-
Samuel Sparrow (active 1800) after John Kirby Baldrey (1750 - 1823)
Emmanuel College, Cambridge
Engraving 35 x 49 cm An engraving of Emmanuel College's neoclassical facade, complete with strolling undergraduates in pairs. The engraving was printed in the Cambridge Almanack in 1806. Samuel Sparrow was a British engraver of landscapes and architectural scenes after his fellow artists, often published as bookplates. John Kirkby Baldrey was a draughtsman and engraver who provided designs for the Cambridge University Almanack between 1803 and 1810. Condition: generally very good; some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Out of stock
David Loggan (1634 - 1692)
Emmanuel College, Cambridge (1690)
Engraving 31 x 47 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally very good; mostly even all-over toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
The Church of St Mary the Virgin, Cambridge (1690)
Engraving 38 x 47 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: has been previously washed; generally good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Out of stock
David Loggan (1634 - 1692)
Queen's College, Cambridge (1690)
Engraving 36 x 46 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally good; mostly even over-all toning, fraction lighter down central fold; has previously been washed. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
Christ's College, Cambridge (1690)
Engraving 39 x 48 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally even all-over toning; old repair to lower central fold with small loss. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
Magdalene College, Cambridge (1690)
Engraving 38 x 43 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: enerally even all-over toning; old repair to lower central fold with small loss. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
St Catharine's College, Cambridge (1690)
Engraving 35 x 46 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: has previously been washed, otherwise generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
The University of Oxford Botanic Garden (1675)
Engraving 40 x 50 cm An eighteenth-century view of one of Oxford's dreamiest spaces: the Botanic Garden, engraved by David Loggan, the noted engraver, draughtsman, and painter. The University of Oxford Botanic Garden was founded in 1621 and is the oldest botanical garden in Great Britain. Loggan's engraving focuses on its architectural qualities, with four features of the garden highlighted for their beauty, symmetry, and prowess of design. Of particular interest in this etching are the six trompe l'oeil pieces: four gently curling pieces of paper which frame the gates of the garden, and two heraldic banners borne by cherubs and sporting legends about the garden's foundation. The Danby Gate (bottom left) at the front entrance to the garden is one of the three entrances designed by Nicholas Stone between 1632 and 1633. The gateway consists of three bays, each with a pediment; the niches contain statues of Charles I and Charles II in classical pose, and the niche in the the central pediment contains a bust of the Earl of Danby (hence the gate's name). Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: slight toning to central margin, odd marginal losses. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
Trinity College, Oxford (1705)
Engraving 32 x 41 cm Loggan's view of Trinity from the second edition of the 'Oxonia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally very good; second edition. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
University College, Oxford (1675)
Engraving 29 x 40 cm Loggan's view of Univ from the 'Oxonia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Richard Beer (1928 - 2017)
Volterra
Etching and aquatint 60 x 45 cm Titled and numbered 4/70 lower left, and signed lower right, both in pencil. Beer's yellow-hued view of Volterra, a mountain town in Tuscany. Overseen by the beating Italian sun, a church perches atop a hill marked by trees and rocky outcrops. Born in London in 1928, just too late to serve in the Second World War, Richard Beer studied between 1945 - 1950 at the Slade School. Subsequently, a French Government scholarship allowed him to spend time in Paris at Atelier 17, working under Stanley William Hayter (1901 - 1988), one of the most significant print makers of the 20th Century – having spent the War in New York, advising as a camofleur, Hayter only returned to Paris in 1950. Subsequently Beer studied at the École des Beaux Arts, Paris. Working for John Cranko, choreographer for the Royal Ballet, Beer designed the sets and costumes for his The Lady and the Fool at Covent Garden, subsequently working for him following his move in 1961 to Stuttgart Ballet. Additionally he produced book illustrations and designed book jackets. Beer later taught print-making at the Chelsea School of Art, where he was a popular teacher. Probably his greatest work was a collaboration with John Betjeman to produce a portfolio of prints of ten Wren Churches in the City for Editions Alecto, copies of which are in The Government Art Collection. That collection contains a total of 54 prints by Beer, and the Tate Gallery’s collection holds seven. His Oxford series was also produced for Editions Alecto as was a series of predominantly architectural views in Southern Europe. Most of his prints are of architectural subjects. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Wilhelmina Barns-Graham (1912 - 2004)
Card for Sandra Blow's 75th birthday (1995)
Gouache and collage 34 x 21 cm Inscribed to reverse "For Sandra, Happy Birthday, with love Willie, 13/9/95". Barns-Graham's modern design features 70 vividly coloured circles; each one is different from the last, but all are geometrically aligned in neat rows and columns. Sandra Blow's initials appear separately as "S" and "B" in the design. Blow and Barns-Graham became friends in the 1950s; both spent lengthy periods of time in St Ives, and made major contributions to Britain's catalogue of post-war art. Wilhelmina Barns-Graham, known as Willie, was born in St Andrews, Fife, on 8 June 1912. Her parents were second cousins, and their respective families were well established representatives of minor Scottish gentry from both the east and west of the country. As a child, Barns-Graham showed very early signs of creative ability. It was at school that Wilhelmina decided that she wanted to be an artist, stating later in life that "painting chose me, not I it". After school she set her sights on Edinburgh College of Art where, after some dispute with her father (who was an emotional man prone to uncontrolled anger), she enrolled in 1931. During her time at Edinburgh College, Barns-Graham was taught by tutors including portrait