1532 - 1603) 26. Est puer vnus hic qui habet quinq panes ordeaceos, et duos: sed haec quid funt tantos? Iohn. 6.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of John, chapter 6 "There is a lad here, which hath five barley loaves, one, and two, but what are these for so many?” Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Adriaen Collaert (c. 1560-1618) Jan Collaert (1545–1628) after Maerten de Vos (1532 - 1603) 21. Ait Paralytico, Surge, tolle lectum, et vade in domum tuam. Et surrexit, et abijt in doman suam. Matth. 9.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Matthew, chapter 9 "Get up, pick up your mat, and go home. And the man got up and went home.” Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Jean Baptist Barbé (1578?-1649) Adriaen Collaert (c. 1560-1618) after Maerten de Vos (1532 - 1603) 10. Post triduum invenerunt illum in templo in medio doctorum, audientem illos, et interrogante eos. Luc. 2
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 16.5x21.8cm From the Gospel of Luke, Chapter 2 After three days they found him in the temple among the doctors, listening to them and asking them questions. Adriaen Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Theodoor Galle (c. 1571-1633) Jean Baptiste Barbe (1578-1649) after Maerten de Vos (1532 - 1603) 28. Adducunt Scibe et Pharisaei mulierem in adulterio deprehensam. Iesus autem inclinans se deorsum, digito scribebat in terra. Iohn. 8.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of John, chapter 8 "The scribes and the Pharisees brought a woman who had been caught in adultery, and placing her in the midst they said to him, “Teacher, this woman has been caught in the act of adultery". Jesus bent down and wrote with his finger on the ground.” Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Adriaen Collaert (c. 1560-1618) Jacob de Bye (1581-1640) after Maerten de Vos (1532 - 1603) 3. Exurgens maria abjit in montana cum festinatione in ciuitatem Iuda et intrauit in domum Zacharie, et salutauit Elisabeth . Luc 1.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm Hand-finished black frame included (UK shipping only) From the Gospel of Luke, chapter 1 "And Mary arose in those days, and went into the hill country with haste, into a city of Juda. And entered into the house of Zacharias, and saluted Elizabeth". Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Adriaen Collaert (c. 1560-1618) Cornelius Galle (1576-1650) after Maerten de Vos (1532 - 1603) 24. aria accepit libram unguenti nardi pistici, pretiosti, et vnxit pedes Iefu; et extersit pedes eius capillis suis. John. 12.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm Hand-finished black frame included (UK shipping only) From the Gospel of John, chapter 12 " Mary therefore took a pound of expensive ointment made from pure nard, and anointed the feet of Jesus and wiped his feet with her hair". Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Adriaen Collaert (c. 1560-1618) Cornelius Galle (1576-1650) after Maerten de Vos (1532 - 1603) 17. Duc in altum, et laxate retia vestra in capturam piscium. Et cum hoc fecissent, concluserunt piscium multitudium copiosum. Luke. 5.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm Hand-finished black frame included (UK shipping only) From the Gospel of Luke, chapter 5 "Put out into the deep and let down your nets for a catch. When they had done this, they enclosed a great quantity of fish". Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Adriaen Collaert (c. 1560-1618) Jacob de Bye (1581-1640) after Maerten de Vos (1532 - 1603) 20. Daemones rogabant eum dicentes ; si eijcis nos, mitte nos in gregem porcorum. Et ait illis, ite. Matth. 8.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 16.5x21.8cm Hand-finished black frame included (UK shipping only) From the Gospel of Matthew, chapter 8 "The demons begged Jesus, “If you drive us out, send us into the herd. He said to them, “Go!" Adriaen Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Adriaen Collaert (c. 1560-1618) Jacob de Bye (1581–1640) after Maerten de Vos (1532 - 1603) 25. Videns Iesus turbas, ascendit in montem; et cum sedisset, accesserunt ad eum discipuli eius, et aperiens os suum, docebat eos. Matth. 5.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Matthew, chapter 5 "And seeing the multitudes, He went up on a mountain, and when He was seated His disciples came to Him.” Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Adriaen Collaert (c. 1560-1618) Jacob de Bye (1685-?) after Maerten de Vos (1532 - 1603) 27. Assumit Iesus Petrum et Iacobum et Ioannem fratrem eius, et ducit illos in montem excelsum seorsum; et transfiguratus est eos. Matth. 17.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Matthew, chapter 17 "After six days Jesus took with him Peter, James and John the brother of James, and led them up a high mountain by themselves. There he was transfigured before them.” Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Jean Baptist Barbé (1578?-1649) Adriaen Collaert (c. 1560-1618) after Maerten de Vos (1532 - 1603) 6. "Procidentes adoravuerunt eum, et apertis thesauris suis obtulerunt ei munera, aurum, thus, et myrrham" - Matth 2
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 16.5x21.8cm From the Gospel of Matthew, Chapter 2 Verse 11 - and fell down and worshipped him: and when they had opened their treasures, they presented unto him gifts; gold, and frankincense and myrrh. The star hangs over the stable door, as the three Magi present their treasures to Our Lord, sitting upon Mary's knee, St Joseph in attendance behind. Adriaen Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Adriaen Collaert (c. 1560-1618) John de Barbe (1578–1649) after Maerten de Vos (1532 - 1603) 8. Ioseph consurgens accepit puerum et matrem eius nocte; et secessit in Aegyptum. Matth. 2.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm Hand-finished black frame included (UK shipping only) From the Gospel of Matthew, chapter 2 "Joseph arose, he took the young child and his mother by night; and left for Egypt". Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Adrian Collaert (1560–1618) Theodoor Galle (c. 1571-1633) after Maerten de Vos (1532 - 1603) 31. Et inuenit Iesus afellum, et sedit super eum, sicut scriptum est; Noli timere filia Syon, Ecce Rex tuus venit, sedens super pullion asine. Iohn. 12.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of John, chapter 12 "Finding a young donkey, Jesus sat on it, as it is written: Fear not, daughter of Zion; Behold, your King is coming, Sitting on a donkey’s colt." Adrian Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Jean Baptist Barbé (1578?-1649) Adriaen Collaert (c. 1560-1618) after Maerten de Vos (1532 - 1603) 13. nuptia facta sunt in cana galilaeae; et erat mater Iefu ibi. Vocatus eft autem et Iefus, et difcipuli eius ad nuptias. Ioan. 2.
Engraving From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 16.5x21.8cm From the Gospel of John, chapter 2 "On the third day a wedding took place at Cana in Galilee. Jesus’ mother was there, and Jesus and His disciples had also been invited to the wedding. When the wine ran out, Jesus’ mother said to Him, “They have no more wine." Adriaen Collaert was born in Antwerp between 1555 and 1565, becoming wijnmeester of the Guild of St Luke in 1580 - a title reserved for the sons of guild members. The guild of St Luke was generally the city guild for artists. Working for Philip Galle, a Dutch publisher best known for his old master prints, he married Galle's daughter Justa. After learning the principles of engraving in the Netherlands, he spent some years in Italy improving his skill. Upon returning to Flanders he engraved, in accomplished fashion, a great number of plates. His brother, Jan Collaert II, his son, Jan Baptist Collaert II and a grandson were all printmakers. These particular plates are after paintings by Maerten de Vos, a Flemish painter and draughtsman. His father was Pieter de Vos, from whom he learned. From 1550 - 1558 he travelled in Italy, visiting Rome and Venice and becoming master of the Antwerp Guild of St Luke upon his return in 1558. After 1575 he was mainly engaged in producing print designs. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed to plate margins, generally good condition commensurate with age, slight age toning and handling marks as evident from image. -
Adrian Heath Abstract Study III (1975)
