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George Bissill, landscape watercolour

£250

George Bissill (1896-1973) Landscape
Watercolour 20 x 28 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This watercolour forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This watercolour depicts a landscape view over fields. Fluffy clouds populate the sky, gentle earthen tones colour the fields and trees mark the horizon. Condition: generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Church View from the Railway, watercolour by George Bissill

£950

George Bissill (1896-1973) Church view from the railway
Watercolour 28 x 40 cm Signed to lower right Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This watercolour forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This watercolour depicts a view of a church from a distance. In the foreground, a railway tunnel peaks out of a gently rolling hill and wooden fences snake across the small fields adjacent to the railway. In the background, the church--which bears a striking resemblance to the medieval Cathedral in Norwich--stands out in the skyline of red roofs. The earthen colours of this composition have a distinctly calming effect, capturing a quiet moment of 20th century life. Condition: generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Countryside View, watercolour by George Bissill

£800

George Bissill (1896-1973) Countryside view
Watercolour & gouache 28 x 40 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This watercolour forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This watercolour depicts a view over the English countryside. It is a striking piece in which Bissill pushes the limits of representation. His brash and impulsive use of gouache against the monochrome palette not only creates structuring highlights in this piece, allowing the viewer to more clearly discern the rural scene with the farmhouse in the background, it also conveys a sense of his gesture and speed of working. It offers, therefore, a unique and unfiltered insight into his creative processes. Condition: generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Farmhouse View, pencil sketch by George Bissill

£200

George Bissill (1896-1973) Farmhouse view
Pencil sketch 18 x 25 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This painting forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This pencil drawing depicts a view over a farmhouse with an adjacent man seemingly chopping wood. In contrast to some of his other sketches, in this work Bissill pays careful attention to the fine detailing of the house, shrubbery and trees. He executes beautiful shading on the trees, capturing the natural shadows of a low sun on a winter's day. Condition: generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Country Lane with Bird of Prey, pencil sketch by George Bissill

£210

George Bissill (1896-1973) Country lane with bird of prey
Pencil sketch 27 x 33 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This painting forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This pencil sketch depicts a view down a country lane. Leafy trees line the path and nearby a bird of prey circles. Bissill captures the peaceful nature of this scene beautifully, where the typically sketched character of the trees suggests a sense of motion, a gentle breeze blowing through the leaves, while the bird of prey catches this breeze in the distance, watching out for movement in the grass down below. Condition: generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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The Village Way, pencil sketch by George Bissill

£250

George Bissill (1896-1973) The Village Way
Pencil sketch 26 x 36 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This painting forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This pencil sketch depicts a view down a village street, houses line a winding road with leafy trees filling the background. Condition: generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Watching Over the Farmhouse in Stow-on-the-Wold, pencil sketch by George Bissill

£250

George Bissill (1896-1973) Watching over the farmhouse in Stow-on-the-Wold
Pencil sketch 25 x 39 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This painting forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This pencil sketch depicts a man watching over a farmhouse in Stow-on-the-Wold, an idyllic town in Gloucestershire located on top of an 800ft hill. This hilly terrain is illustrated in this serene scene, where the faint lines depicting shrubbery rise and fall with the landscape. Condition: generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Tending to the Fences, pencil sketch by George Bissill

£250

George Bissill (1896-1973) Tending to the fences
Pencil sketch 28 x 39 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This painting forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This pencil sketch depicts a man tending to the fences in a woodland area. Bissil's use of strong lines to depict the man's stocky figure is evocative of his earlier paintings and sketches of the miners. It is, however, the beautifully shaded trees that stand out in this sketch, whereby Bissill illustrates the shadows of the trees on the ground and the angle of the sun rays hitting their bark. Condition: generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Lake District View of a U-shaped valley, pencil sketch by George Bissill

£180

George Bissill (1896-1973) Lake District View of a U-Shaped Valley
Pencil sketch 28 x 40 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This painting forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This pencil sketch depicts a view over a U-Shaped Valley in the Lake District. While other peaks dominate the background of this minimalistic sketch, Bissill draws a quaint farmhouse, cradled in the steep slopes of this formerly glacial landscape.

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Four Gloucestershire Cottages, pencil sketch by George Bissill

£250

George Bissill (1896-1973) Four Gloucestershire Cottages Pencil sketch 28 x 38 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This painting forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This pencil sketch depicts a series of four Gloucestershire cottages in Southrop and East Leach. Interestingly a more traditional cottage scene is also drawn to the reverse. Due to the handwriting on this piece not matching Bissill's own, it is likely that Bissill only contributed to this drawing, perhaps most notably in the tree to the right of the cottage.

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Study for Oil Painting- Coombe, Hampshire, pencil sketch by George Bissill

£195

George Bissill (1896-1973) Study for oil painting- Coombe, Hampshire
Pencil sketch 25 x 31 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This sketch forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This pencil sketch depicts a view of a farmhouse, nestled at the foot of some rolling Hampshire hills. Bissill's scrawling writing in the bottom right of the sketch reveal it to be a study for a later oil painting, providing a unique insight into his artistic practices.

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A Moment of Rest, pencil sketch by George Bissill

£250

George Bissill (1896-1973) Four Gloucestershire Cottages
Pencil sketch 28 x 38 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This painting forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This pencil sketch depicts a series of four Gloucestershire cottages in Southrop and East Leach. Interestingly a more traditional cottage scene is also drawn to the reverse. Due to the handwriting on this piece not matching Bissill's own, it is likely that Bissill only contributed to this drawing, perhaps most notably in the tree to the right of the cottage. Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This sketch forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This pencil sketch depicts a series of four Gloucestershire cottages in Southrop and East Leach. Interestingly a more traditional cottage scene is also drawn to the reverse. Due to the handwriting on this piece not matching Bissill's own, it is likely that Bissill only contributed to this drawing, perhaps most notably in the tree to the right of the cottage.

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The New Inn, Willersey, pencil sketch by George Bissill

£225

George Bissill (1896-1973) The New Inn, Willersey
Pencil sketch 25 x 35 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This painting forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This pencil sketch depicts a view down the Main Street in Willersey, Gloucestershire. Rolling hills and trees are discernible in the background, while the sign of the New Inn is sketched into the foreground. The history of the New Inn stretches back to the 17th century and still remains operational today, having conserved the original charm of the building with its beams, flagstone floor and log burning fire-- a true gem of the Cotswolds.

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View of St Peter’s Church, Willersey, pencil sketch by George Bissill

£275

George Bissill (1896-1973) View of St Peter's Church, Willersey
Pencil sketch 25 x 35 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This painting forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This pencil sketch depicts an idyllic view over a village church. Surrounded by beautiful fields and animal grazing, the traditional village church and adjacent cottages stand out within this rural landscape. Whereas the animals and fields have a distinctly sketchy quality to them, Bissill has paid careful attention in his shading and pencil work to capture both the façade of the church and the clean lines of its architecture. Given the architectural similarities and his sketch of the New Inn, evidencing his time spent in Willersey, it seems likely that this sketch depicts the Church of St Peter. A local landmark, this church was built in the 12th century, has a fifteenth century bell tower with traditional pinnacles and gargoyles and is now a grade I listed building. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Field View in North Devon, pencil sketch by George Bissill

£195

George Bissill (1896-1973) Landscape view with barn and church, Devon
Pencil sketch 25 x 35 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This painting forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This pencil sketch depicts a bucolic view of a north Devonshire landscape. In amongst the rolling hills of Devon, traces of rural life are discernible, with a small barn depicted nestled into the hillside. This sketch stands out from his other sketched works as a preliminary study for an oil painting, evidenced by Bissill's labelling of the fields in the background. The sketch offers therefore a unique insight into Bissill's artistic practice. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Landscape View with Barn and Church, Devon, pencil sketch by George Bissill

£225

George Bissill (1896-1973) Landscape view with barn and church, Devon
Pencil sketch 25 x 35 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This painting forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This pencil sketch depicts a bucolic view of a Devonshire landscape. In amongst the rolling hills of Devon, traces of rural life are discernible, with a barn standing prominent in the foreground and the spire of a church peeking above the canopy of trees. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Landscape View, pencil sketch by George Bissill

£195

George Bissill (1896-1973) Landscape view
Pencil sketch 13 x 18 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This painting forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This pencil sketch depicts a bucolic view of an English landscape. Although minimalistic in style, Bissill incorporates subtle details, such as a man at work in what appears to be a small stream adjacent to the farm house. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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View of the Village Church, pencil sketch by George Bissill

£195

George Bissill (1896-1973) View of the village church
Pencil sketch 13 x 18 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This painting forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This pencil sketch depicts a bucolic view of a village. The village church is depicted in the background, with a canal and lock gate in the foreground. This pared-back sketch offers an intriguing insight into Bissill's working process, as the flurry of sketched lines suggest his frenzied efforts to capture this conversely quiet moment of village life. Condition: Generally very good, slight age toning to paper and fold down centre
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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English Rural Scene, watercolour by George Bissill

£650

George Bissill (1896-1973) English rural scene
Watercolour 18 x 28 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This painting forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This watercolour depicts an English rural landscape. Fields with small stablesoccupy the foreground of the painting, while the red roofs of the village are discernible in the background. This watercolour also intriguingly includes a seemingly preparatory sketch of the village church, suspended mid-air and providing a valuable insight into Bissill's working process. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Rural Landscape Scene, watercolour by George Bissill

£1,200

George Bissill (1896-1973) Rural Landscape Scene
Watercolour 39 x 48 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This painting forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This watercolour depicts a rural landscape. Fields occupy the foreground of the painting, while the background is filled with Bissill's fluffy watercolour clouds. Yellow fields suggest a rapeseed crop ready to harvest, bringing with it long and warm summer days. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Algernon Newton, Study for Clare College Cambridge, with King’s College

£3,300

Algernon Newton (1880-1968) Study for Clare College, Cambridge
Pencil and chalk on paper, squared for transfer 15 x 28 cm Algernon Newton was a British landscape artist, known informally as the 'Canaletto of the canals.' Newton studied at Clare College, Cambridge in 1899, deciding however at the end of his final year to leave university and pursue a professional career as an artist. He went on to serve in the army during the First World War and began exhibiting at the Royal Academy in 1919. He also enjoyed a successful international career, exhibiting alongside Picasso, Braque and Chagall in the Carnegie International Exhibition of Painting at Pittsburgh in 1938. In 1926 and 1934, he was also one of the esteemed artists chosen to represent Britain at the Venice Biennale of Art. This study was produced in preparation for the artist's 1946 oil painting of the same subject, shown at the Royal Academy Summer Exhibition the following year. It depicts a view of the Backs, looking over Clare College and King's College, with the chapel figuring prominently in the centre of the study. Algernon's work process is intriguing and the piece has been squared for transfer. Condition: Generally very good, squared for transfer, pinholes and short tear in the bottom left hand corner. For other general views of Cambridge, click here.

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Lone Woodcutter, watercolour by George Bissill

£1,200

George Bissill (1896-1973) 'Lone Woodcutter'
Watercolour 39 x 48 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This painting forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This watercolour depicts a lone woodcutter, preparing timber in a woodland area. The warm colours and soft tones suggest a summer evening, while the strong lines of the man's form evoke Bissill's earlier paintings of miners labouring in the pits. Through his typical paired back style and strong lines, Bissell skilfully achieves what he does so well: the freezing of an everyday moment in time. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Windsor, etching and aquatint by Julian Trevelyan

£1,450

Julian Trevelyan (1910-1988) Windsor
Etching and aquatint, signed, numbered 7/75 35 x 48 cm Nephew of the historian G M Trevelyan, he was educated at Bedales and Trinity College, Cambridge, reading English. Moving to Paris and becoming an artist, studying engraving at Stanley William Hayter’s school he worked alongside artists such as Max Ernst, Joan Miro and Pablo Picasso. Marrying the potter Ursula Darwin in 1934, in 1935 they moved to Hammersmith, buying Durham Wharf beside the River Thames which was Trevelyan’s studio – and home – for the rest of his life. His wartime service was – like so many artists – as a camofleur. A Royal Engineer from 1940-43, he served in North Africa and Palestine, forcing the German Afrika Korps to use resources against a dummy army whilst real tanks were disguised as more harmless equipment. In the desert nothing could be hidden, but it could be disguised. On one occasion however the German Luftwaffe flattened a real installation, leaving only a – dummy – railhead the camofleurs had built. The following day they returned and dropped a wooden bomb on the railhead making it clear they had seen through the disguise. Following the dissolution of his marriage in 1950 he married the painter Mary Fedden. Teaching at Chelsea School of Art Trevelyan eventually became head of the Etching Department and his pupils included David Hockney and Peter Ackroyd. This edition is taken from Trevelyan's 'Thames Suite' and depicts a view of Windsor Castle from the river banks. In this unique etching, Trevelyan expertly captures the surface of the water, highlighted in the texture of the aquatint, where the slightly scrubbed appearance is suggestive of the currents and eddies discernible on the surface of the water. Trevelyan also plays with direction in this etching and his classic tugboats disperse in unexpected directions across the surface of the work, signalling his earlier surrealist tendencies. 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 Julian Trevelyan.

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Holland, etching and aquatint by Julian Trevelyan

£1,250

Julian Trevelyan (1910-1988) Holland
Etching and aquatint, signed, numbered 30/52 35 x 48 cm Nephew of the historian G M Trevelyan, he was educated at Bedales and Trinity College, Cambridge, reading English. Moving to Paris and becoming an artist, studying engraving at Stanley William Hayter’s school he worked alongside artists such as Max Ernst, Joan Miro and Pablo Picasso. Marrying the potter Ursula Darwin in 1934, in 1935 they moved to Hammersmith, buying Durham Wharf beside the River Thames which was Trevelyan’s studio – and home – for the rest of his life. His wartime service was – like so many artists – as a camofleur. A Royal Engineer from 1940-43, he served in North Africa and Palestine, forcing the German Afrika Korps to use resources against a dummy army whilst real tanks were disguised as more harmless equipment. In the desert nothing could be hidden, but it could be disguised. On one occasion however the German Luftwaffe flattened a real installation, leaving only a – dummy – railhead the camofleurs had built. The following day they returned and dropped a wooden bomb on the railhead making it clear they had seen through the disguise. Following the dissolution of his marriage in 1950 he married the painter Mary Fedden. Teaching at Chelsea School of Art Trevelyan eventually became head of the Etching Department and his pupils included David Hockney and Peter Ackroyd. This particular edition depicts a view down one of the grand canals in Holland, where Trevelyan's monochrome use of blue creates a pleasing sense of contrast across this work. An edition of this work is also notably available in the Tate's collection, making this a unique opportunity to own a piece worthy of the Tate's world-famous art collection. Condition: generally very good, slight age toning to paper. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by Julian Trevelyan.