painter David Alison and painter William MacTaggart. Her friends there included the influential Scottish painters Robert MacBryde, Robert Colquhoun, and William Gear. After her education, Barns-Graham made study trips to Paris, London, and St Tropez before moving to St Ives, Cornwall, in 1940 (at the suggestion of the Edinburgh College of Art's Principal Hubert Wellington). Barns-Graham moved near to where a group of modernist artists had settled, at Carbis Bay - this was a pivotal moment in her life. On one of her first evenings there she met the sculptor Barbara Hepworth, who made an immediate and lasting impression on her. She then went on to meet Borlase Smart, Alfred Wallis, and Bernard Leach, as well as the painter Ben Nicholson and the sculptors Naum Gabo and Margaret Mellis. After two weeks in St Ives, Barns-Graham acquired her first studio, directly below the Porthmeor Gallery which was the administrative headquarters of the St Ives Society of Artists. Her paintings at the time were heavily influenced by the Cornish landscapes and the St Ives harbour. During 1940 and 1941, Barns-Graham contributed to the war effort by volunteering in a factory making camouflage nets. In 1942 Barns-Graham became a member of the Newlyn Society of Artists, in which she exhibited with every year, and the St Ives Society of Artists. Whilst establishing herself in St Ives, Barns-Graham also continued to send work back to Scotland for major exhibitions held there such as the Royal Scottish Academy's 117th Exhibition in 1943. The 1940s were an active time for the St Ives Society of Artists who received a number of invitations to send exhibitions and groups of works to galleries in the UK and abroad, Barns-Graham's work was always included in these as the Society's secretary, Borlase Smart, thought highly of her work. Barns-Graham's first opportunity to exhibit in London came when her work was included in a group exhibition of six at the Redfern Gallery. This was due to the introduction and support of Patrick Heron, who had visited Barns-Graham's studio in St Ives and was excited by her work. Barns-Graham would later have her first one-person exhibition in London at Redfern in 1952. After a few years of tension, Barns-Graham eventually left the St Ives Society of Artists in 1949, becoming one of the founding members of a new breakaway group named Penwith Society of Arts. The first Penwith Society exhibition opened in June 1949 to huge success - 2755 paying visitors came to see it. Provenance: the Jonathan Grimble Estate; the Sandra Blow Estate. Condition: very good; in original frame. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Trevor Bell (1930 - 2017)
Way Out Blue (1961)
Acrylic on paper 35 x 43 cm Signed and dated lower right. Bell's rosy-hued abstract composition is perhaps evoking an interior with window and curtains. The deep azure blue of the picture's title appears at the top right of the composition, curving away from the rest of the image. A sunny golden yellow drips in through the window panes, imbuing the scene with a hot, heady romanticism. Bell's idiosyncratic pictorial language allows us to experience the scene's hazy summer heat via the forms of sun, window, and wall. Bell was born in Leeds in 1930 and attended Leeds College of Art from 1947 to 1952 in a scholarship. The artist Terry Frost encouraged him to move to Cornwall, where he soon became a leading figure in the younger generation of the St Ives school. His first solo exhibition came in 1958, and the year after he was awarded the Paris Biennale International Painting Prize. The Tate began collecting his work in the 1960s, and Bell spent more time working and teaching in America. The Tate's 1985 St Ives exhibition featured Bell's work, and he was also included in the Tate St Ives' inaugural show. He returned from America in 1996 and settled down in isolated barn- and farmhouse-conversion studios near Penzance in Cornwall. He exhibited across England and America for the rest of his life, notably with his major solo exhibition at the Tate St Ives in 2004. Much of his work considers form and landscape via a dramatic use of colour and often on unusually-shaped (and sometimes multi-part) canvases. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Selina Thorp (born 1968)
View Through an Archway, Sienna (1993)
Pastel 47 x 26 cm A view of the Duomo di Siena. Sienna has been defined architecturally by this cathedral since it was built in mediaeval times; Thorp's view of it through an archway emphasises its status as a seen symbol of the city, an object of cultural, religious, and aesthetic significance. Selina Thorp was born in Leeds in 1968 and studied at the Edinburgh College of Art. Much of her work focuses on architecture and landscape. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Anna Zinkeisen (1901 - 1976)
Wembley Cup Final (1934)
Lithographic poster 40 x 50 cm Signed in plate lower left, numbered 34/760, and printed by the DPC (Dangerfield Printing Company) for London Transport. Anna Zinkeisen created this design in 1934 for London Transport as a panel poster (12.5 x 10", for display within underground carriages or on buses). The Cup Final that year was between Manchester City and Portsmouth; Manchester City triumphed with a 2-1 scoreline. This particular lithograph from the same time was produced to a slightly larger scale than the panel poster, and is not recorded in the London Transport Museum archives. The process of lithography requires a skilled operator to draw a negative image on a stone plate (the Greek word 'lithos' meaning 'stone') - one plate for each colour in the image. The stone is then treated with acid and etched in a way as to produce a printing plate which can then be inked. Printing at different sizes therefore required the manual creation of new plates, and small differences between different sized versions are thus visible. Anna Zinkeisen won a scholarship to the Royal Academy Schools in 1916, focusing on sculpture and exhibiting at the Royal Academy in 1919. She was awarded the Landseer Award in 1920 and 1921, and went on to become an esteemed portrait artist, often of society ladies. She produced a series of posters for London Transport in the inter-war period. During the Second World War, Zinkeisen became a nurse, and was profoundly affected by the suffering she saw during her time working in St Mary's Hospital. This is arguably the point at which she and her sister Doris reached the pinnacle of their careers, producing some of the finest and most affecting depictions of the world at war made during this period. Condition: good. Backed to conservation paper; small loss to bottom left-hand corner and slight toning to extremities. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Walter Hoyle (1922-2000)