Acrylic and pencil on paper 22 x 22cm Heath was born in Burma in 1920 and arrived in England aged five. In 1938 he studied art under Stanhope Forbes at Newlyn and later at the Slade School of Art. While serving in WWII, he was captured and placed in a prisoner-of-war camp in Bavaria. Heath attempted to escape from the camp but was recaptured and placed in solitary confinement; this isolation proved crucial to the development of his artistic style, as he spent much of his time there experimenting with abstract forms. When released from confinement, Heath befriended a fellow prisoner of war: Terry Frost. Together they explored the methods of painting which they had developed during their time in the camps, and following the war both became celebrated artists. We have several Terry Frost pieces available too. In 1949 and 1951, Heath returned to Cornwall. He spent time with artists like Ben Nicholson, Victor Pasmore, and Anthony Hill, and became the main link between the emerging St Ives School of artists and the British Constructivist movement back in London. He is further credited with promoting British abstract art through informal exhibitions in his studio on Fitzroy Street, as well as his manifesto-like text entitled 'Abstract Art: Its Origins and Meaning', which was published in 1953. Over time, Heath's paintings of abstract geometry and symmetry became increasingly dynamic and heavily textured, the result of layering paint on paint over the course of several days. This study features a muted colour palette and abstract asymmetric form. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. Signed lower right. -
Adrian Heath Abstract Study I (1970)
Gouache & ink 35x33cm Heath was born in Burma in 1920 and arrived in England aged five. In 1938 he studied art under Stanhope Forbes at Newlyn and later at the Slade School of Art. While serving in WWII, he was captured and placed in a prisoner-of-war camp in Bavaria. Heath attempted to escape from the camp but was recaptured and placed in solitary confinement; this isolation proved crucial to the development of his artistic style, as he spent much of his time there experimenting with abstract forms. When released from confinement, Heath befriended a fellow prisoner of war: Terry Frost. Together they explored the methods of painting which they had developed during their time in the camps, and following the war both became celebrated artists. We have several Terry Frost pieces available too. In 1949 and 1951, Heath returned to Cornwall. He spent time with artists like Ben Nicholson, Victor Pasmore, and Anthony Hill, and became the main link between the emerging St Ives School of artists and the British Constructivist movement back in London. He is further credited with promoting British abstract art through informal exhibitions in his studio on Fitzroy Street, as well as his manifesto-like text entitled 'Abstract Art: Its Origins and Meaning', which was published in 1953. Over time, Heath's paintings of abstract geometry and symmetry became increasingly dynamic and heavily textured, the result of layering paint on paint over the course of several days. Here, his colour palette surrenders to the compelling geometry of the painting's abstract forms. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Louis Osman FRIBA (1914 - 1996)
Proposed alterations for Stables for Mrs Mallowan (Agatha Christie)
Pencil on tracing paper 41 x 30 cm Signed in red crayon lower right. A smart architectural design to improve famed author Agatha Christie's stable block. Christie became Lady Mallowan when she married her second husband, Sir Max Edgar Lucien Mallowan. The church was bombed in 1941 and gutted by fire; subsequently, the church was a ruin open to the sky for over 20 years. It was saved by Lady Parker of Waddington, who formed the Friends of St John's in 1962 to raise money and restore the church to its former glory - a reconstruction in the style of the church's original architect, Thomas Archer. Osman was as much an artist as an architect. This is likely a portfolio piece from his time studying at the Bartlett School of Architecture, and is as such a piece of architectural history as well as a beautiful Osman design. Osman was awarded a First Class degree and the Donaldson Medal of the RIBA (for the best result in his year group) by the Bartlett, and then went on to the Slade School of Art. He subsequently trained with Sir Albert Richardson - we also have several Richardson works in our collection. After the war, Osman busied himself as an architect. His work included contributions to Westminster Abbey, and Lincoln, Exeter, Ely, and Lichfield Cathedrals, Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his folly: the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire, now a National Trust property. At Canons Ashby he established a workshop and had a team of silversmiths and goldsmiths working for him. In 1976 he made the gold enamelled coffin that holds the copy of the Magna Carta on view in the United States Capitol, Washington, DC. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