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Two Woodcutters, watercolour by George Bissill

£1,200

George Bissill (1896-1973) 'Two Woodcutters'
Watercolour 29 x 39 cm Born in 1896, George Bissill was a British miner, painter and furniture designer. Raised in the mining village of Langley Mill, Derbyshire, Bissill became a miner at the age of 13, before leaving to join the war effort in 1915. Upon his return from the war after being gassed, Bissill chose to become a pavement artist outside the newly erected Bush House in Aldwych, painting from his memory and his sketch book the uncompromising underground world he had inhabited. In 1935 he moved to the countryside near Newbury, where he lived and worked as a landscape painter, art restorer and dealer until his death in 1973. This painting forms part of a larger collection, 'unseen since they were taken from George Bissil's studio in 1983' and restored by Kate Pattinson. A series of planned exhibitions were cancelled due to Covid, but two shows, one in Oxford and one in Ilkeston, did take place. Through such exhibitions, Pattinson hoped to 'restore the reputation of an artist who, through mighty endeavour, conquered the art world in the 1920s with his powerful, authentic and experimental pictures.' Bissill's paintings are also held in a number of important public collections, including the Tate Gallery, National Museum of Ireland and the Manchester Art Gallery. This watercolour depicts two woodcutters, preparing timber in a woodland area. The cool colours and leafless trees suggest a wintry scene, while the men at work evoke Bissill's earlier paintings of miner's labouring in the pits. Through his typical paired back style and strong lines, Bissell skilfully achieves what he does so well: the freezing of an everyday moment in time. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Warning- be on your guard, original vintage Second World War poster,

£500

Original vintage Second World War poster 'Warning, be on your guard' Lithograph 38 x 25 cm 'Warning, be on your guard. Thousands of lives were lost in the last war because valuable information was given away to the enemy through careless talk.' In the Second World War, enemy espionage, spy networks and secret operations seemed a real and ever-present danger. As a result, this Second World War poster was produced as part of a propaganda drive warning against careless talk that could lead to damaging information leaks. The poster itself is paired back, featuring black text on a white background with a red crown above, in the style of the 'Keep Calm and Carry on' posters. Condition: Generally very good, few old soft creases.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Moored Barges, watercolour

£750

Moored Barges Watercolour 23 x 32 cm C.1900 This watercolour depicts two onlookers, perhaps a grandfather and granddaughter, watching over the moored barges in a canal. Although the location of this painting is unknown, the presence of horse-drawn barges and larger sailing vessels suggests that the setting may be situated at the confluence between a canal and the sea. The gentle terracotta tones of the roofs and footpath contribute a certain serenity to this otherwise industrial scene, as the artist successfully captures the aura of this early 20th century scene. Condition: Generally very good, mounted to board.
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Leigh Woods, watercolour

£900

Leigh Woods Watercolour 38 x 27 cm Wintry watercolour of Leigh Woods, Bristol. Oranges and brown stand out in the undergrowth and the transition from cool blues to yellow and pink hues across the painting evokes a gentle sunrise on a misty morning. Condition: Generally very good.
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Delineations of British Field Sports, by Samuel Alken Jr.

£6,500

Samuel Alken Delineations of British Field Sports Lithograph series 25 x 42 cm Samuel Alken Jr. (1784–1825) was a British artist and engraver, part of the prominent Alken family of painters and engravers, known for their sporting and hunting scenes. He was the son of Samuel Alken Sr. and contributed significantly to the family's artistic legacy. Like his father, Alken Jr. worked primarily in engraving and painting, specialising in aquatint and other printmaking techniques. In-keeping with family tradition, Alken Jr. often depicted sporting subjects such as horse racing, hunting, and other outdoor pursuits in his engravings and paintings. As such, his works have been praised for their dynamic composition and attention to detail. This lithograph series originally featured in 'Delineations of British Field Sports - Together with the various methods of painting. A series published by Alken's in 1822, the coloured issue ranks as one of the rarest sporting books of the period. There is only one record of a second coloured copy, which is 'untraceable' according to Schwerdt. Schwerdt also notes that the vigorous style of these plates made them eminently suitable for framing, and accounts in part for their rarity; 'twenty years' search has not enabled us to make up a complete set'. This extensive series comprises (as pictured): Death of the Fox Gamekeepers shooting a buck Race Horses in Training Poachers Netting Partridges Coursing the Hare Drawing the Badger Death of the Hare Pheasant Poaching Stag Hunting Coursing scene. Condition: Generally very good. If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Poachers Ferreting Rabbits, watercolour after Samuel Alken Jnr.

£900

Samuel Alken Coursing Scene Watercolour on green-grey wove paper Probably a contemporary copy of a rabbiting plate Bears signature to bottom left 25 x 42 cm Samuel Alken Jr. (1784–1825) was a British artist and engraver, part of the prominent Alken family of painters and engravers, known for their sporting and hunting scenes. He was the son of Samuel Alken Sr. and contributed significantly to the family's artistic legacy. Like his father, Alken Jr. worked primarily in engraving and painting, specialising in aquatint and other printmaking techniques. Inkeeping with family tradition, Alken Jr. often depicted sporting subjects such as horse racing, hunting, and other outdoor pursuits in his engravings and paintings. As such, his works have been praised for their dynamic composition and attention to detail. This particular edition depicts a trio of men poaching rabbits in the countryside. One dog buries into the rabbit burrow, another dog waits eagerly for its master's command, other dogs rush around, excited by the kill. The painting originally featured in 'Delineations of British Field Sports - Together with the various methods of painting. A series published by Alken's in 1822, the coloured issue ranks as one of the rarest sporting books of the period. There is only one record of a second coloured copy, which is 'untraceable' according to Schwerdt. Schwerdt also notes that the vigorous style of these plates made them eminently suitable for framing, and accounts in part for their rarity; 'twenty years' search has not enabled us to make up a complete set'. Condition: Probably a contemporary copy of the rabbiting plate. If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Coursing Scene, etching by Samuel Alken jr.

£500

Samuel Alken Coursing Scene Lithograph with hand colouring 25 x 42 cm Samuel Alken Jr. (1784–1825) was a British artist and engraver, part of the prominent Alken family of painters and engravers, known for their sporting and hunting scenes. He was the son of Samuel Alken Sr. and contributed significantly to the family's artistic legacy. Like his father, Alken Jr. worked primarily in engraving and painting, specialising in aquatint and other printmaking techniques. Inkeeping with family tradition, Alken Jr. often depicted sporting subjects such as horse racing, hunting, and other outdoor pursuits in his engravings and paintings. As such, his works have been praised for their dynamic composition and attention to detail. This particular edition depicts greyhounds closing in on a hare. Unable to keep pace, the huntsmen follow behind on horses. Rolling hills and greenery form the background of this etching, where the hand colouring captures the gentle hues of this landscape. Condition: Generally good, mounted to board, even toning to paper
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Windsor Castle and Eton College with Punting Scholars, 19th Century drawing

£450

S.R.E

Windsor Castle and Eton College with punting scholars, 19th Century drawing
Pencil drawing 25 x 42 cm Signed and dated to bottom right Nineteenth-century pencil drawing of Windsor Castle and Eton College, dated to 1820. Fine details including a punt of scholars and men fishing on the riverbanks are also depicted in the foreground. Generally very good, glued to mount (sold with frame), a few soft creases.
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St Barnabus, cartoon for stained glass window, design by A E Lemmon

£950

A E Lemmon St Barnabus
Cartoon for stained glass window 111 x 33 cm Albert Edward Lemmon (1889-1963) was a British artist and craftsman renowned for his contributions to stained glass and ecclesiastical art in the Midlands. Between 1903 and 1909, Lemmon trained at the Birmingham School of Art, before becoming an assistant to A. J. Davies in 1911 in the stained glass studio at the Bromsgrove Guild, a prominent collective of artists and designers. In 1927, Lemmon established his own studio, where he would go on to design over sixty stained glass windows, countless 'leaded lights' and a wide variety of ecclesiastical and decorative items until his death in 1963. Further details about the life and work of A E Lemmon are available in 'A E Lemmon (1889-1963), Artist and Craftsman' by Roy Albutt. As part of the stained glass making process, artists produce a full-sized drawing of their window design, showing the exact size and shape of all the pieces of glass, their colour and the sizes of the lead. This depiction of St Barnabus was produced for a stained glass window to be hung in Birmingham Children's Hospital. The window itself was later destroyed in the Second World War, leaving this cartoon as a unique, one-of-a-kind historical vestige. Condition: Generally very good, has some marks where commensurate with the production processes of stained glass, small loss approx 1cm x 1cm below the S of Barnabus.
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Watercolour of the Thames and Tower Bridge by Cecil King

£1,200

Cecil King (1881-1942)

The Thames and Tower Bridge
Watercolour 26 x 37 cm Cecil King was a British painter. He studied at the Goldsmiths’ Institute College School of Art, the Westminster School of Art, and in Paris with Jean-Paul Laurens and Théophile Steinlen. King notably competed in the art competition of the 1928 Summer Olympics held in Amsterdam. The 1928 competition went down in Olympic memory as being particularly well celebrated, spanning multiple categories, art competitions were, however, part of the Olympic programme between 1912 and 1948. This particular watercolour depicts London industrial docks with the Thames and Tower Bridge in the background, capturing the unique atmosphere of London in the early 20th century.

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Lull Between Raids, Second World War drawing by Cecil Keeling

£800

Cecil Keeling Lull Between Raids Pen, ink and wash 22 x 16 cm Initialled lower right This poignant work depicts a quiet moment between raids. Three soldiers sit in a row at ease. One is reading the paper, perhaps searching for news from home, one is looking out to the distance, and one is sleeping, probably exhausted from night raids. In this typically thoughtful representation of life in the trenches, Keeling captures the banality of life at war, the daily cycle of terror interspersed with sporadic lulls. Cecil Keeling (1912-1976) was an English designer and illustrator and was known for his diverse artistic techniques, including scraperboard, lithography, linocuts, and wood engravings. He studied at the Putney School of Art, before continuing his studies at the Chelsea School of Art. His work is generally characterised by a blend of traditional and modern techniques, reflecting his adaptability and creative range. He is remembered for his keen attention to detail and a deep appreciation for the subjects he depicted. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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The Voice of Authority, Second World War drawing by Cecil Keeling

£800

Cecil Keeling The Voice of Authority Pen, ink and wash 22 x 18 cm Signed lower right This poignant work depicts a British soldier, stripped down to his underwear, being inspected by a senior officer. The contrast between the two men, one wrapped up in an oversized trench coat, the other wearing only his military cap and his underwear, highlights the dehumanising and humiliating nature of the situation. Despite this, the British soldier stands tall and proud, Keeling thus captures the resilience of his subject's character, refusing to demean him. The illustration was published on page 97 in Keeling's autobiographical work 'Pictures from Persia' which details his experiences in the desert during the Second World War. The title 'The Voice of Authority' is repeatedly used in the book for the illustrations, be it of a senior officer addressing a soldier, a man addressing a dog, or, as here. Cecil Keeling (1912-1976) was an English designer and illustrator and was known for his diverse artistic techniques, including scraperboard, lithography, linocuts, and wood engravings. He studied at the Putney School of Art, before continuing his studies at the Chelsea School of Art. His work is generally characterised by a blend of traditional and modern techniques, reflecting his adaptability and creative range. He is remembered for his keen attention to detail and a deep appreciation for the subjects he depicted. Condition: Generally very good, mounted to board, sheet gentle creases, colour very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Taking Cover, Second World War drawing by Cecil Keeling

£800

Cecil Keeling Taking cover in the trenches Pen, ink and wash 20 x 26 cm Initialled lower right This poignant work depicts three soldiers sheltering from a raid in the trenches. As searchlights illuminate the night sky, two of the men shield their ears, seemingly bracing themselves for the horrors of the night, while the third looks to the side, as if something has caught his attention. While the fear of the two men is palpable, the other man--wrapped up in his blanket, looking into the distance--seems numbed to the conflict around him. Perhaps based on his personal experiences of serving in the Middle East, Keeling powerfully captures the subtlety of emotions of his subjects and thereby uniquely represents the experience of war. Cecil Keeling (1912-1976) was an English designer and illustrator and was known for his diverse artistic techniques, including scraperboard, lithography, linocuts, and wood engravings. He studied at the Putney School of Art, before continuing his studies at the Chelsea School of Art. His work is generally characterised by a blend of traditional and modern techniques, reflecting his adaptability and creative range. He is remembered for his keen attention to detail and a deep appreciation for the subjects he depicted. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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View of All Souls College from Oxford High Street, by G F Nicholls

£680

G F Nicholls Early 20th century view of Oxford Gouache 36 x 28 cm Signed to lower left George Frederick Nicholls (1857–1939) was a British painter renowned for his topographical artworks, particularly those depicting the landscapes of Cornwall, the Cotswolds, and Oxford. His works are characterised by strong technique and his ability to capture light and typically depict picturesque views over rural England. His art continues to be appreciated today for its detailed representation of early 20th-century British landscapes. Nicholls painted this gouache of All Souls College from Oxford high street in the early 20th century. It captures the bustle of everyday city life, with a car trundling down the street, people crossing the road and engaging in some light window shopping. Condition: Generally very good
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of All Souls College, click here.