St Catharine's College, Cambridge (1973)
Linocut 72 x 56 cm Signed and dated '73 lower right, numbered 85 / 200 lower left, and signed below. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the RA, he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle, a promising student, as his assistant. Hoyle moved to Great Bardfield in Essex and became part of the Great Bardfield group of artists: diverse in style, they created figurative work in stark contrast to the abstract art of the St Ives artists at the other end of the country. Hoyle taught at St Martin’s School of Art from 1951 - 1960, the Central School of Arts and Crafts from 1960 - 1964, and the Cambridge School of Art from 1964 - 1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Yard, and the Fry Art Gallery. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Paul Salomonsen (active 1960s) Y Chair (1964)
Lithographic poster (2014) 99 x 61 cm The poster features Hans J Wegner's famous 'Y chair', also known as the 'Wishbone chair'. Carl Hansen & Søn commissioned the poster from a photograph by Salomonsen, a 1960s photographer. The stylish and typically Danish woman examining the chair marks it as a piece of typically Danish design. The chair was known as "The Chair" when it was used in the TV-transmitted debate between John F Kennedy and Richard Nixon in 1959. The Chair subsequently became an icon of Danish mid-century furniture design. Condition: Excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Richard Beer (1928 - 2017)
Dieppe Cathedral
Oil on canvas 66 x 76 cm A mountaintop cathedral and surrounding houses; broad blue sky fills the rest of the canvas. This oil painting is a fantastic example of Beer's focus on architecture, the central and recurring theme of his pictorial idiom. Born in London in 1928, just too late to serve in the Second World War, Richard Beer studied between 1945 - 1950 at the Slade School. Subsequently, a French Government scholarship allowed him to spend time in Paris at Atelier 17, working under Stanley William Hayter (1901 - 1988), one of the most significant print makers of the 20th Century – having spent the War in New York, advising as a camofleur, Hayter only returned to Paris in 1950. Subsequently Beer studied at the École des Beaux Arts, Paris. Working for John Cranko, choreographer for the Royal Ballet, Beer designed the sets and costumes for his The Lady and the Fool at Covent Garden, subsequently working for him following his move in 1961 to Stuttgart Ballet. Additionally he produced book illustrations and designed book jackets. Beer later taught print-making at the Chelsea School of Art, where he was a popular teacher. Probably his greatest work was a collaboration with John Betjeman to produce a portfolio of prints of ten Wren Churches in the City for Editions Alecto, copies of which are in The Government Art Collection. That collection contains a total of 54 prints by Beer, and the Tate Gallery’s collection holds seven. His Oxford series was also produced for Editions Alecto as was a series of predominantly architectural views in Southern Europe. Most of his prints are of architectural subjects. Condition: excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views by Richard Beer. -
Tony Broderick (late 20th century) Chapel of Corpus Christi College, Cambridge
Print 37 x 25 cm A Lincoln-based artist known for his pictures of Lincoln and also of Cambridge's colleges. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Corpus Christi. -
Colin Moss (1914 - 2005)
The Cedars, Kensington
Watercolour and gouache 57 x 40 cm Signed and dated '50 lower right. Moss' view of the Cedars, complete with passers-by and a stormy, jagged sky. Colin Moss was a noted British painter, draughtsman, printmaker, and teacher who served as a camoufleur during the Second World War. Moss was born in Ipswich but grew up in Plymouth following the death of his father at the Battle of Passchendaele in 1917. Moss studied at the Plymouth Art School from 1930 to 1934 and then went on to the Royal College of Art, where he studied under Gilbert Spencer and Charles Mahoney. He worked on murals for the British Pavilion at the 1939 New York World's Fair. During the war, Moss made a series of watercolours depicting his time as a camoufleur. He had designed the camouflage scheme for Stonebridge Power Station in Wembley, and produced several watercolours of the camouflaged structure. These pictures, as well as several others painted during his WWII deployment, are now held by the Imperial War Museum, having been purchased by the War Artists' Advisory Committee. In 1947 Moss' military service ended, and he became a teacher at the Ipswich School of Art. He had solo exhibitions at the Kensington Art Gallery in 1951 and the Zwemmer Gallery in 1955, and his work began to be acquired by the national collections. He became a founder member of the New Ipswich Art Group in 1958, and the Six in Suffolk Group in 1976. In the 1970s he exhibited at the Royal Academy and the Royal Watercolour Society, and retrospective exhibitions of his work were held at various British art galleries throughout the 1980s. He continued to hold numerous solo exhibitions after his retirement, and taught artists Brian Eno and Maggi Hambling. Provenance: "Britain in Watercolours" exhibition. Condition: excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Cyril Kenneth Bird ‘Fougasse’ (1887 - 1965)
Careless Talk Costs Lives (circa 1940)
Lithographic poster 32 x 20 cm (12.5 x 8 in) Version printed on thinner paper. 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. Fougasse's distinctive poster style, with the red border, was subsequently adopted by other Ministry artists. Condition: if you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
William Williams (Welsh, active 1724 - 1733)
Jesus College, Oxford (circa 1732)
Engraving 43 x 44 cm This engraving of the city of Oxford, adorned with its eponymous dreaming spires, comes from the 'Oxonia Depicta', a large folio of engraved plates illustrating Oxford's halls and colleges. Condition: previously folded; some losses to folds, some toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Oriel College, Oxford (1736)
Engraving 35 x 43 cm This fantasia on Oriel, featuring a sublime rendering of the College's architecture and a parade of sound Oriel men, was featured in the 1736 edition of the Oxford Almanack. The Oxford Almanack was an annual almanack published by the Oxford University Press for the University of Oxford from 1674 through 2019 (when printing sadly ceased due to "dwindling interest"). The almanack traditionally included engravings or lithographs of the University and information about the upcoming year. Other almanack artists have included Michael Burghers, J. M. W. Turner, and John Piper. Basire and Dayes collaborated on several views of Oxford during the courses of their careers. Floreat Oriel! Condition: good. Trimmed. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more views of Oriel. -