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Antwerp, Cathedral of our Lady, watercolour by Sir Albert Richardson PRA

£600

Sir Albert Richardson PRA Architectural Study of the Cathedral of Our Lady, Antwerp Watercolour 33 x 20 cm Signed and dated 1963. Sir Albert Edward Richardson (1880–1964) was a distinguished British architect, teacher, and historian, known for his deep reverence for classical design principles and his pivotal contributions to architecture during the 20th century. He was a prolific figure whose work and writings championed traditional architectural forms amidst the rise of modernism. Sir Albert Richardson's involvement with Antwerp is less well-documented and less prolific than his contributions in other areas, such as Dieppe or his architectural work in Britain. However, as in the other cities, he remained captivated by the architecture of Antwerp and produced numerous studies, including this watercolour of the Cathedral of Our Lady, during his time there. Condition: Generally very good, slight age toning to paper.
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Watercolour of Dieppe Cathedral, by Sir Albert Richardson PRA

£450

Sir Albert Richardson PRA Architectural Study of Dieppe Cathedral
Watercolour & Pencil 27 x 17 cm Signed bottom left and dated 1956 to bottom right. Sir Albert Edward Richardson (1880–1964) was a distinguished British architect, teacher, and historian, known for his deep reverence for classical design principles and his pivotal contributions to architecture during the 20th century. He was a prolific figure whose work and writings championed traditional architectural forms amidst the rise of modernism. Richardson was captivated by the charm of Dieppe, its historic architecture, and its position as a cultural hub. He saw the town as a rich repository of architectural styles, particularly French Baroque and Rococo, which complemented his interest in classical and historical design. As with other towns, he played an active role in efforts to preserve and document Dieppe’s architectural heritage. While in Dieppe, Richardson produced numerous sketches and drawings of Dieppe’s streetscapes, detailing its historic buildings, market squares, and coastal landscapes. Such works remain valuable as a record of the town’s architectural history. The work pictured here is one such example of Richardson's Dieppe sketches. The terracotta coloured roof of Dieppe cathedral stands out in watercolour against the pencil sketching of the ornate masonry details, meanwhile townsfolk are sketched into the foreground, wandering down the impressive street. Richardson blends the daily life of the city with the monumental architecture that has become part of its landscape. In doing so, he highlights the historical and architectural significance of this area.

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Second World War pamphlet, Birth of a Bomber

£1,400

Birth of a Bomber
Photographic reproduction, 12 large plates c. 1940 38 x 40 cm 'This is the story of the production of the Handley-Page "Halifax" heavy bomber. The Air Ministry of Aircraft production tell the manufacturers what kind of aircraft they want, and what they require it to do. First comes the design which has to be worked out in all its details by large numbers of designers and draughtsmen.' Produced by the Ministry of Information, this striking brochure showcases an engineer hard at work designing a Halifax heavy bomber. The Halifax bomber was first introduced to combat in November 1940, three months after the first bombing raid in Germany took place. Throughout the war, both the Halifax and Lancaster bombers proved themselves as steadfast four-engine military planes. This poster goes some way to demystify the processes that went into its design and manufacturing, and the original photo belongs to a larger archive--now at the Imperial War Museum--documenting the production of such aircraft.

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Engraved 18th century View of Cambridge

£350

18th Century View of Cambridge
Engraving 15 x 20 cm This detailed engraving captures an 18th century view of Cambridge from the West. Green expanses dominate the piece, featuring scholars pictured resting or wandering in the foreground. In the background, the Cambridge skyline is clearly visible, where the view over the Backs is unmistakeable. From King's College Chapel, to Trinity's world famous Wren Library, Great St Mary's Church and the medieval spire of Queen's College, many of the historical Cambridge landmarks still recognisable today are to be found in this intriguing composition. Condition: Generally very good, some age toning to paper. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. For other views of Cambridge, click here.

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British Light Tanks, Second World War painting

£1,850

Vivan Bewick British light tanks
Gouache 17 x 25 cm This striking gouache depicts two British light tanks in formation. Bewick captures the details of these vehicles seemingly with ease, using contrasts between lighter and darker colours to create a sense of depth. In this unique composition, he also exploits gouache as a medium, exploiting its opaqueness as he depicts the tanks whipping up the sand beneath them. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals. While fulfilling his military duties in the Royal Artillery during the Second World War, Bewick maintained his artistic pursuits. He contributed to the wall-newspaper "Swillbin," a tradition from the First World War, and designed army Christmas cards. Additionally, he illustrated technical manuals and conducted art classes and exhibitions, with critiques by James Bateman R.A. After the war, Bewick continued his artistic education and career, spending five years at St. Martin’s School of Art and London University. He also engaged in part-time teaching of adults in art clubs, societies, and colleges and exhibited at the Royal Academy, the Paris Salon, the Royal Institute of Painters in Watercolours, and the Royal Society of British Artists. Condition: Generally very good, slight age toning, mounted to board. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.

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Night Must Fall, original vintage book cover design by Vivian Bewick

£295

Vivian Bewick Night must fall, original vintage book cover
Gouache 24 x 16 cm Signed to reverse This vibrant work was originally a book cover design for the play 'Night Must Fall' by Emlyn Williams. This psychological thriller follows the story of a charming yet mysterious young man named Dan, who takes a job as a caregiver for Mrs. Bramson, an irritable and wealthy elderly woman living in a secluded English countryside home. Despite his charisma, Dan harbours a dark secret, as he is revealed to be a murderer. This striking composition features Bewick's characteristically masterful use of silhouette to create an effect of suspense and tension, in-keeping with the themes of the play. The bright colours against dark gouache make this piece stand out and notably distinguish it as a beautiful work within Bewick's extensive oeuvre. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals.

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Legend meets the Second World War: Allegory of St Michael Slaying the Dragon, gouache by Vivian Bewick

£1,850

Vivian Bewick Allegory of St Michael slaying the Dragon
Gouache 22 x 13 cm Signed to reverse along with the Golden Hinde, probably for publication in Swillbin or similar. This gouache depicts a striking allegory of St Michael slaying the dragon. In this configuration a valiant soldier stands in for St Michael as he stakes a spear through the heart of Hitler, and therefore fascism. Bold lines, colour and strong forms tell a story, bringing this work to life and distinguishing it from Bewick's other pieces. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals. While fulfilling his military duties in the Royal Artillery during the Second World War, Bewick maintained his artistic pursuits. He contributed to the wall-newspaper "Swillbin," a tradition from the First World War, and designed army Christmas cards. Additionally, he illustrated technical manuals and conducted art classes and exhibitions, with critiques by James Bateman R.A. After the war, Bewick continued his artistic education and career, spending five years at St. Martin’s School of Art and London University. He also engaged in part-time teaching of adults in art clubs, societies, and colleges and exhibited at the Royal Academy, the Paris Salon, the Royal Institute of Painters in Watercolours, and the Royal Society of British Artists. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.

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Second World War painting, British Valentine Tank II

£450

Vivan Bewick British Valentine Tank
Gouache 6 x 9 cm Signed to the reverse. This striking miniature gouache depicts a British Valentine tank rolling through the desolate no man's land with two other tanks rolling in the background. Bewick produced this gouache as for the 'tank-recognition' series in Swill-bin. Swill-bin was a wall-newspaper produced by soldiers; it originated in the First World War and was revived once again during the Second World War. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals. While fulfilling his military duties in the Royal Artillery during the Second World War, Bewick maintained his artistic pursuits. He contributed to the wall-newspaper "Swillbin," a tradition from the First World War, and designed army Christmas cards. Additionally, he illustrated technical manuals and conducted art classes and exhibitions, with critiques by James Bateman R.A. After the war, Bewick continued his artistic education and career, spending five years at St. Martin’s School of Art and London University. He also engaged in part-time teaching of adults in art clubs, societies, and colleges and exhibited at the Royal Academy, the Paris Salon, the Royal Institute of Painters in Watercolours, and the Royal Society of British Artists. Condition: Generally very good, save small brown mark top left. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.

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Second World War painting, Soviet T-34/76 Tank

£450

Vivan Bewick German Panzerkampfwagen III
Gouache 6 x 9 cm Signed to the reverse. This striking miniature gouache depicts a Soviet T-34/76 powering through a mountainous snowscape. The T-34/76 had a truly long lasting impact on the battlefield, with an impressive balance of firepower, armour protection and mobility. Bewick produced this gouache as for the 'tank-recognition' series in Swill-bin. Swill-bin was a wall-newspaper produced by soldiers; it originated in the First World War and was revived once again during the Second World War. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals. While fulfilling his military duties in the Royal Artillery during the Second World War, Bewick maintained his artistic pursuits. He contributed to the wall-newspaper "Swillbin," a tradition from the First World War, and designed army Christmas cards. Additionally, he illustrated technical manuals and conducted art classes and exhibitions, with critiques by James Bateman R.A. After the war, Bewick continued his artistic education and career, spending five years at St. Martin’s School of Art and London University. He also engaged in part-time teaching of adults in art clubs, societies, and colleges and exhibited at the Royal Academy, the Paris Salon, the Royal Institute of Painters in Watercolours, and the Royal Society of British Artists. Condition: Generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.

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Second World War painting, German Panzerkampfwagen III

£450

Vivan Bewick German Panzerkampfwagen III
Gouache 6 x 9 cm Signed to the reverse. This striking miniature gouache depicts a German Panzerkampfwagen III, commonly known as the Panzer III, rolling through a desert landscape. Bewick produced this gouache as for the 'tank-recognition' series in Swill-bin. Swill-bin was a wall-newspaper produced by soldiers; it originated in the First World War and was revived once again during the Second World War. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals. While fulfilling his military duties in the Royal Artillery during the Second World War, Bewick maintained his artistic pursuits. He contributed to the wall-newspaper "Swillbin," a tradition from the First World War, and designed army Christmas cards. Additionally, he illustrated technical manuals and conducted art classes and exhibitions, with critiques by James Bateman R.A. After the war, Bewick continued his artistic education and career, spending five years at St. Martin’s School of Art and London University. He also engaged in part-time teaching of adults in art clubs, societies, and colleges and exhibited at the Royal Academy, the Paris Salon, the Royal Institute of Painters in Watercolours, and the Royal Society of British Artists. Condition: Generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.

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Second World War painting, British Valentine Tank

£450

Vivan Bewick British Valentine Tank
Gouache 6 x 9 cm Signed to the reverse. This striking miniature gouache depicts a British Valentine tank rolling through the no man's land at night. Bewick produced this gouache as for the 'tank-recognition' series in Swill-bin. Swill-bin was a wall-newspaper produced by soldiers; it originated in the First World War and was revived once again during the Second World War. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals. While fulfilling his military duties in the Royal Artillery during the Second World War, Bewick maintained his artistic pursuits. He contributed to the wall-newspaper "Swillbin," a tradition from the First World War, and designed army Christmas cards. Additionally, he illustrated technical manuals and conducted art classes and exhibitions, with critiques by James Bateman R.A. After the war, Bewick continued his artistic education and career, spending five years at St. Martin’s School of Art and London University. He also engaged in part-time teaching of adults in art clubs, societies, and colleges and exhibited at the Royal Academy, the Paris Salon, the Royal Institute of Painters in Watercolours, and the Royal Society of British Artists. Condition: Generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.

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Second World War painting, British Matilda Tank

£450

Vivan Bewick British Matilda Tank
Gouache 6 x 9 cm Signed to the reverse. This striking miniature gouache depicts a British Matilda tank rolling through the bleak no man's land. Bewick produced this gouache as for the 'tank-recognition' series in Swill-bin. Swill-bin was a wall-newspaper produced by soldiers; it originated in the First World War and was revived once again during the Second World War. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals. While fulfilling his military duties in the Royal Artillery during the Second World War, Bewick maintained his artistic pursuits. He contributed to the wall-newspaper "Swillbin," a tradition from the First World War, and designed army Christmas cards. Additionally, he illustrated technical manuals and conducted art classes and exhibitions, with critiques by James Bateman R.A. After the war, Bewick continued his artistic education and career, spending five years at St. Martin’s School of Art and London University. He also engaged in part-time teaching of adults in art clubs, societies, and colleges and exhibited at the Royal Academy, the Paris Salon, the Royal Institute of Painters in Watercolours, and the Royal Society of British Artists. Condition: Generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.

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Second World War painting, Anti-Aircraft Battery in Action

£1,850

Vivan Bewick Anti-aircraft battery in action
Gouache 28 x 20 cm Signed and dated in bottom left hand corner. This striking gouache depicts an anti-aircraft battery in action: shots are being fired, smoke is billowing, the night sky is illuminated by the flashes of artillery. Through his skilful creation of silhouettes, Bewick fosters an undeniable feeling of suspense, as is characteristic of his wartime work. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals. While fulfilling his military duties in the Royal Artillery during the Second World War, Bewick maintained his artistic pursuits. He contributed to the wall-newspaper "Swillbin," a tradition from the First World War, and designed army Christmas cards. Additionally, he illustrated technical manuals and conducted art classes and exhibitions, with critiques by James Bateman R.A. After the war, Bewick continued his artistic education and career, spending five years at St. Martin’s School of Art and London University. He also engaged in part-time teaching of adults in art clubs, societies, and colleges and exhibited at the Royal Academy, the Paris Salon, the Royal Institute of Painters in Watercolours, and the Royal Society of British Artists. Condition: Generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.

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Second World War painting, Anti-Tank Gun in Action, by Vivian Bewick

£2,150

Vivan Bewick Anti-tank gun in action
Gouache 24 x 32 cm Signed and dated to lower right. This striking gouache depicts, according to the artist, 'an anti-tank gun, with Australian crew, on the road to Damascus with a Vichy tank burning in the background.' The low-level angle and side profile of the soldiers creates a sense of drama, with the rimmed hat of the standing soldier recalling the Wild West, lending a certain heroic quality to this piece. With the heavy billowing smoke and the men poised to shoot, Bewick masterfully captures a moment of wartime suspense. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals. While fulfilling his military duties in the Royal Artillery during the Second World War, Bewick maintained his artistic pursuits. He contributed to the wall-newspaper "Swillbin," a tradition from the First World War, and designed army Christmas cards. Additionally, he illustrated technical manuals and conducted art classes and exhibitions, with critiques by James Bateman R.A. After the war, Bewick continued his artistic education and career, spending five years at St. Martin’s School of Art and London University. He also engaged in part-time teaching of adults in art clubs, societies, and colleges and exhibited at the Royal Academy, the Paris Salon, the Royal Institute of Painters in Watercolours, and the Royal Society of British Artists. Condition: Generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.

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Montezumas Daughter, original vintage book cover design by Vivian Bewick

£295

Vivian Bewick Montezumas Daughter, original vintage book cover
Wash and gouache 34 x 28 cm This work was originally a book cover design for the historical adventure novel 'Montezumas Daughter' by the Victorian writer Sir Henry Rider Haggard. The cover depicts two men, presumably including the protagonist Harry Thurston, engaged in a duel. As one of the subjects falls across the cover, his hand reaching helplessly outwards, Bewick alludes to the tragic themes explored in this intriguing novel exploring colonialism and the Spanish Inquisition. On the reverse of this cover, Bewick personally wrote the medium and his address at Buckhurst Hall, rendering it a unique addition to any collection. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals.

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Leopold of Habsburg, original vintage book cover design by Vivian Bewick

£295

Vivian Bewick Leopold von Habsburg, original vintage book cover
India ink and body colour 30 x 26 cm This work was originally a book cover design for the biography on Leopold Habsburg by the esteemed British author and biographer C.E. Vulliamy (1886–1971). It showcases the title of the work in a bold font with the Habsburg crest resplendent in gold in the background. Bewick personally wrote the medium and his address at Buckhurst Hall on the reverse of this cover, rendering it a unique piece for any collection. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals. Condition: Generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.

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Second World War drawing of a Searchlight Battery, Vivan Bewick

£2,150

Vivan Bewick Searchlight Battery Pencil and gouache 22 x 13 cm Signed and dated to lower left. This striking multimedia composition depicts two operators working as part of a searchlight battery, a specialised unit tasked with operating the powerful searchlights in the air defence systems of the Second World War. His use of clean horizontal and perpendicular lines gives a certain depth to this unique work. In addition to this, the contrast between Bewick's use of dark gouache and the white of the flash lights creates a strong impression of illumination, making this piece stand out in any room. Vivian Bewick (1912–1999) was a British artist and educator, notable for his contributions to mid-20th-century art and his role as a tutor at the Buckhurst Hill Community Association (BHCA). He was also a descendant of Thomas Bewick, the renowned 19th-century engraver celebrated for his depictions of birds and animals. While fulfilling his military duties in the Royal Artillery during the Second World War, Bewick maintained his artistic pursuits. He contributed to the wall-newspaper "Swillbin," a tradition from the First World War, and designed army Christmas cards. Additionally, he illustrated technical manuals and conducted art classes and exhibitions, with critiques by James Bateman R.A. After the war, Bewick continued his artistic education and career, spending five years at St. Martin’s School of Art and London University. He also engaged in part-time teaching of adults in art clubs, societies, and colleges and exhibited at the Royal Academy, the Paris Salon, the Royal Institute of Painters in Watercolours, and the Royal Society of British Artists. Condition: Generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.

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Les Champs de Neige de Val d’Isère, original vintage skiing poster

£995

Les champs de neige de Val d'Isère Original vintage skiing poster
Lithograph 60 x 40 cm Vintage travel poster for the popular Val d'Isère ski resort. Includes an illustration of a group of skiers looking over the peaks of the snowy alps. Originally produced for the French tourist board. Condition: very good If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage travel posters.

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Vintage Poster, Join the School Saving Bank

£95

Join the School Saving Bank Vintage poster, lithograph
36 x 25 cm Printed 1967, numbered 4/67 The post-war period in the United States saw the growth of the school savings bank movement, in which children were encouraged to save money by opening and regularly depositing into savings bank accounts through the school. This poster was presumably designed to be hung in classrooms across the country. Showcasing a colourful minimalist design, this poster features a circle with the slogan 'Join the School Saving Bank' in a configuration that recalls the face of a coin,

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Second World War Lancaster Bomber photograph, by Charles E. Brown

£350

Charles E. Brown Lancaster bomber, G for George
Silver gelatine photograph 21 x 14 cm This striking black and white photograph by Charles E. Brown showcases the magnificent Lancaster bomber, G for George W4783. Unlike many of Brown's other photographs of aeroplanes mid-air, G for George is parked. The viewer is treated to a unique view through the cockpit, with the steering wheel and aircraft controls clearly in view. In general, Lancaster bombers were used as British heavy bombers in the Second World War. G for George is, however, of particular note as the second most prolific operational bomber; most operational Lancasters were shot down after 20 sorties whereas G for George survived 90 before being retired. It is now preserved at the Australian War Memorial in Canberra. Charles E. Brown (1896-1982) was a British commercial aviation photography whose career spanned both World Wars. He worked primarily for British newspapers, the aviation industry and as a freelance commercial photographer with official accreditation as a war correspondent. He retired as an aviation photographer in 1964 and the Royal Airforce Museum has preserved his aviation archive of 30,000 images since 1978.

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Venice, Santa Maria della Salute c.1920, etching by John Chaplain

£195

John Chaplain

Venetian View of Santa Maria della Salute
Etching and aquatint 14 x 18 cm Signed in bottom left and right hand corners. View of Santa Maria della Salute from Riva degli Schiavani with the statue of King Emmanuel II, created c.1920. Condition: Generally very good, some age toning but only to margins.

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View of Durham Cathedral from Palace Green by Sir Albert Richardson PRA (Copy)

£1,850

Sir Albert Richardson PRA Panoramic view across Durham
Monochrome Wash 22 x 33 cm A unique monochrome wash composition depicting a panoramic view across the Durham skyline. Richardson painted this view of Durham Cathedral, potentially from where Milburngate Bridge now stands. Rolling hills and church spires populate the foreground, while the magnificent cathedral looms over the rest of the city. Sir Albert Richardson (1880-1964) was a leading architect, teacher and architectural historian in the 20th century. In Durham, he is best known for his involvement in the designs of Durham University's buildings and for his work on the Durham Castle and Cathedral area. Richardson's contributions were part of a broader movement of restoring and enhancing historical buildings, while also integrating new designs that respected the local architectural style. He was notably part of a wider team of architects and restorers who worked to maintain the cathedral's status as a UNESCO World Heritage site. Condition: Generally very good, some age toning and a little faint spotting to paper, painted on rough Whatman.

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Durham Cathedral, view from Palace Green by Sir Albert Richardson PRA

£1,850

Sir Albert Richardson PRA View of Durham Cathedral from Palace Green
Watercolour with pen and gouache 21 x 25 cm A unique multimedia composition depicting the magnificent Durham Cathedral from Palace Green. Richardson's use of gouache produces splashes of colour, introducing the luscious greenery of this World Heritage Site into this work, bringing the composition to life. Sir Albert Richardson (1880-1964) was a leading architect, teacher and architectural historian in the 20th century. In Durham, he is best known for his involvement in the designs of Durham University's buildings and for his work on the Durham Castle and Cathedral area. Richardson's contributions were part of a broader movement of restoring and enhancing historical buildings, while also integrating new designs that respected the local architectural style. He was notably part of a wider team of architects and restorers who worked to maintain the cathedral's status as a UNESCO World Heritage site. Condition: Generally very good, painted on blue paper, slight age toning.

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Original Second World War poster, Aircraft Insignia

£1,150

Jack Coggins Aircraft Insignia
Original vintage poster, lithograph 60 x 45 cm Signed in image to bottom right This original vintage World War Two propaganda poster was initially commissioned by the army as an aircraft recognition chart for use in basic army training. It showcases different aircraft insignia identification markings with various types of military planes flying over an ominous grey sky. Among others, this poster illustrates a Fokker, B24, Stirling, Hurricane, Messerschmitt and Mitsubishi, surrounded by a colourful border of aircraft insignia including the British Empire, France, Germany, Japan, Russia and the United States. Jack Coggins (1911- 2006) was a British artist, author, and illustrator who moved to the United States in 1923 and enlisted with the army in 1943. He is known in the United States both for his oil paintings, which focused predominantly on marine subjects and for his books on space travel, which he authored and illustrated. Throughout his career he also provided illustrations for advertisements, magazine covers and articles. During the Second World War, he served as an artist and correspondent for YANK magazine, capturing and conveying wartime scenes from the front lines. For other propaganda posters, click here.

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World War II propaganda poster, Don’t be a Dope and Spread Inside Dope

£650

C.C. Beall Don't be a dope and spread inside dope, loose talk can cost lives
Lithograph 51 x 36 cm 'Closed for the duration...Loose talk can cost lives.' In both the United Kingdom and the United States, there was a constant fear of insider information being overheard by the enemy. As a result, there were several propaganda drives to encourage discretion among the citizens of the countries. This particular poster belongs to an American collection centring around the slogan 'loose talk can cost lives.' Depicting two men conversing over a couple of pints of beer with Hitler hanging over their heads. In this depiction, Hitler has an abnormally large ear, suggesting he hears all, highlighting the dangers of loose talk. C.C. Beall (1892-1970) was an American commercial illustrator and portrait painter. He specialised in watercolour and drawings for magazines and comic books. Too old to be conscripted, Beall contributed to the war effort through his poster designs, in particular for war loan drives. For other propaganda posters, click here.

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World War II propaganda poster, Loose Talk Can Cost Lives

£350

Howard Scott Closed for the Duration, Loose Talk Can Cost Lives
Lithograph 51 x 36 cm 'Closed for the duration...Loose talk can cost lives.' In both the United Kingdom and the United States, there was a constant fear of insider information being overheard by the enemy. As a result, there were several propaganda drives to encourage discretion among the citizens of the countries. This particular poster belongs to an American collection centring around the slogan 'loose talk can cost lives.' Depicting a man with his mouth taped together, his lips shut tight and sealed shut, this poster represents an aspirational antithesis of 'loose talk'. Howard Scott (1902-1983) was a billboard designer for many American companies in the mid-twentieth century. He was known for designing billboards with clever one liners and large pictures of friendly, everyday people on them. He was famous for his designs for companies including Heinz Ketchup, Nash Automotive, and Campbell’s Soup. During the Second World War, he joined the navy where he illustrated posters for the U.S. War Information Center, including the poster pictured here. For other propaganda posters, click here.

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Churchill Poster: Calling Out of the Whole Army Reserve 1939

£950

Original vintage poster Calling Out of the Whole Army Reserve
Letterpress poster 1939 51 x 48 cm A Royal call to arms... 'His Majesty the King has been graciously pleased to direct by proclamation that the army reserve and the militia (which includes the supplementary reserve) be called out on permanent service.' This poster was originally designed in 1921 following the Treaty Talks between Ireland, seeking independence, and the United Kingdom, led by Winston Churchill. Relations at this time were fraught and it is thought that this poster was shown to delegates as part of the pressure exerted on them to accept Britain's offer of partial independence. Churchill had previously threatened to swamp Ireland with troops and hold a bloody war against the Republicans and this poster was produced to show he was serious. This particular edition was reprinted from the 1921 original in 1939 in preparation for the beginning of the Second World War.

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Victory Procession Down the Mall, 1946, lithograph by George Leech.

£340

George Leech Victory Procession Down The Mall, 1946
Lithograph For Macmillan's History Pictures, c. 1960 43 x 54 cm This colourful lithograph depicts a momentous parade down the mall, held as part of the London Victory Celebrations of 1946 following the defeat of Nazi Germany and Japan in the Second World War. The celebrations took place in London on the 8th of June 1946, and consisted mainly of a military parade through the city and a night time fireworks display. The parade itself assembled the Chiefs of Staff, a mechanised column stretching 4 miles long and containing more than 500 military vehicles, and a marching column headed by the flags of the Allied nations which took part in the parade, as shown in this lithograph. In this depiction, King George VI can be seen saluting, alongside his wife, Elizabeth, and their two daughters, the queen-to-be Elizabeth and Margaret. Born in 1894, George Leech was a British painter and etcher. He studied both at the Lambeth and Putney Schools of Art and worked for some years as a magazine editor. Alongside this, he also exhibited widely, including at the Royal Academy of Art.

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St Paul’s Survives, Night Blitz in London – 1940, lithograph

£550

Anonymous St Paul's Survives, Night Blitz in London - 1940
Lithograph For Macmillan's History Pictures, c. 1960 42 x 54 cm This striking lithograph depicts St Paul's Cathedral in London peaking through the swathes of smoke engulfing the city after a night of bombing during the blitz. The sky is illuminated by floodlights and flames, but the cathedral itself seems to provide its own light source, standing out against the destruction surrounding it. Although the source of this lithograph is unknown, it was likely produced after Herbert Mason's photograph 'St Paul's Survives', taken during the night air raid of the 29th-30th of December 1940, the night of the 'Second Great Fire of London.' The photograph has become a symbol of British resilience and courage, and is considered one of the iconic images of the Blitz. It became "instantly famous", and turned the Cathedral into "a symbol of togetherness, survival and suffering". During the Second World War, Winston Churchill declared that St Paul's must be protected at all costs to preserve morale. As a result, a team of 300 volunteers came together under the name of 'the St Paul's Watch' and, armed with sandbags and hoses, worked to extinguish the incendiaries raining down on the cathedral.

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Lithograph of a ‘Fateful Debate in the House of Commons, led by Winston Churchill’, by Gloria Jarvis

£550

Gloria Jarvis A Fateful Debate in the House of Commons, led by Winston Churchill (1940)
Lithograph 42 x 54 cm Gloria Jarvis (1925-2014) was a painter born in Acton, West London. She studied at St. Martin's School of Art, 1942-50 where her tutors included James Bateman and James Guthrie. She also attended the University of Florence, 1960-61 for a course of the History of Art and during the period 1950-63 she taught history of costume design at London’s Regent Street Polytechnic. She has also exhibited at the RA, NEAC, NS and at Leicester Galleries. This particular design features Winston Churchill standing up and giving a speech to the other politicians in the Houses of Parliament. Papers are scattered around the room and the atmosphere seems dark and heavy, alluding to the tense political situation during the Second World War.

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79th Armoured Division, D-Day to the Rhine, Map c. 1945

£650

Anonymous 79th Armoured Division, D-Day to the Rhine
Lithograph c. 1945 20 x 62 cm This World War II pictorial map chronicles the 79th Armoured Division, a division of the British Army that was created in the lead-up to the Normandy invasion and commanded by Major General Percy Hobart (1885-1957). The map stretches along the coast of Western Europe, from Brest to Dusseldorf, extending north across the English Channel to show the southern coast of England. Various battles are loactaed with the badge of the division, including D-Day. The title cartouche includes information about some of the equipment used by the division, such as the so-called Crocodiles (a tank with a flamethrower), Kangaroos (an armoured personnel carrier with a self-propelled gun), and Buffaloes (a tracked amphibious landing vehicle). Beneath the cartouche are illustrations of British soldiers throughout history and a table at the bottom right indicates the strength of the division before crossing the Rhine. Other examples of this map were originally published in 'The Story of the 79th Division', a history of the unit published after the war.