John Doyle (born 1928)
Trinity College, Oxford
Watercolour 24 x 46 cm Signed lower left. Doyle's striking portrayal of Trinity's architecture, complete with undergraduates variously strolling, sitting, and reading in the foreground. Afternoon sun slants over the immaculately mown lawns. John Doyle was born in London and works in watercolours, pastels, and oils. He studied at the Maidstone School of Art in his 30s, later showing at the Royal Academy Summer Exhibition. Much of his work focuses on landscape and architecture; he has produced a series of views of Oxford and its colleges. Condition: excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more views of Trinity College, Oxford. -
Emery Walker (1851 - 1933) after Edmund Hort New (1871 - 1931)
Wadham College, Oxford
Photogravure 27 x 41 cm New produced a series of pen-and-ink drawings of Oxford colleges, of which this is one. They paid homage to the artist David Loggan, often using the same aerial viewpoint as him, but showing the colleges two hundred years later. Emery Walker turned New's drawings into photoengravings in the early 20th century. Probably no more than two hundred prints of each engraving were produced, and the plates were destroyed in the blitz. Edmund Hort New was an English artist. He was a member of the Birmingham Group of Arts and Crafts-associated painters and craftsmen, and is known as a leading illustrator of his period. He specialised in pen and ink drawings of rural and urban landscapes, old buildings and their interiors, architectural features, and also designed bookplates. He provided illustrations for the English Illustrated Magazine and was commissioned by Bodley Head publishers to illustrate critically acclaimed editions of books, such as Walton's The Compleat Angler. In 1895, New met William Morris and began designing for the Kelmscott Press. He also taught drawing to T E Lawrence. In 1905, he began his drawings of the Oxford colleges, and spent the rest of his life working on the (sadly unfinished) project. In 1921 he exhibited at the first exhibition of the Society of Graphic Art. Sir Emery Walker FSA was an English engraver, photographer, and printer. He was very involved with the Arts and Crafts movement, a Master of the Art Workers' Guild, President of the Arts and Crafts Exhibition Society, a Trustee of the Wallace Collection, and a Fellow of the Society of Antiquaries. He was also a close friend of William Morris. Walker's expertise and his collection of 16th-century typefaces inspired Morris to create the Kelmscott Press. In 1910, Walker photographed the notable Rice portrait of Jane Austen. He was knighted in 1930. Condition: very good; modern printing. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Wadham. -
Cyril Kenneth Bird ‘Fougasse’ (1887 - 1965)
Careless Talk Costs Lives (circa 1940)
Lithographic poster 32 x 20 cm (12.5 x 8 in) Version printed on thinner paper. 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. Fougasse's distinctive poster style, with the red border, was subsequently adopted by other Ministry artists. Condition: if you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
Trinity College, Cambridge (1690)
Engraving 80 x 50 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally very good; printed on two sheets, folds as issued. A few creases to top area. As a multi-folded plate in the published book, Trinity has normally suffered and is normally trimmed closely and has damage; this particular example has instead good margins outside the platemark and without damage to the folds. A very good copy of Trinity. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Craigie Aitchison (1926 - 2009)
Yellow Crucifixion
Screenprint 76 x 63 cm Published by Advanced Graphics Limited (2000). Craigie Aitchison’s iteration of the crucifixion sees Christ upon a Cross with no patibulum (horizontal beam). Jesus becomes part of the stipes (vertical beam), a willing participant in his own martyrdom. The star above his head is the Star of Bethlehem, and the sheep or goat at his feet the Lamb of God. These symbols of divinity, set against the backdrop an empty yellow-soaked landscape, transform this picture of the crucifixion into an image of resurrection. Condition: excellent. Magnificently framed. -
Bernard Cecil Gotch (1876-1964)
Queen's College, Oxford
Watercolour 28 x 39 cm (51 x 64 cm framed) Signed lower right. Queen's College in all its leafy glory. The dreaming spires of the University Church of St Mary the Virgin, the Radcliffe Camera, and All Souls peep over the quad. Bernard Cecil Gotch was a Winchester-born artist who is best known for his atmospheric watercolours of Britain's towns and cities (most notably Oxford). He moved to Oxford in 1927, painting many watercolours of the interiors and exteriors of Oxford’s many buildings. His works concentrate on the grand exteriors and interiors of the University's colleges, and he exhibited frequently - including an exhibition every term at Oriel College. His first notable commission was for the publisher Methuen, illustrating 'A Shepherd’s Life' by W H Hudson. Whilst in London he was invited to illustrate a book on the Public Schools of England (which was sadly never completed). He exhibited watercolours at the Fine Art Society and Lincolns Inn, and also exhibited at the Royal Academy. In 1952 Gotch was given an Honorary MA by the University of Oxford, and, after his death in 1963, a memorial was held for him at Oriel. Condition: very good; original frame & mount (some ageing to the latter). If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Queen's College, Oxford. -
John D Paxton
The Leaning Tower, Pisa
Pencil and white chalk 75 x 50 cm Stamped bottom left indistinctly "Edinburgh School of Art, School of Architecture". An architectural drawing of Pisa's famous Leaning Tower. -
Keep It Dark (1939 - 1945)
Lithographic poster 25 x 31 cm Sponsored by Her Majesty's Stationery Office; printed by Perry Colourprint. A copy of this poster is held by the Imperial War Museum. This poster, bearing lyrics designed to be sung to the tune of "She'll be coming round the mountain", was designed for the Ministry of Information during the Second World War. It urges the population to avoid talking carelessly about details of Britain's operational movements, which might unwittingly end up in the wrong hands. Condition: good. Some small losses to extreme margins. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
George Pyne (1800 - 1884) The High, Oxford
Watercolour 15 x 21 cm Signed and dated indiscriminately lower left. A 19th-century view of the High Street, Oxford. The spire of the University Church of St Mary the Virgin towers over the street; a horse and cart and brightly-dressed pedestrians pass by. 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 good; some spotting and toning to sky. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Hugh Casson (1910 - 1999)
Trinity College, Oxford (1990)
Watercolour 20 x 33 cm (38 x 50 cm framed) Casson's marvellous watercolour of Trinity and its perfectly manicured lawns, adorned with strolling undergraduates. 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 Staff 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. Condition: excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity College, Oxford. -
Margaret Souttar (1914 - 1987)
Trinity Hall, Cambridge
Lithograph 76 x 56 cm Signed and numbered 4/50 in pencil. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. Trinity Hall was one of the first Cambridge colleges to admit women as students - it did not do so until 1976. Provenance: the artist's studio sale. Condition: generally very good; a few handling marks. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity Hall. -
Margaret Souttar (1914 - 1987)
Trinity Hall, Cambridge I
Acrylic paint 55 x 76 cm Signed in pencil lower right. Souttar was a Scottish painter and printmaker known for her images of town- and cityscapes. In the early 1960s, she was commissioned to produce a series of prints of the Cambridge colleges. She captures the modernity and optimism of 1960s Cambridge; the fact that a female artist was commissioned to create the prints reflects the changing attitudes of the University towards women. Trinity Hall was one of the first Cambridge colleges to admit women as students - it did not do so until 1976. Provenance: the artist's studio sale. Condition: generally very good, a few handling marks. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity Hall. -
Out of stock
Lancaster Bomber W4113 GP-J
Original Silver Gelatin photograph, c. 1944 19 x 24 cm Published in Aeroplane Magazine, 4 February 1944. Stamped to reverse 'Wanted by 31 Janary' making this the original photograph used by the editing team at Aeroplane; and 'T[emple] P[ress] Ltd'. Photograph in official Air Ministry Second World War Collection, glass plate negative taken by F/O S A Devon. Lancaster B Mark I, W4113 ‘GP-J’, of No. 1661 Heavy Conversion Unit based at Winthorpe, Nottinghamshire, in flight. W4113 was a veteran aircraft having flown on a number of raids with Nos. 49 and 156 Squadrons RAF in 1942 and 1943, and was sent to a Heavy Conversion Unit where airmen were trained to operate the Lancaster. Became 4969M on 9/12/44, being reclassified as a ground instruction aircraft. W4113 took part in the following bombing raids: No. 49 Squadron; 1) Düsseldorf, 15-16/08/42; 2) Osnabrück, 17-18/08/42; 3) Flensburg, 18-19/08/42; 4) Gardening, Bornholm, 20-21/08/42; 5) Kassel, 27-28/08/42; 6) Saarbrücken, 01-02/09/42; 7) Duisburg, 06-07/09/42; 8.) Frankfurt, 08-09/09/42; 9) Bremen, 13-14/09/42; 10) Wilhelmshaven, 14-15/09/42; 11) Gardening, Kattegatt, 18-19/09/42; 12) Wismar, 01-02/10/42; 13) Aachen, 05-06/10/42; 14) Wismar, 12-13/10/42; 15) Kiel, 13-14/10/42; 16) Cologne, 15-16/10/42; 17) Genoa, 22-23/10/42; 18.) Genoa, 07-08/11/42; 19) Hamburg, 09/10/11/42; 20) Genoa, 15-16/11/42; 21) Stuttgart, 22-23/11/42; 22) Turin, 28-29/11/42; 23) Mannheim, 06-07/12/42, 24) 20-21/12/42. No. 156 Squadron.: a) Nuremburg, 25-26/02/43. It was produced in the third production batch of 207 aircraft ordered from A. V. Roe Co., Ltd., as part of Contract No. B69274/40 (as extended) under Works Order No. 7671, W4102-W4140, W4154-W4201, W4230-4279, W4301-W4340 and W4355-W4384. Deliveries commenced 07/42, completed 11/42 (average rate of production, approximately 13 aircraft per week). Merlin XX and XXII engines. Original Contract covered 453 aircraft in this batch but 243 were cancelled (W4385-W4900, W4414-4463, W4481-W4524, W4537-W4385, W4600-W4641 and W4655-W4700). Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. Condition: a couple of old edge tears and creases, visible in image. -
Out of stock
Lancastrian airliner G-AGLF
Original Silver Gelatin photograph, c. 1945 20 x 29 cm Stamped to reverse 'Daily Herald, 2 Chester Street, Oxford Road, Manchester; Copyright photo' In 1945, deliveries commenced of 30 British-built Lancastrians for BOAC. On a demonstration flight on 23 April 1945, G-AGLF flew 13,500 mi (21,700 km) from England to Auckland, New Zealand in three days, 14 hours at an average speed of 220 mph (354 km/h). G-AGLF's last flight was on Sunday 11 May 1947 when it crashed while landing at a pipeline station in the desert between Cairo and Busreh. The Lancastrian was fast, had a long range, and was capable of carrying a heavy load, but space inside was very limited as the Lancaster had been designed with space for its seven crew dispersed throughout the fuselage, and with the majority of the load being carried in the 33 ft (10.05 m) long bomb bay. Consequently, as passengers are bulky but low in weight, it was not suited to carry large numbers of passengers, but was suitable for mail and a small number of VIP passengers. BOAC used it for flights between England and Australia from 31 May 1945. It also served with the RAF; RAF Lancaster I serial number PD328, was converted to a Lancastrian and renamed Aries, as well as serving with Qantas and Flota Aérea Mercante Argentina. Lancastrians were used during the Berlin Airlift to transport petrol; 15 aircraft made over 5,000 trips. In 1946 a Lancastrian operated by BSAA was the first aircraft to make a scheduled flight from the then-newly opened London Heathrow Airport. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. Condition: Marginal creases, a little foxing to reverse -
Out of stock
Lancaster bomber
Original Silver Gelatin photograph, 1944 19 x 24 cm Published in Aeroplane Magazine August 18 1944 p175 Press release label to reverse reads: "CL 561 British Official Photograph: Crown Copyright Reserved. "RAF Bomber Command Lancasters Attack Flying Bomb Bases. On 27.4.44 Lancasters of RAF Bomber Command attacked flying bomb bases in Norther France. Picture shows:- RAF Lancaster flies back to base after bombing flying bomb sites in Northern France." Condition: Generally very good, small loss to top outside image -
Out of stock
Charles E Brown
AVRO Lancaster bomber Radio Operator