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Back Up the Fighting Forces, Original Vintage Poster

£850

Mackinley

Back up the Fighting Forces
Lithograph 38 x 26 cm Propaganda poster produced for H.M. Stationery Office by J. Weiner LTD. STATIONERY OFFICE BY J. WEINER LTD. This poster dates to 1940, the early days of engagement by the United States in the Second World War. It played a part in a larger effort to encourage support for the war effort, particularly focusing on providing aid, resources, and supplies to the military forces. Propaganda posters like this were used to rally citizens to contribute to the war in various ways, including buying war bonds, working in factories, and volunteering for service. This particular poster depicts three servicemen: one member of the airforce, one marine and one naval soldier, together representing the different branches of the US military effort. Condition: Generally very good, small pinholes to each corner. For other examples of propaganda posters, click here.

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Winston Churchill Poster, ‘I avow my hope and faith…’

£1,800

Winston Churchill 'I avow my hope and faith...'
Lithograph 61 x 46 cm 'I avow my hope and faith, sure and inviolate, that in the days to come the British and American peoples will, for their own safety and the good of all, walk together in majesty, in justice and in peace.' Winston Churchill uttered these words during an address, 'before a Joint Session of Congress,' on the 26th of December, 1941. To put this piece into context, in the days after the Japanese attack on Pearl Harbour, the United States formally entered the Second World War, marking the end of Britain's solitary stand against Hitler's Germany, which it had sustained since the fall of France. Churchill immediately decided to travel to the United States, and on December 12, 1941 began the 10-day trip across the Atlantic. Churchill then addressed the U.S. Congress on the 26th and the Canadian Parliament on the 30th. Churchill's speech to Congress was sober, resolved, and eloquently defiant, but of course also featured the sparkle of Churchillian wit, irrepressible even in the dark hours of the war and the speech went down in history.

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Soldiers Waiting, charcoal by Hubert Finney

£1,950

Hubert Finney (1905 – 1991) Soldiers Waiting
Charcoal 37 x 55 cm A reclusive figure whose work has remained largely unseen, Finney studied under Eric Gill before winning a scholarship to the Royal College of Art in the early 1920’s. Finney had the good fortune to attend the RCA as part of a golden generation, many of whom went on to become some of Britain’s best loved artists (amongst them Ravilious, Bawden, Hepworth, Moore, Dunbar, Sorrell, and Piper). After a travelling scholarship to Rome, in 1929, Finney returned to become a teacher at Chelsea School of Art – working alongside Henry Moore who was in charge of the Sculpture Department and Graham Sutherland, the Department of Design. It was during the Second World War, when Finney was working for the Light Rescue Service of the Civil Defence that this charcoal piece was created. Depicting a bomb site during the blitz, Finney's skilful blend of charcoal, coloured pencil and pastel creates pops of colour and conveys the smoky atmosphere of London in the 1940s.

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Blitz site with St Paul’s Cathedral by Hubert Finney

£1,950

Hubert Finney (1905 – 1991) Blitz Site with St Paul's Cathedral
Charcoal, coloured pencil and pastel 35 x 52 cm A reclusive figure whose work has remained largely unseen, Finney studied under Eric Gill before winning a scholarship to the Royal College of Art in the early 1920’s. Finney had the good fortune to attend the RCA as part of a golden generation, many of whom went on to become some of Britain’s best loved artists (amongst them Ravilious, Bawden, Hepworth, Moore, Dunbar, Sorrell, and Piper). After a travelling scholarship to Rome, in 1929, Finney returned to become a teacher at Chelsea School of Art – working alongside Henry Moore who was in charge of the Sculpture Department and Graham Sutherland, the Department of Design. It was during the Second World War, when Finney was working for the Light Rescue Service of the Civil Defence that this charcoal piece was created. Depicting a bomb site during the blitz, Finney's skilful blend of charcoal, coloured pencil and pastel creates pops of colour and conveys the smoky atmosphere of London in the 1940s.

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Girton College, Cambridge lithograph by Hugh Casson

£395

Hugh Casson (1910 - 1999) The Gatehouse, Girton College
Lithograph 31 x 26 cm Signed and numbered 263/500, both in pencil. Casson's warm-hued view of Girton, with students strolling under the the neo-Tudor gatehouse. Sir Hugh Casson was educated at Eastbourne College; St John’s College, Cambridge; and the Bartlett School of Architecture. Trained in the 1930s in the early modernist style, he taught at the Cambridge School of Architecture. After employment as a camoufleur during World War 2 by the Air Ministry, in 1948 he was appointed as director of architecture for the Festival of Britain. A close friend of the Royal Family, he undertook designs for the 1953 coronation, designed the interior of the Royal Yacht Britannia (“The overall idea was to give the impression of a country house at sea”), and taught the young Charles III to paint in watercolours. Amongst his architectural achievements are the Elephant House at London Zoo, the 1978 redevelopment of Bristol Docks, the Raised Faculty Building for The University of Cambridge, and a building for the Royal College of Art. He published a number of illustrated books, of which Casson’s Oxford and Casson’s Cambridge are probably the best known. A limited edition series of prints was produced from the paintings. For other views of Girton College, click here.

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Louis Osman, Oxford Skyline with proposed tower for St Edmund Hall

£1,200

Louis Osman (1914 - 1996)

Oxford skyline with proposed tower for St Edmund Hall
Reproduction plus hand colouring, signed and dated. 31 x 98 cm Provenance: artist's studio sale Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. This architectural sketch depicts the Oxford skyline with his proposed brutalist tower at St Edmund Hall. 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.

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Louis Osman, Oxford skyline with proposed tower for St Edmund Hall

£1,800

Louis Osman (1914 - 1996)

Oxford Skyline
Pencil on tracing paper 31 x 98 cm Provenance: artist's studio sale Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. This architectural sketch depicts the Oxford skyline with his proposed brutalist tower at St Edmund Hall. 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.

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Louis Osman proposal for 2 Hungershall Park, Tunbridge Wells

£750

Louis Osman (1914 - 1996)

Proposal for 2 Hungershall Park, Tunbridge Wells
Pencil on tracing paper 59 x 102 cm Provenance: artist's studio sale Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. These architectural sketches show Osman's proposal for No.2 Hungershall Park, Tunbridge Wells. Condition: Generally very good, some old tape stains and handling wear to edges If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist.

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Louis Osman proposal for Aubrey Walk

£1,950

Louis Osman (1914 - 1996)

Proposal for Aubrey Walk
Pencil on tracing paper 71 x 200 cm Provenance: artist's studio sale Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. These architectural sketches show Osman's proposal for Aubrey Walk, including a striking brutalist column and tower. Condition: Generally very good, some old tape stains and handling wear to edges If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist.

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Louis Osman proposal for Roborough Village, Devon

£1,000

Louis Osman (1914 - 1996)

Proposal for Roborough Village, Devon
One pencil on tracing paper, other two reproductions with hand colouring 50 x 88 cm Provenance: artist's studio sale Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. These architectural sketches show Osman's ambitious plans for Roborough Village in Devon, dating from 1965. Cited as 'a huge, visionary scheme for Lord Roborough's model village striding across Dartmoor', in Osman's obituary, this series of drawings highlights different facets of Osman's vision. The first, with its neat colours, focusses on the placement of businesses and estate offices, while the third focusses on the geographical contours of the landscape and the logistics of his idea. Condition: Generally very good; the odd handling marks etc. and a tiny tear to pencil drawing approx 3mm long If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist.

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Louis Osman proposal for St Edmund Hall, Oxford

£500

Louis Osman (1914 - 1996)

Proposal for St Edmund Hall, Oxford
Reproduction, plus hand colouring 58 x 78 cm Provenance: artist's studio sale Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. These architectural sketches show Osman's plans for St Edmund Hall, Oxford. Condition: good, with occasional handling marks. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist.

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Louis Osman, Lumley Castle, sketch IV

£450

Louis Osman

Lumley Castle - sketch IV
Pen, ink, pencil and coloured wash 62 x 48 cm Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. These architectural sketches showcase Osman's ideas for the refit of Lumley Castle. Located in the North-East of England, Lumley Castle was originally built in 1389 and today is a four star hotel and wedding venue that belongs to the Earl of Scarborough. Thomas Lumley was an eighteenth century soldier and statesman, and the third Earl of Scarborough. Condition: Very good; on a rich dark-green paper which has not really shown up in the photographs, nor have the extensive pencil sketches Provenance: From the artist's estate. Click here for other works by Louis Osman.

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Louis Osman, Lumley Castle, sketch III

£450

Louis Osman

Lumley Castle - sketch III
Pen, ink, pencil and coloured wash 62 x 48 cm Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. These architectural sketches showcase Osman's ideas for the refit of Lumley Castle. Located in the North-East of England, Lumley Castle was originally built in 1389 and today is a four star hotel and wedding venue that belongs to the Earl of Scarborough. Thomas Lumley was an eighteenth century soldier and statesman, and the third Earl of Scarborough. Condition: Very good; on a rich dark-green paper which has not really shown up in the photographs, nor have the extensive pencil sketches Provenance: From the artist's estate. Click here for other works by Louis Osman.

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Louis Osman, Lumley Castle, sketch II

£450

Louis Osman

Lumley Castle - sketch II
Pen, ink, pencil and coloured wash 44 x 45 cm Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. These architectural sketches showcase Osman's ideas for the refit of Lumley Castle. Located in the North-East of England, Lumley Castle was originally built in 1389 and today is a four star hotel and wedding venue that belongs to the Earl of Scarborough. Thomas Lumley was an eighteenth century soldier and statesman, and the third Earl of Scarborough. Condition: Full sheet 68 x 48; owing to staining at top, 44 x 45 cm; generally good Provenance: From the artist's estate. Click here for other works by Louis Osman.

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Louis Osman, Lumley Castle, sketch I

£450

Louis Osman

Lumley Castle - sketch I
Pen, ink, pencil and coloured wash 63 x 48 cm Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. These architectural sketches showcase Osman's ideas for the refit of Lumley Castle. Located in the North-East of England, Lumley Castle was originally built in 1389 and today is a four star hotel and wedding venue that belongs to the Earl of Scarborough. Thomas Lumley was an eighteenth century soldier and statesman, and the third Earl of Scarborough. Condition: Very good, slight toning to paper Provenance: From the artist's estate. Click here for other works by Louis Osman.

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Trafalgar Square, etching by Julian Trevelyan

£1,750

Julian Trevelyan (1910 - 1988)

Trafalgar Square
Etching & Aquatint 35 x 48 cm Numbered 27/75 lower left and signed lower right, both in pencil. Nephew of the historian G M Trevelyan, Julian Trevelyan was educated at Bedales and then at Trinity College, Cambridge, where he read English. After moving to Paris, Trevelyan studied engraving at Stanley William Hayter’s school, working alongside artists such as Max Ernst, Joan Miro and Pablo Picasso. He married the potter Ursula Darwin in 1934, and in 1935 they moved to Hammersmith, buying Durham Wharf beside the River Thames which was Trevelyan’s studio – and home – for the rest of his life. His wartime service was – like so many artists – as a camoufleur. A Royal Engineer from 1940-43, he served in North Africa and Palestine, forcing the German Afrika Korps to use resources against a dummy army whilst real tanks were disguised as more harmless equipment. In the desert, nothing could be hidden - but it could be disguised. Following the dissolution of his marriage in 1950, he married the painter Mary Fedden. Teaching at Chelsea School of Art, Trevelyan eventually became head of the Etching Department and his pupils included David Hockney and Peter Ackroyd. This particular edition shows a vibrant print of a classic view of Trafalgar Square, notably including Nelson's Column and the iconic fountains. 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 Julian Trevelyan.

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Tower Bridge, etching by Julian Trevelyan

£1,750

Julian Trevelyan (1910 - 1988)

Tower Bridge
Etching & Aquatint 47 x 34 cm Numbered 47/75 lower left and signed lower right, both in pencil. Nephew of the historian G M Trevelyan, Julian Trevelyan was educated at Bedales and then at Trinity College, Cambridge, where he read English. After moving to Paris, Trevelyan studied engraving at Stanley William Hayter’s school, working alongside artists such as Max Ernst, Joan Miro and Pablo Picasso. He married the potter Ursula Darwin in 1934, and in 1935 they moved to Hammersmith, buying Durham Wharf beside the River Thames which was Trevelyan’s studio – and home – for the rest of his life. His wartime service was – like so many artists – as a camoufleur. A Royal Engineer from 1940-43, he served in North Africa and Palestine, forcing the German Afrika Korps to use resources against a dummy army whilst real tanks were disguised as more harmless equipment. In the desert, nothing could be hidden - but it could be disguised. Following the dissolution of his marriage in 1950, he married the painter Mary Fedden. Teaching at Chelsea School of Art, Trevelyan eventually became head of the Etching Department and his pupils included David Hockney and Peter Ackroyd. 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 Julian Trevelyan.

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A Cricket Match at Jesus College Cambridge, watercolour by George Pyne

£4,850

George Pyne

A Cricket Match at Jesus College, Cambridge
Watercolour 21 x 32 cm A well-executed watercolour of a cricket match at Jesus College Cambridge, featuring a view over the college grounds and Cambridge in the background. George Pyne was related to two founders of the Society of Painters in Watercolours – William Henry Pyne was his father, and John Varley his father-in-law. Pyne trained as an architectural draughtsman and lived in Oxford from the 1850s until his death in 1884, specialising in views of the city and its colleges. His Oxford pictures are both architecturally-minded and romantically creative, often combining intensely detailed depictions of college buildings with imagined pedestrian scenes. Pyne was also noted for his views of Cambridge and Eton, and for his drawing manuals ‘A Rudimentary and Practical Treatise on Perspective for Beginners’ (1848) and ‘Practical Rules on Drawing for the Operative Builder, and Young Student in Architecture’ (1854); the latter texts offer an insight into his method of depicting architecture and its surroundings. Condition: generally very good, available in a nice gilt frame. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. For other views of Jesus College, click here.

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Tom Carr, Braes of Derwent Hunt, pencil drawing

£440

Tom Carr (1909-1999)

Braes of Derwent Hunt
Pencil drawing 25 x 22 cm Thomas Carr OBE was an Irish artist. He was associated with the Euston Road School in the 1930s and had a long career as a painter of domestic scenes and landscapes. He studied at the Slade School of Art before moving to Italy to spend a year in Settignano, near Florence. Upon his return to London, Carr established himself as a painter and was exhibited at various well-known galleries of the time, including Zwemmer Gallery and Storran Gallery. Carr enjoyed success throughout his career and despite having settled in Newcastle, County Down in 1939, he regularly exhibited at the Royal Academy and was a member of the Royal Ulster Academy, the New English Art Club, the Royal Watercolour Society. Carr was awarded the MBE in 1974 and received an OBE in 1993 for his services to art in Northern Ireland. This pencil drawing is likely a study for one of his paintings of the Braes of Derwent Hunt, and therefore occupies a unique place in his oeuvre, showing the artistic processes behind his work.