Original Silver Gelatin photograph, c. 1944 Stamped to reverse 'Charles E Brown' with address etc. and serial number 14 x 21 cm Charles E Brown was a famous photographer of aircraft whose father was a butcher in Wimbledon, London. Young Charles was given a camera for his 14th birthday and in 1911 photographed an Edwardian gentleman in trouble landing his balloon in neighbouring Southfields. This photograph was published in the Daily Mirror – the fee being half a crown – and Brown was encouraged to join the Daily Mirror’s photography department upon leaving school at 16. Towards the end of the First World War he served with the Royal Air Force at their official London Photographic Centre. Following the war, he took to photographing trains, and captured a famous photograph of a Southern Railway locomotive that was used for the following ten years in railway posters. The income from this allowed him to pursue his passion of aviation photography in the 1920s and 1930s, from which commissions from the Air Ministry and Fleet Air Arm followed. During the war his work included commissions for Aeronautics magazine. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. Condition: Very good -
Out of stock
Charles E Brown (1896-1982)
AVRO Lancaster Bomber in Flight from Tail
Original Silver Gelatin photograph, c. 1944 16 x 21 cm Charles E Brown was a famous photographer of aircraft whose father was a butcher in Wimbledon, London. Young Charles was given a camera for his 14th birthday and in 1911 photographed an Edwardian gentleman in trouble landing his balloon in neighbouring Southfields. This photograph was published in the Daily Mirror – the fee being half a crown – and Brown was encouraged to join the Daily Mirror’s photography department upon leaving school at 16. Towards the end of the First World War he served with the Royal Air Force at their official London Photographic Centre. Following the war, he took to photographing trains, and captured a famous photograph of a Southern Railway locomotive that was used for the following ten years in railway posters. The income from this allowed him to pursue his passion of aviation photography in the 1920s and 1930s, from which commissions from the Air Ministry and Fleet Air Arm followed. During the war his work included commissions for Aeronautics magazine. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. Condition: Very good, old glue marks to reverse -
Out of stock
Charles E Brown (1896-1982)
Three AVRO Lancaster Bombers in Flight
Original Silver Gelatin photograph, c. 1944 16 x 21 cm Photograph 20 June 1942 above Cranwell EM-A EM-C and EM-F of 207 Squadron The RAF info website details the various Lancaster bombers of 207 Squadron. EM-C was a Lancaster I with serial number R5695 . It took off on 25 November 1942 from Langar, on a mission to Haselunne. The pilot was an Alfred Parkyn of the RCAF - whose parents lived in New Jersey. The aircraft was lost without trace and the crew are commemorated on the Runneymede Memorial. EM-A was another Lancaster I with serial number ED604. It took off from Langar on 12 March 1943 on a night mission (with 42% moon) to Essen, piloted by the 22-year-old F/O Michael Doble DFC. It crashed near Bottrop on the outskirts of Essen, with the loss of all its crew who are buried in the Reichswald Forest War Cemetery. Doble's DFC was gazetted on 31 July 1942, following an action in which 12 DFCs and one DSO were awarded. The citation reads: "The KING has- been graciously pleased to approve the following awards in recognition of gallantry displayed in flying operations against the enemy: —On 11th July, 1942, a force of bombers was detailed to make an attack on the submarine works at Danzig. The operation, which necessitated a high degree of skill and fortitude, was undertaken in extremely adverse weather. Despite this, the objective was reached by dusk, carefullyidentified and, in the face of strong oppositionfrom the ground defences, subjected to a most determined attack. Bombs were released at varying heights, some as low as 1,000 feet. Many hits were obtained. Searchlight posts were also machine-gunned and many searchlights extinguished. The success achieved reflects the greatest credit on the following personnel who participated in various capacities as leaders and members of aircraft crews." EM-F was a Lancaster I serial number R5694, piloted by Flight Lieutenant Raymund Joseph Hannan DFC which hit high ground in bad visibility at Easton, Lincs, home-bound from Bad Zwischenahn (Vechta) killing all the crew on 25 November 1942. Hannan was a New Zealander who had served for a year with the RNZAF prior to volunteering in September 1939 for the RAF. Following training he undertook a tour of 29 operations with 49 Squadron in the Handley Page Hampden, and after this served as an instructor in 25 Operational Training Unit. His DFC was gazetted on 24 October 1941. In September 1942 he was posted to 207 Squadron, flying four missions prior to that of 25 November 1942. This latter mission lasted only three hours - probably long enough to reach the Dutch coast and return to the UK, and certainly not long enough for the Luftwaffe aerodrome at Bad Zwischenahn. Upon return to base the aeroplane was unable to land owing to bad weather. It crashed near Goadby Marwood, the local history society of which have published an extensive history of the crew members at https://www.goadby-marwood-history.co.uk/the-crew-of-r5694-em-f . Five of the crew, including Hannan, are buried in St Mary's Churchyard in Bottesford. The crash site was discovered in 2021, a full report here: https://www.goadby-marwood-history.co.uk/_files/ugd/bc525f_aedab371f8794f2eab2c0c9ea9721720.pdf The grave sites of the crew members are detailed here https://aviationtrails.wordpress.com/tag/r5694/ Charles E Brown was a famous photographer of aircraft whose father was a butcher in Wimbledon, London. Young Charles was given a camera for his 14th birthday and in 1911 photographed an Edwardian gentleman in trouble landing his balloon in neighbouring Southfields. This photograph was published in the Daily Mirror – the fee being half a crown – and Brown was encouraged to join the Daily Mirror’s photography department upon leaving school at 16. Towards the end of the First World War he served with the Royal Air Force at their official London Photographic Centre. Following the war, he took to photographing trains, and captured a famous photograph of a Southern Railway locomotive that was used for the following ten years in railway posters. The income from this allowed him to pursue his passion of aviation photography in the 1920s and 1930s, from which commissions from the Air Ministry and Fleet Air Arm followed. During the war his work included commissions for Aeronautics magazine. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. Condition: Generally very good. -
Out of stock
AVRO Lancaster EN-A in Flight