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1997 engraving of Christ’s College, Cambridge after David Loggan

£685

David Loggan (1634-1692)

Christ's College, Cambridge
Engraving 40 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' (c. 1708). The contemporary artist Andrew Ingamells (b.1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. This particular edition represents an aerial view of Christ's College Cambridge. It was re-engraved by Edinburgh printmakers workshop, published by Christ's College Cambridge in 1997, and features an EPW blindstamp. Condition: Generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other views of Christ's College, Cambridge.

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Mabel Oliver Rae, etching of Oriel College, Oxford

£190

Mabel Oliver Rae (1868-1956) Oriel College, Oxford 20 x 12 cm Etching Mabel Oliver Rae was born in Cambridge and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works as ‘M. Oliver Rae’, a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. This particular etching depicts the front quad at Oriel College, Oxford, featuring lovely detailing of the ivy and greenery encasing this gothic architecture. Condition: Generally very good, slight age toning to paper, in original frame. For other views of Oriel College, click here.

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St John’s College, Cambridge engraving by Richard Bankes Harraden

£350

Richard Bankes Harraden (1778 - 1862)

St John's College, Cambridge (Great Gate)
Engraving 19 x 25 cm A nineteenth-century view of the Great Gate at St John's College Cambridge. Richard Bankes Harraden was a printmaker, painter, and drawing master. He was active in Cambridge, producing many views of the colleges, and subsequently several Oxford colleges. Harraden was an early and exhibiting member of the Society of British Artists in London, which was established in 1823, and remained a member until 1849. He specialised in depictions of landscape, topography and architecture, and was the son of Richard Harraden (1756 - 1838) with whom he published plates as 'Harraden & Son'. Condition: Generally very good, slight age toning to paper, in Victorian rosewood frame. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Magdalene College, Cambridge.

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David Loggan engraving, Clare College, Cambridge (aerial view)

£1,950

David Loggan (1634-1692)

Clare College, Cambridge (aerial view)
Engraving 36 x 42 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' (c. 1708). The contemporary artist Andrew Ingamells (b.1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. This particular edition represents a unique aerial view of Clare College, Cambridge. Condition: Generally very good, trimmed close to plate mark, in vintage frame. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other views of Clare College, Cambridge.

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Braun & Hogenberg, Map of Cambridge

£2,050

Braun & Hogenberg

Map of Cambridge
Engraving with later hand colouring 34 x 45 cm This map is taken from the Civitates Orbit Terrarium, also known as the ‘Braun & Hogenberg.’ This work is the culmination of a fifty year collaboration between Braun and Hogenberg, containing 546 prospects, bird’s-eye views and maps of cities from all around the world. Of these 546 works, 363 were engravings and this particular edition stands out as one of the beautiful and vibrant maps treated to meticulous hand-colouring. Georg Braun was born in Cologne in 1541 and worked as a topo-geographer. As principal editor of the work, he acquired the tables, hired the artists and cartographers and wrote the texts, including the Latin article on ‘Cantabrigia’ found on the reverse of this engraving. He died as an octogenarian in 1622, the only survivor of the original team to witness the publication of volume VI. Frans Hogenberg was born in 1535 in Mechelen in Flanders and worked as a painter, engraver and mapmaker. He was notably exiled from Antwerp in 1568 by the Duke of Alva because he was Protestant and had printed engravings sympathising with the Beeldenstorm (the Great Iconoclasm, a historical event in which many forms of church fittings and decoration were destroyed as part of the Protestant Reformation). He then moved to London for a brief period before settling in Cologne, where he worked with Braun on the Civitates. Condition: Generally very good. For other general views of Cambridge, click here.

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H S Rogers, St Edmund Hall – 1926 Proposed Alterations No 1

£1,250

H S Rogers

St Edmund Hall - 1926 Proposed Alterations No 2
Pen ink and hand colouring 49 x 38 cm Architectural plans for St Edmund Hall, Oxford by esteemed architect H S Rogers. Condition: Very good, on linen-backed paper

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H S Rogers, St Edmund Hall – 1926 Proposed Alterations No 2

£1,250

H S Rogers

St Edmund Hall - 1926 Proposed Alterations No 2
Pen ink and hand colouring 49 x 38 cm Architectural plans for St Edmund Hall, Oxford by esteemed architect H S Rogers. Condition: Very good, on linen-backed paper

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Ronald Fielding Dodd, St Edmund Hall – 1928 Existing Buildings – Third Floor Plans

£650

Ronald Fielding Dodd (1890-1958)

St Edmund Hall - 1928 Existing Buildings - Third Floor Plans
Pen ink and hand colouring 46 x 77 cm Ronald Fielding Dodd ARIBA was a Scottish architect and Associate of the Royal Institute of British Architects. After serving as a Second Lieutenant in the British Army’s Machine Gun Corps during the First World War, Dodd was most active as an architect in the 1930s. Over the course of the decade, he contributed designs for St Peter’s College, Oxford; St Edmund Hall, Oxford; Stowe School; the Acland Hospital in North Oxford, where he added a Neo-Georgian frontage; and the 16th-century Chippinghurst Manor in Oxfordshire. To mark his architectural achievements, there is now a Fielding Dodd Prize for “Outstanding Work” involving architecture at Oxford Brookes University. These particular plans date from 1928 and map out detailed plans of existing buildings in St Edmund Hall, Oxford Condition: Very good, on linen-backed paper, loss to bottom right-hand corner For other views of St Edmund Hall, click here.

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Ronald Fielding Dodd, St Edmund Hall – 1928 Existing Buildings – Second Floor Plans

£650

Ronald Fielding Dodd (1890-1958)

St Edmund Hall - 1928 Existing Buildings - Second Floor Plans
Architectural Reproduction 46 x 77 cm Ronald Fielding Dodd ARIBA was a Scottish architect and Associate of the Royal Institute of British Architects. After serving as a Second Lieutenant in the British Army’s Machine Gun Corps during the First World War, Dodd was most active as an architect in the 1930s. Over the course of the decade, he contributed designs for St Peter’s College, Oxford; St Edmund Hall, Oxford; Stowe School; the Acland Hospital in North Oxford, where he added a Neo-Georgian frontage; and the 16th-century Chippinghurst Manor in Oxfordshire. To mark his architectural achievements, there is now a Fielding Dodd Prize for “Outstanding Work” involving architecture at Oxford Brookes University. These particular plans date from 1928 and map out detailed plans of existing buildings in St Edmund Hall, Oxford Condition: Very good, on linen-backed paper. For other views of St Edmund Hall, click here.

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Ronald Fielding Dodd, St Edmund Hall – 1932 Proposed alterations to 46 & 47 High Street

£250

Ronald Fielding Dodd (1890-1958)

St Edmund Hall - 1932 Proposed alterations to 46 & 47 High Street
Architectural Reproduction 55 x 41 cm Ronald Fielding Dodd ARIBA was a Scottish architect and Associate of the Royal Institute of British Architects. After serving as a Second Lieutenant in the British Army’s Machine Gun Corps during the First World War, Dodd was most active as an architect in the 1930s. Over the course of the decade, he contributed designs for St Peter’s College, Oxford; St Edmund Hall, Oxford; Stowe School; the Acland Hospital in North Oxford, where he added a Neo-Georgian frontage; and the 16th-century Chippinghurst Manor in Oxfordshire. To mark his architectural achievements, there is now a Fielding Dodd Prize for “Outstanding Work” involving architecture at Oxford Brookes University. These particular plans date from 1932 and depict the proposed alterations to 46 and 47 High Street, belonging to St Edmund Hall, Oxford. Condition: Generally very good, thin paper with some wear. For other views of St Edmund Hall, click here.

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Ronald Fielding Dodd, St Edmund Hall – 1933 Proposed Alterations W.C.

£850

Ronald Fielding Dodd (1890-1958)

St Edmund Hall - 1933 Proposed Alterations W.C.
Reproduction with hand colouring 33 x 42 cm Ronald Fielding Dodd ARIBA was a Scottish architect and Associate of the Royal Institute of British Architects. After serving as a Second Lieutenant in the British Army’s Machine Gun Corps during the First World War, Dodd was most active as an architect in the 1930s. Over the course of the decade, he contributed designs for St Peter’s College, Oxford; St Edmund Hall, Oxford; Stowe School; the Acland Hospital in North Oxford, where he added a Neo-Georgian frontage; and the 16th-century Chippinghurst Manor in Oxfordshire. To mark his architectural achievements, there is now a Fielding Dodd Prize for “Outstanding Work” involving architecture at Oxford Brookes University. These particular plans date from 1933 and depict the proposed alterations to the accommodation W.C. Hand coloured with vibrant colours, these plans transform their modest subject into something quite beautiful. Condition: Generally very good, thin paper with some wear. For other views of St Edmund Hall, click here.

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Ronald Fielding Dodd, St Edmund Hall – 1930 Proposed Extensions to Chapel and Library

£950

Ronald Fielding Dodd (1890-1958)

St Edmund Hall - 1930 Proposed Extensions to Chapel and Library
Reproduction with hand colouring 54 x 40 cm Ronald Fielding Dodd ARIBA was a Scottish architect and Associate of the Royal Institute of British Architects. After serving as a Second Lieutenant in the British Army’s Machine Gun Corps during the First World War, Dodd was most active as an architect in the 1930s. Over the course of the decade, he contributed designs for St Peter’s College, Oxford; St Edmund Hall, Oxford; Stowe School; the Acland Hospital in North Oxford, where he added a Neo-Georgian frontage; and the 16th-century Chippinghurst Manor in Oxfordshire. To mark his architectural achievements, there is now a Fielding Dodd Prize for “Outstanding Work” involving architecture at Oxford Brookes University. These particular plans date from 1930 and depict the proposed extensions to the Chapel and the Library. Condition: Generally very good, thin paper with some wear. For other views of St Edmund Hall, click here.

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Louis Osman, Plans for Workshops at Canon’s Ashby

£1,200

Louis Osman

Plans for workshops at Canon's Ashby
Pen, ink and pencil 50 x 38 cm Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. ollowing the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. At Canons Ashby, the plans of which are shown here, he established a workshop and had a team of silversmiths and goldsmiths working for him. In 1974 he created the exhibition celebrated by this lavishly illustrated catalogue. His 1969 crown for the Investiture of the Prince of Wales was on display, together with many other items of his own creation, and also by other silversmiths such as Malcolm Green, Philip Noaks and Stephen Nunn, also acknowledging the work of Desmond Clenn-Murphy, Peter Musgrove and Christopher Philipson in his own works. Condition: Very good, on tracing paper; five sheets

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Gavin Stamp, Christmas Card, 1975 – St Martin’s Military Church, Delhi

£350

Gavin Stamp (1948-2018) Christmas Card, 1975 - St Martin's Military Church, Delhi
Ballpoint pen and ink 21 x 20 cm Born in 1948, Gavin Stamp was educated on a London County Council Scholarship at Dulwich College and took a degree in history and architectural history at Cambridge. He moved to London in 1972 and worked as an architectural draughtsman and graphic designer, combining this with journalism and cataloguing at the RIBA drawings collection. By the late 1970s he was describing himself as ‘an odd-job man in the vicious cut-throat world of architectural history’. Over the course of his career, his scholarship and enthusiasm promoted the understanding and celebration of several great but neglected architects, while he also succeeded in saving many 19th and 20th century buildings from demolition. Sourced from his estaste, Gavin Stamp designed this Christmas card depicting St Martin's Military Church, Delhi in the winter of 1975. The pared back aesthetic allows us to appreciate the neatness of the parallel dashes and the pleasing pointillist effect created across the trees.

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Oxford High Street with Queen’s & University College, by Stadler after Farington

£350

Joseph Constantine Stadler (1755 - 1828) after Joseph Farington (1747-1821)

Oxford High Street with Queen's College and University College
Engraving with hand colouring 22 x 33 cm Published by J & J Boydell. Joseph Constantine Stadler was a prolific German émigré engraver of images after his contemporaries - here, 18th-century English landscape painter and diarist Joseph Farington. Stadler's engravings are wide-ranging in subject matter and include landscapes, seascapes and portraits, as well as military, sporting and decorative subjects. Stadler was employed by the leading print publisher of the time, John Boydell. Stadler lived in Knightsbridge when he died at the age of 73. Joseph Farington was born in Lancashire and went to study with Richard Wilson in London in 1763. In 1764, 1765, and 1766 he won “premiums” from the Society of Artists for his landscape drawing; he became a member in 1765. He joined the Royal Academy when it was founded in 1769 and was elected an ARA in 1783 and an RA in 1785. Farington contributed works to the Academy’s exhibitions every year until 1801, but only occasionally between 1801 and 1813. He was an active member of the Academy and sat on several important committees, including the one which determined where artworks would be hung during the exhibitions. In 1793 he became a fellow of the Society of Antiquaries and helped establish the British Institution. This particular edition depicts a view down Oxford High Street with Queen's College and University College in the eighteenth century. The hand colouring lends a unique charm to this engraving, where the light colours and calm streets suggest the sereneness of the start of an Oxford summer day. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other general views of Oxford, click here.

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St John’s College, Oxford II, Lithograph by William Nicholson

£600

William Nicholson (1872 - 1949)

St John's College, Oxford II
Lithograph 21 x 36 cm Signed in ink, illegibly inscribed (by Nicholson), and with Stafford Gallery blindstamp to bottom right. S ir William Nicholson was a British painter and printmaker. He is also known as an illustrator, author of children’s books, stained glass designer, and theatre set designer. Between 1902 and 1904 William Nicholson lived in Woodstock; during this period he made several architectural studies of Oxford's colleges and other University buildings. It was during this period that he produced this lithograph of a bucolic scene at St John's. The grass is green, the trees are blowing in the wind and the charm of this Oxford college radiates throughout. Condition: Generally very good, slight even toning to paper; old tape stain to margin which will be under the mount If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of St John's College, Oxford.