Original Silver Gelatin photograph, 1940s An aircraft of No. 27 Operational Training Unit which was based at RAF Lichfield. The OTUs were the last stage of aircrew training prior to transfer to an operational unit. Crews had already been formed up, and were trained to fly as a crew in the aircraft type they were to fly in combat. Occasionally the OTUs provided aircraft and crews for offensive operations, for example in the first 'Thousand Bomber Raid' on Cologne in May 1942. Loss rates in OTUs were high owing to the combination of the British weather, the crowded airspace, inexperienced crews - and even enemy action. 16 x 21 cm Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. Condition: Very good. -
Out of stock
Charles E Brown (1896-1982)
AVRO Lancasters of 35 Sqdn in Flight
Original Silver Gelatin photograph, 1940s 19 x 27 cm Formed in 1916, the Squadron spent 1917 and 1918 in France flying the FK8. In support of the Spring Offensive of March 1918, it dropped 118 25lb bombs - which would have made up one third of the bombing load of a Lancaster. In 1940 the Squadron was reformed as the first Halifax squadron, pilots including Leonard Cheshire and James Brian Tait - both subsequently of 617 'Dambusters' Squadron. In 1944 the Squadron converted to the Lancasters to be seen in this photograph. Sqd Ldr Alec Panton Cranswick DFC DSO was shot down in 1944 on his 107th bombing mission - a record for any British airman. Following the War, the Squadron engaged in both the Victory flypast over London and a goodwill tour of the United States. Subsequently disbanded and reformed several times, it operated the Boeing Washington, the Canberra, and for twenty years the Vulcan. Charles E Brown was a famous photographer of aircraft whose father was a butcher in Wimbledon, London. Young Charles was given a camera for his 14th birthday and in 1911 photographed an Edwardian gentleman in trouble landing his balloon in neighbouring Southfields. This photograph was published in the Daily Mirror – the fee being half a crown – and Brown was encouraged to join the Daily Mirror’s photography department upon leaving school at 16. Towards the end of the First World War he served with the Royal Air Force at their official London Photographic Centre. Following the war, he took to photographing trains, and captured a famous photograph of a Southern Railway locomotive that was used for the following ten years in railway posters. The income from this allowed him to pursue his passion of aviation photography in the 1920s and 1930s, from which commissions from the Air Ministry and Fleet Air Arm followed. During the war his work included commissions for Aeronautics magazine. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. Condition: Marginal creases, losses, short tear to left edge, very short tear to right edge, generally good, -
Walter Hoyle (1922 - 2000)
King's College, Cambridge (Cambridge Series 1956 - 66)
Linocut 61 x 80 cm Numbered 37/75 lower left, titled below, marked as artist's proof, and signed lower right, all in pencil. A blue- and grey-hued linocut of King's. A version of this print, owned by the Government Art Collection, hangs in the British Embassy in Tunis. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Provenance: ex the Arthur Andersen collection. Condition: generally very good; some gentle and even age toning to paper. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of King's College, Cambridge. -
Out of stock
Charles E Brown (1896-1982)
BSAA Lancastrian G-AGWL 'Star Guide'
Original Silver Gelatin photograph, 1940s 19 x 24 cm Stamped to reverse 'Charles E Brown' with address and 6337-13 reference number. The Lancastrian was developed from the Lancaster bomber with armaments and armour removed, and a new - streamlined - nose. The first batch were made by converting Lancaster bombers, latter batches made from scratch. The Lancaster had been designed to carry bombs rather than passengers, and so the space available meant that whilst the Lancastrian was not suitable for large numbers of passengers it was admirably suited to carrying mail and other perishable goods. G-AGWL ‘Star Guide’ was registered 28/11/45. Its first flight was on 1/2/46 for the Ministry of Supply & Aircraft Production (MoSAP), being delivered in February to British South American Airlines (BSAA) as ‘Star Guide’. In January 1949 it was bought by Flight Refuelling Ltd subsequently being used on the Berlin Airlift and was scrapped 26/9/51 at Tarrant Rushton. Charles E Brown was a famous photographer of aircraft whose father was a butcher in Wimbledon, London. Young Charles was given a camera for his 14th birthday and in 1911 photographed an Edwardian gentleman in trouble landing his balloon in neighbouring Southfields. This photograph was published in the Daily Mirror – the fee being half a crown – and Brown was encouraged to join the Daily Mirror’s photography department upon leaving school at 16. Towards the end of the First World War he served with the Royal Air Force at their official London Photographic Centre. Following the war, he took to photographing trains, and captured a famous photograph of a Southern Railway locomotive that was used for the following ten years in railway posters. The income from this allowed him to pursue his passion of aviation photography in the 1920s and 1930s, from which commissions from the Air Ministry and Fleet Air Arm followed. During the war his work included commissions for Aeronautics magazine. Condition: Generally very good. -
Out of stock
Charles E Brown (1896-1982)
Lancastrian VH742 - The first Jet Airliner
Original Silver Gelatin photograph, 1940s 19 x 24 cm Stamped to reverse 'Charles E Brown' with address and 6140-2 reference number, together with press release reading: "THE FIRST JET LINER "Captain R T Shepherd, Rolls Royce chief test pilot, demonstrating the remarkable performance of the 62,500 lb Avro LANCASTRIAN on the two NENE jets alone. With the two Merlins and their propellors stopped one is struck by the entire absence of visible moving parts. Even more noticeable is the reduced noise and complete lack of vibration." The Lancastrian was developed from the Lancaster bomber with armaments and armour removed, and a new - streamlined - nose. The first batch were made by converting Lancaster bombers, latter batches made from scratch. The Lancaster had been designed to carry bombs rather than passengers, and so the space available meant that whilst the Lancastrian was not suitable for large numbers of passengers it was admirably suited to carrying mail and other perishable goods.First to fly was Lancastrian VH742, delivered to the Rolls-Royce flight development airfield at Hucknall in October 1945. Its outer Merlin engines were removed and the nacelles were also taken away, while the fuel system was completely rebuilt to carry both gasoline for the inner engines and kerosine for the new jets. In the outer positions were added completely new nacelles housing Nene turbojets, then the most powerful jet engines in the world. It flew again on August 14, 1946 with two Merlins and two Nenes.