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St John’s College, Oxford Lithograph by William Nicholson

£600

William Nicholson (1872 - 1949)

St John's College, Oxford
Lithograph 39 x 28 cm Signed in ink, numbered 123, and with Stafford Gallery blindstamp to bottom right. Sir William Nicholson was a British painter and printmaker. He is also known as an illustrator, author of children’s books, stained glass designer, and theatre set designer. Between 1902 and 1904 William Nicholson lived in Woodstock; during this period he made several architectural studies of Oxford's colleges and other University buildings. It was during this period that he produced this striking lithograph of St John's College, capturing a dark academic aura through his use of sombre hues. Condition: Generally very good, slight even toning to paper; old tape stain to margin which will be under the mount If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of St John's College, Oxford.

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London Underground c. 1940s Group Travel Poster Edward Johnston Typeface

£225

London Underground

'Return Tickets At Single Fare'
20 x 61cm Advertising panel for Metropolitan Line compartment stock 1930s-1950s. Cut down at corners as very often, a sign of being in use on the Metropolitan Line. The simple typography of Edward Johnstone's typeface, developed specially for London Transport, with his absolutely excellent and highly distinctive lower-case 'g' is a joy to behold. In constant use since 1916 it is one of the oldest examples of unchanged corporate branding. Johnstone's pupil Eric Gill adapted the typeface for his own ubiquitous 'Gill Sans'.

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‘Fougasse’ Careless Talk Costs Lives Cyril Kenneth Bird Poster Collection

£5,600

Cyril Kenneth Bird ‘Fougasse’ (1887 - 1965)

Careless Talk Costs Lives (circa 1940)
Lithographic Poster Collection 31 x 40 cm each [62 x 80 cm overall]

"Strictly between you and me..."; "...but for Heaven's sake, don't say I told you!"; "Don't forget the walls have ears!" - This collection of posters brings together a series of Fougasse's snappy slogans, all to the backdrop of various Hitlers hiding under tables, melding with the wallpaper, and even replacing the historical figures in the traditional portrait featured. Through this public information messaging, Fougasse aimed to remind his contemporaries not to discuss secrets which may be of use to the enemy. 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: Very good; slight age toning. This is the version on thin paper. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist.

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David Loggan Engraving, Prospectus Cantabrigiae Orientalis & Occidentalis

£2,250

David Loggan (1634-1692)

Prospectus Cantabrigiae Orientalis & Occidentalis
Engraving 32 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' (c. 1708). The contemporary artist Andrew Ingamells (b.1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. This particular edition represents a unique view of Cambridge from the east and the west. Notable landmarks including King's Chapel and Great St Mary's Church are visible in this fine David Loggan engraving. Condition: Good; five small invisibly repaired holes to image If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other general views of Cambridge, click here.

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Lance Cattermole, St John’s College, Cambridge

£1,450

Lance Cattermole (1898-1992)

St John's College, Cambridge
Gouache 37 x 50 cm Lance Cattermole was born in Ireland in 1898 to a long line of artists. At the age of 24, Cattermole began his studies at the Central School of Arts and Crafts (1922-3), before continuing at the prestigious Slade School of fine art (1923–6), under such artists as Henry Tonks and Philip Wilson Steer. As well as various travel posters, notably advertising rail travel in England, he also went on to create numerous paintings of famous military figures, many of which are now on display at the National Army Museum. This vibrant gouache was painted for an unknown purpose, perhaps for a guidebook cover. It presents an idyllic view of the River Cam running through St John's College. The orange-browns of the tree leaves suggest autumn, but the beaming sun and blue water are more evocative of a bucolic summer day: the perfect painting to brighten up any room. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of St John's College, Cambridge.

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Harry C Beck September 1936 No 2 London Underground Pocket Map

£220

Harry Charles Beck (1902-1974) London Underground Railways Pocket Map 1936 No. 2 Lithograph 14.5 x 20.5 cm An early edition of Beck's iconic map, precursor to all other similar maps of other transport systems worldwide. The 1936 edition is very similar to the 1933 first published. Beck was a technical draughtsman who worked for the London Metro Signal Office. Following being fired, he created the first diagrammatic Tube map in 1931. Having submitted it to the Publicity Office at London Transport, it was rejected. However an updated proposal was accepted, being published in January 1933 in an edition of 700,000 pocket maps - most of which were consigned to the dustbin within hours, days or weeks. Those that survive are rare. Immediately popular it was adopted and similar maps have been used ever since by London Transport - and indeed many other rail systems worldwide. Beck was inspired whilst creating an electrical circuit diagram to apply the same concept to the Underground system, in the understanding that passengers on the network were more interested in how the lines related to each other, than in how they related to the topography of the city. Beck worked on the map in his spare time, and was - depending on the story you believe - either not paid for his work, or was paid a mere five or ten guineas. These days his work is acknowledged on all published London Transport maps.

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1938 No.2 London Underground Pocket Map ‘Zero’ Hans Schleger after Harry Beck

£180

'Zero' Hans Schleger London Underground Railways Pocket Map 1938 No. 2 Lithograph 14.5 x 20.5 cm An early edition of London Transport's iconic map, precursor to all other similar maps of other transport systems worldwide. The 1938 edition was designed by Hans Schleger, unlike the 1933 - first published - edition of Harry Beck. Beck was furious that his design had been given to Schleger and by 1941 responsibility returned to Beck. Hans Schleger was born in Germany. After the First World War, he studied at the Berlin Kunstgewerbeschule. After working in Berlin, he moved to New York in 1924 and began to work as a graphic designer. He returned to Berlin in 1929 and began working for the British advertising agency Crawfords, where he met Edward McKnight Kauffer, who introduced him to Jack Beddington (the head of advertising at Shell Mex BP). He moved to London following the rise of Hitler and produced a series of posters for Shell Mex. During the Second World War he worked for the British Government. He later taught at the Chicago Institute of Design and subsequently designed the trademarks of the John Lewis Partnership, Penguin, Deutsche Bank, and the Edinburgh Festival. Beck, on the other hand, was a technical draughtsman who worked for the London Metro Signal Office. After being fired, he created the first diagrammatic Tube map in 1931. Having submitted it to the Publicity Office at London Transport, it was rejected. However an updated proposal was accepted, being published in January 1933 in an edition of 700,000 pocket maps - most of which were consigned to the dustbin within hours, days or weeks. Those that survive are rare. Immediately popular it was adopted and similar maps have been used ever since by London Transport - and indeed many other rail systems worldwide. Beck was inspired whilst creating an electrical circuit diagram to apply the same concept to the Underground system, in the understanding that passengers on the network were more interested in how the lines related to each other, than in how they related to the topography of the city. Beck worked on the map in his spare time, and was - depending on the story you believe - either not paid for his work, or was paid a mere five or ten guineas. These days his work is acknowledged on all published London Transport maps.

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Ufizzi Gallery, Etching by Julian Trevelyan

£1,250

Julian Trevelyan (1910 - 1988)

Ufizzi Gallery (1966)
Etching and aquatint 47 x 34 cm (paper 80 x 57 cm) Trevelyan's vibrant kaleidoscopic depiction of the interior of the Uffizi, Florence. Numbered 61/100 lower left, titled below, and signed lower right, all in pencil. Condition: Excellent - this print is often rather faded; old tape damage to reverse in top centimetre of print.

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Rudolph Ackermann, Crystal Palace – View from The North Bank of the Serpentine

£600

Rudolph Ackermann (1764-1831)

Crystal Palace - View from The North Bank of the Serpentine
Tinted Lithograph 31 x 46 cm A nineteenth-century view of Crystal Palace from the north bank of the Serpentine. This unique edition intriguingly captures the stir of movement across the bustling riverside promenade, with well-dressed ladies, horse-drawn carriages and chivalrous gentleman at the fore. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here, Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints.

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Air France – Espagne, Original Vintage Travel Poster

£425

Air France Vacances - Espagne
Original vintage poster 100 x 66 cm This Air France poster encourages French tourists to travel to Spain. Pictured is a woman dressed in traditional Spanish dress, holding a flag with the insignia of the airline. Conditi0n: Generally very good; small repaired areas to two top corners, approx 1 sq cm, small old tape stains to reverse at bottom corners. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage travel posters.

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Concorde Vacations (1999), Original Vintage Travel Poster

£925

British Airways Holidays

Concorde Vacations (1999)
Original Vintage Lithographic Poster 92 x 61 cm Original vintage travel poster, advertising Concorde Vacations by British Airways Holidays and featuring an image of an iconic Concorde plane flying through the night. This unique edition a stunning image of the supersonic passenger plane Concorde, set against a night-time backdrop and framed almost as if a rocket shooting through space. The aircraft was originally developed and manufactured jointly between the British Aircraft Corporation and the French airline company Sud-Aviation. The aircraft was capable of flying at a maximum speed over twice the speed of sound (taking less than 3.5 hours to fly the London to New York route but costing over 30 times more than a regular plane ticket). Although the venture ultimately ended in tragedy, with the fatal crash in July 2000, their speed and luxury distinguished the planes as an icon of modernity.

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Fougasse, Jump for Them – Official Rugby Union Publications Poster

£295

Cyril Kenneth Bird ‘Fougasse’ (1887 - 1965)

Jump for Them
Lithographic poster 30 x 22 cm 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- as seen in this poster-was subsequently adopted by other Ministry artists. In this poster, taken from The Art of Refereeing, Fougasse depicts a man hurling a book in the direction of a scrum, drawing an intriguing analogy between sports and literary culture.

Condition: backed to linen; generally excellent. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist.

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Fougasse, The Indispensables – Official Rugby Union Publications Poster

£295

Cyril Kenneth Bird ‘Fougasse’ (1887 - 1965)

The Indispensables
Lithographic poster 30 x 22 cm 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- as seen in this poster-was subsequently adopted by other Ministry artists.

Condition: backed to linen; generally excellent. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist.

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Carlos Ruano Llopis, Bullfighting Poster with Antoñete – Toledo, 28 August 1955

£850

Carlos Ruano Llopis (1878-1950) Original Vintage Bullfighting Poster August 1955 107cm x 53cm Carlos Ruano Llopis was born in 1878 in Orba, Spain where he would become a celebrated painter and bullfighting poster artist. He began his career in a fan-making workshop to support his family. In 1909, he won the gold medal at the Regional Exhibition, allowing him to enjoy a scholarship to further his studies in Italy. From here onwards, he began to develop his characteristic bullfighting motif. This obsession with bulls was perhaps borne out of his own desire to pursue glory as a matador, an ambition he only curbed in deference to his beloved mother. The vivacity of his bullfighting posters became his trademark and, on one occasion, the prodigious matador Joselito “Gallo” even proclaimed, ‘the artist who painted this knows how to bullfight, even if he has never fought bulls before.’ Bright colours, movement and a sense of passion bring these posters to life, offering a uniquely Spanish charm. This 1955 edition advertises a bullfighting event in Valencia, featuring Rafael Ortega, Isidro Ortuño Jumillano, and the much celebrated Antonio Chenel Antoñete. This poster is striking in the vibrancy of the colours and the strong sense of movement, as Llopis masterfully captures the force of the bull charging through the matador's cloth.

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Carlos Ruano Llopis, Bullfighting Poster with Manolete – Valencia, 31 July 1941

£1,050

Carlos Ruano Llopis (1878-1950) Original Vintage Bullfighting Poster July 1941 107cm x 53cm Carlos Ruano Llopis was born in 1878 in Orba, Spain where he would become a celebrated painter and bullfighting poster artist. He began his career in a fan-making workshop to support his family. In 1909, he won the gold medal at the Regional Exhibition, allowing him to enjoy a scholarship to further his studies in Italy. From here onwards, he began to develop his characteristic bullfighting motif. This obsession with bulls was perhaps borne out of his own desire to pursue glory as a matador, an ambition he only curbed in deference to his beloved mother. The vivacity of his bullfighting posters became his trademark and, on one occasion, the prodigious matador Joselito “Gallo” even proclaimed, ‘the artist who painted this knows how to bullfight, even if he has never fought bulls before.’ Bright colours, movement and a sense of passion bring these posters to life, offering a uniquely Spanish charm. This 1941 edition advertises a bullfighting event in Valencia, featuring Marcial Lalanda, Manuel Rodriguez Manolete - often considered one of the greatest bullfighters of all time -, and Manolo Martín Vazquez.

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Carlos Ruano Llopis, Bullfighting Poster with Luis Miguel Dominguin – Granada, 14 June 1947

£900

Carlos Ruano Llopis (1878-1950) Original Vintage Bullfighting Poster June 1947 107cm x 53cm Carlos Ruano Llopis was born in 1878 in Orbs, Spain where he would become a celebrated painter and bullfighting poster artist. He began his career in a fan-making workshop to support his family. In 1909, he won the gold medal at the Regional Exhibition, allowing him to enjoy a scholarship to further his studies in Italy. From here onwards, he began to develop his characteristic bullfighting motif. This obsession with bulls was perhaps borne out of his own desire to pursue glory as a matador, an ambition he only curbed in deference to his beloved mother. The vivacity of his bullfighting posters became his trademark and, on one occasion, the prodigious matador Joselito “Gallo” even proclaimed, ‘the artist who painted this knows how to bullfight, even if he has never fought bulls before.’ Bright colours, movement and a sense of passion bring these posters to life, offering a uniquely Spanish charm. This 1947 edition advertises a bullfighting event in Granada, featuring Domingo Ortega, Agustin Parra Parrita, and the famous socialite Luis Miguel Dominguin.

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Juan Reus, Bullfighting Poster with Antoñete- Madrid, 15 May 1954

£1,050

Juan Reus (1912-2003) Original Vintage Bullfighting Poster May 1954 107cm x 53cm Juan Reus was born in 1912 in Valencia, where he became a well-known painter, draftsman and, notably, graphic designer of bullfighting posters. Orphaned at birth, Reus attended school until the age of seven, at which point he began work as an apprentice at a local hardware store, where he met the painter Constantino Gómez, piquing his artistic interests. He later went to work in a decorative fans shop and held his first exhibition in the bazaars of Prats and Collado in Valencia. In the 1940s, he was hired as a graphic designer of bullfighting posters in the lithographic Ortega workshop. These posters are generally characterised by bright colours and fluid, gestural movements, whereby the swish of the matador's cloak is almost palpable. This 1954 edition advertises a bullfighting event in Madrid, featuring Isidro Ortuño Jumillano, Julio Aparicio Martínez and, the famed, Antonio Chenel Antoñete.