On September 19, 1946 this aircraft acted as the world's first jet airliner by making three passenger flights carrying representatives of the Press as well as Ministry officials and other passengers (who were all most impressed and suggested that an airline that could offer jet travel would be the talk of the world). Rolls-Royce also flew a second Nene-Lancastrian, VH737, and two Avon-Lancastrians, VM732 and VL970. The latter The first flight of a jet airliner was reported as follows:
"The Nene-Lanc, Flies to Paris "THE flight of the Nene Lancaster from London to Paris last Monday, to play its part in connection with the exhibition, may be said to have marked a historic part in British aircraft development, for it constituted the first time that any jet-powered airliner had flown from one country to another. Moreover, since this particular aircraft has been flying fairly regularly since round about the time of the Radlett exhibition, the flight to Paris was no special performance, but merely one more public demonstration of its inherent reliability. "In the hands of Capt. R. T. Shepherd, chief test pilot for Rolls-Royce, the “Nene-Lanc” landed at Le Bourget at 10.58 a.m., G.M.T., after a 50-minute flight from London Airport, giving an average speed of 247.5 m.p.h. [398.3 kilometers per hour] Two passengers were carried in addition to the crew; they were Mr. Roy Chadwick, the Avro designer, and Mr. R. B. William Thompson, Chief Information Officer of the Ministry of Supply. "Capt. Shepherd said that he was very pleased with the aircraft’s performance and added that, but for having to circle Le Bourget Airport Twice before landing, the flight would have been completed in 43 minutes." FLIGHT and AIRCRAFT ENGINEER, No. 1978. Vol. L., Thursday, November 21st, 1946 at Page 561, Column 2. Charles E Brown was a famous photographer of aircraft whose father was a butcher in Wimbledon, London. Young Charles was given a camera for his 14th birthday and in 1911 photographed an Edwardian gentleman in trouble landing his balloon in neighbouring Southfields. This photograph was published in the Daily Mirror – the fee being half a crown – and Brown was encouraged to join the Daily Mirror’s photography department upon leaving school at 16. Towards the end of the First World War he served with the Royal Air Force at their official London Photographic Centre. Following the war, he took to photographing trains, and captured a famous photograph of a Southern Railway locomotive that was used for the following ten years in railway posters. The income from this allowed him to pursue his passion of aviation photography in the 1920s and 1930s, from which commissions from the Air Ministry and Fleet Air Arm followed. During the war his work included commissions for Aeronautics magazine. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. Condition: Generally very good. -
Out of stock
Lancaster bomber in Green Park
Original Silver Gelatin photograph, 1946 18 x 25 cm Stamped to reverse: "Photograph Supplied by The Topical Press Agency Ltd 20-21 Red Lion Court, Fleet Street" Press release label to reverse reads: "XH - RAF PLANES ON VIEW IN GREEN PARK, LONDON "In connection with the Victory Day celebrations in London, a number of RAF planes have been put on view in Green Park, London. "11/6/1946" Further typewritten note reads: "Lancaster B.III ND677/G KO-X of 115 Sqn. First Lancaster to have MONICA airborne tail warning device. Served with 460 Sqn RAAF, during 1944, went to 49 Sqn in April 1945 and finally to 113 Sqn in September 1945. Scrapped July 1946." ND677 was a veteran of 59 missions. The /G suffix - visible in the photograph - indicates that it must have an armed guard at all times. It was unceremoniously scrapped within a month of being on display to the crowds. Monica was a tail-borne radar device, designed to give the bomber crew warning of the approach of a German fighter in their blind spot. However following the crash in February 1943 of a Monica-equipped Lancaster (just seven days into Monica's operational life) the Germans developed equipment called 'Flensburg'. Introduced in early 1944 it was a homing device, a passive radar receiver which enabled Flensburg-equipped night fighters to locate Allied bombers. In July 1944 a Flensburg-equipped Junkers Ju88-G1 mistakenly landed at Woodbridge aerodrome in Suffolk, following which Monica was rapidly withdrawn from service. Condition: Generally very good. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes.