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Juan Reus, Bullfighting Poster – Malaga, 11 August 1955

£950

Juan Reus (1912-2003) Original Vintage Bullfighting Poster April 1955 107cm x 53cm Juan Reus was born in 1912 in Valencia, where he became a well-known painter, draftsman and, notably, graphic designer of bullfighting posters. Orphaned at birth, Reus attended school until the age of seven, at which point he began work as an apprentice at a local hardware store, where he met the painter Constantino Gómez, piquing his artistic interests. He later went to work in a decorative fans shop and held his first exhibition in the bazaars of Prats and Collado in Valencia. In the 1940s, he was hired as a graphic designer of bullfighting posters in the lithographic Ortega workshop. These posters are generally characterised by bright colours and fluid, gestural movements, whereby the swish of the matador's cloak is almost palpable. This 1955 edition advertises a bullfighting event in Malaga, featuring Rafael Ortega, Miguel Baez Litri and Cesar Giron.

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Juan Reus, Bullfighting Poster – Castellón, 13 March 1944

£1,250

Juan Reus (1912-2003) Original Vintage Bullfighting Poster March 1944 107cm x 53cm Juan Reus was born in 1912 in Valencia, where he became a well-known painter, draftsman and, notably, graphic designer of bullfighting posters. Orphaned at birth, Reus attended school until the age of seven, at which point he began work as an apprentice at a local hardware store, where he met the painter Constantino Gómez, piquing his artistic interests. He later went to work in a decorative fans shop and held his first exhibition in the bazaars of Prats and Collado in Valencia. In the 1940s, he was hired as a graphic designer of bullfighting posters in the lithographic Ortega workshop. These posters are generally characterised by bright colours and fluid, gestural movements, whereby the swish of the matador's cloak is almost palpable. This 1944 edition advertises a bullfighting event in Castellón, featuring Pepe Luis Vazquez, Rafael Ortega Gallito and Manuel Alvarez Andaluz.

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Juan Reus, Bullfighting Poster with Manuel Rodriguez Manolete- Salamancar 12 September 1942

£1,050

Juan Reus (1912-2003) Original Vintage Bullfighting Poster September 1942 107cm x 53cm Juan Reus was born in 1912 in Valencia, where he became a well-known painter, draftsman and, notably, graphic designer of bullfighting posters. Orphaned at birth, Reus attended school until the age of seven, at which point he began work as an apprentice at a local hardware store, where he met the painter Constantino Gómez, piquing his artistic interests. He later went to work in a decorative fans shop and held his first exhibition in the bazaars of Prats and Collado in Valencia. In the 1940s, he was hired as a graphic designer of bullfighting posters in the lithographic Ortega workshop. These posters are generally characterised by bright colours and fluid, gestural movements, whereby the swish of the matador's cloak is almost palpable. This 1942 edition advertises a bullfighting event, featuring Marcial Lalanda, Manuel Rodriguez Manolete - often considered one of the greatest bullfighters of all time -, Pepe Luis Vázquez and Juan Mari Peréz Taberno.

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Harry C Beck September 1933 London Underground Pocket Map (First Year of Issue)

£910

Harry Charles Beck (1902-1974) London Underground Railways Pocket Map September 1933 Lithograph 14.5 x 20.5 cm An edition from the first year of publication of Beck's iconic map, precursor to all other similar maps globally. This reimagining of the tube map constituted a veritable departure from earlier maps, stripping the sprawling Tube network down to a neat diagram of coloured, criss-crossing lines. Harry Beck was a technical draughtsman who worked for the London Metro Signal Office. Following being fired, he created the first diagrammatic Tube map in 1931. Having submitted it to the Publicity Office at London Transport, it was rejected. However an updated proposal was accepted, being published in January 1933 in an edition of 700,000 pocket maps - most of which were consigned to the dustbin within hours, days or weeks. Those that survive are rare. Immediately popular it was adopted and similar maps have been used ever since by London Transport - and indeed many other rail systems worldwide. Beck was inspired whilst creating an electrical circuit diagram to apply the same concept to the Underground system, in the understanding that passengers on the network were more interested in how the lines related to each other, than in how they related to the topography of the city. Beck worked on the map in his spare time, and was - depending on the story you believe - either not paid for his work, or was paid a mere five or ten guineas. These days his work is acknowledged on all published London Transport maps.

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Harry C Beck September 1936 No 1 London Underground Pocket Map

£220

Harry Charles Beck (1902-1974) London Underground Railways Pocket Map 1936 No. 1 Lithograph 14.5 x 20.5 cm An early edition of Beck's iconic map, precursor to all other similar maps of other transport systems worldwide. The 1936 edition is very similar to the 1933 first published. Beck was a technical draughtsman who worked for the London Metro Signal Office. Following being fired, he created the first diagrammatic Tube map in 1931. Having submitted it to the Publicity Office at London Transport, it was rejected. However an updated proposal was accepted, being published in January 1933 in an edition of 700,000 pocket maps - most of which were consigned to the dustbin within hours, days or weeks. Those that survive are rare. Immediately popular it was adopted and similar maps have been used ever since by London Transport - and indeed many other rail systems worldwide. Beck was inspired whilst creating an electrical circuit diagram to apply the same concept to the Underground system, in the understanding that passengers on the network were more interested in how the lines related to each other, than in how they related to the topography of the city. Beck worked on the map in his spare time, and was - depending on the story you believe - either not paid for his work, or was paid a mere five or ten guineas. These days his work is acknowledged on all published London Transport maps.

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Harry C Beck September 1937 No 1 London Underground Pocket Map

£180

Harry Charles Beck (1902-1974) London Underground Railways Pocket Map 1937 No. 1 Lithograph 14.5 x 20.5 cm An early edition of Beck's iconic map, precursor to all other similar maps of other transport systems worldwide. The 1937 edition is very similar to the 1933 first published, though is distinguishable from other editions of the period by its thinner lines and use of circles instead of diamonds for connecting stations. Beck was a technical draughtsman who worked for the London Metro Signal Office. Following being fired, he created the first diagrammatic Tube map in 1931. Having submitted it to the Publicity Office at London Transport, it was rejected. However an updated proposal was accepted, being published in January 1933 in an edition of 700,000 pocket maps - most of which were consigned to the dustbin within hours, days or weeks. Those that survive are rare. Immediately popular it was adopted and similar maps have been used ever since by London Transport - and indeed many other rail systems worldwide. Beck was inspired whilst creating an electrical circuit diagram to apply the same concept to the Underground system, in the understanding that passengers on the network were more interested in how the lines related to each other, than in how they related to the topography of the city. Beck worked on the map in his spare time, and was - depending on the story you believe - either not paid for his work, or was paid a mere five or ten guineas. These days his work is acknowledged on all published London Transport maps.

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January 1927 London Underground Pocket Map Fred Stingemore pre Harry Beck

£230

Fred Stingemore (1890-1954) London Underground Railways Pocket Map January 1927 Lithograph, linen-based card Bi-fold pocket map 12.5 x 15 cm (unfolded) Stingemore spent forty years in the London Transport drawing office, but is best known as the artist behind the map that preceded Harry Beck's famous and iconic 1933 new design - the circuit diagram version. The 1927 edition is identical to that of 1926, but features a yellow - rather than green - cover. The twelve editions of Stingemore's map featured different coloured covers. A broadly topographical map, he nevertheless distorted the central London area to make it clearer. His greatest claim to fame is of encouraging Harry Beck to resubmit his own design to London Transport. Beck was a technical draughtsman who worked for the London Metro Signal Office. Following being fired, he created the first diagrammatic Tube map in 1931. Having submitted it to the Publicity Office at London Transport, it was rejected. However an updated proposal was accepted, being published in January 1933 in an edition of 700,000 pocket maps - most of which were consigned to the dustbin within hours, days or weeks. Those that survive are rare. Immediately popular it was adoped and similar maps have been used ever since by London Transport - and indeed many other rail systems worldwide. Beck was inspired whilst creating an electrical circuit diagram to apply the same concept to the Underground system, in the understanding that passengers on the network were more interested in how the lines related to each other, than in how they related to the topography of the city. Beck worked on the map in his spare time, and was - depending on the story you believe - either not paid for his work, or was paid a mere five or ten guineas. These days his work is acknowledged on all published London Tranport maps.

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French Art Deco c1925 Fabric Design in Gouache Genevieve Moreau Three in Blue

£420

Genevieve Moreau (French, fl. early Twentieth Century) Three Designs in Blue Gouache 32 x 50 cm c. 1925 Signed in pencil; from a small portfolio of well-executed designs by the artist that we have listed, created in 1925-26. A well-executed design by one of the increasing number of French artists of the time.

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French Art Deco c1925 Fabric Design in Gouache Genevieve Moreau Green Triangles

£360

Genevive Moreau (French, fl. early Twentieth Century) Ar - Triangles in Green, Blue and Terracotta (c. 1925) Gouache 22 x 16 cm Signed in pencil; from a small portfolio of well-executed designs by the artist that we have listed, created 1925-26. Sheet size 31 x 24 cm. A well-executed design by one of the increasing number of French artists of the time.

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12 posters 1971 Soviet State Prizewinners Literature, Art – in folio Russian art

£450

Лауреаты Государственных Премий [State Prizewinners] Moscow 1971 28 x 44 cm This folio introduces to the population of Soviet Russia the dozen winners of the State Prizes in 1971 for Literature, Art, and Architecture. "The awarding of the State Prizes of the USSR in 1971 to a large contingent of our creative intelligentsia is new evidence of the constant concern of the Communist Party of the Soviet Union for the further development of literature and art."

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Kukryniski 11 posters New Great Leap of Peking 1979 Soviet Propaganda

£800

KUKRYNIKSY Новый «Болшой Скачок» Пекина [The new Great Leap of Peking [Beijing]] Moscow, Izadetelstvo 'Plakat' 1979 54 x 37 cm, 11 (of 12) posters loosely inserted in a printed paper portfolio featuring two further designs, two short tears to the portfolio spine, else fine. A striking series of posters with an anti-Mao tone, from the time of the Sino-Vietman war. Taking a satirical look at the process of modernization in China, a process that involves embracing imperialism and shunning world socialism and communist, to create a united anti-socialist front. The Kukryniksi - a portmanteau name derived from the names of the three artists, Mikhail Kupryanov (Ku), Porfiri Krylov (Kry), and Nikolai Sokolov (Niks) - are arguably the most successful Russian caricaturists. Favoured by the establishment, they were rarely privileged in being allowed to travel, producing views of Europe as well as a variety of spirited propaganda drawings in support of the Russian war effort, and illustrating many classic Russian texts.

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Kukryniski 12 Posters Handwriting Imperialism 1977 Soviet propaganda Russian

£1,200

KUKRYNIKSY Новый «Болшой Скачок» Пекина [The new Great Leap of Peking [Beijing]] Moscow, Izadetelstvo 'Plakat' 1977 54 x 37 cm, 12 posters loosely inserted in a printed paper portfolio featuring one further designs, portfolio lightly worn with numerous short tears, else fine. A dramatic collection of irreverent depictions of Imperialism in inimitable Kukryniksi style, from the 1970s. The posters pillory many prominent motifs of the 20th century, including Hitler, NATO, the BBC, and American civil rights. The Kukryniksi - a portmanteau name derived from the names of the three artists, Mikhail Kupryanov (Ku), Porfiri Krylov (Kry), and Nikolai Sokolov (Niks) - are arguably the most successful Russian caricaturists. Favoured by the establishment, they were rarely privileged in being allowed to travel, producing views of Europe as well as a variety of spirited propaganda drawings in support of the Russian war effort, and illustrating many classic Russian texts.

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1939 Original Keep Calm and Carry On Poster (medium size)

£10,250

Ernest Wallcousins (1882-1976) Keep Calm and Carry On (Medium size)
Ministry of Information Lithographic poster, 1939 50 x 37 cm ('Crown' size) Very rare - we have traced copies in the Imperial War Museum collection but no other public collection. Provenance: part of a small stock of posters cleared from a police station in Suffolk in the 1940s. These posters were generally sent out to police stations in groups of six or twelve. Shortly after the war, during a clear-out of the police station, these posters were put aside to be disposed of. A young police constable requested permission to take them home, and permission was granted. They spent the following nearly eight decades, surviving house moves and a long-suffering wife, sitting in a drawer. Following the policeman's death, his family have allowed the posters to be sold. As the small stock of posters at this police station came in all three sizes (small at 38 x 25 cm; medium at 38 x 50 cm; large at 75 x 50 cm) we are able to offer all three for sale today. An instantly-recognisable brand today, this poster was reserved for use in the event of the German invasion. Once it became obvious that they were not going to invade, these posters were sent back for recycling. As they were never used, the survivors are incredibly rare. Of public collections only the Imperial War Museum – which has a very extensive collection of wartime posters – has a copy of this poster. The story of the poster is well known these days, but bears repeating. In 1939, with invasion an ever-present threat, HM Government commissioned three posters with snippets designed to encourage the population. Bearing a crown at the top, it was clearly intended to be a message from the King: “Your Courage, Your Cheerfulness, Your Resolution, Will Bring Us Victory” was displayed widely, with hundreds of thousands being printed; similarly “Freedom is in Peril Defend it with all Your Might.” The third poster – “Keep Calm and Carry On” – was distributed, but was to be held back and only used in the event of invasion. In the event the poster campaign was not a great success, with the people regarding it as an instruction from the powers-that-be that it was the people, not the leaders, who were going to be the ones doing the hard work. As the invasion never happened, Hitler’s armies being otherwise occupied elsewhere in the world, and the Spitfire achieving victory in the Battle of Britain, the Keep Calm posters were never used. Owing to the shortage of raw materials, the paper was recycled and there the story should have ended. However, in 2000, the owner of Barter Books in Alnwick discovered a copy of the poster in the bottom of a box of books. They hung it up in their shop and started producing reproductions, and the poster has become an internationally recognised image, reproduced on mugs, t-shirts, and adapted into such uplifting slogans as “Keep Calm and Drink Tea”. A much more successful series of propaganda was created by ‘Fougasse’ – Cyril Bird. Picture editor of Punch from 1937-1949, then editor until 1953, he noted that the best sort of advertising would make people smile. He worked unpaid for the Ministry of Information during the war, producing cartoons with a short word of advise. His Careless Talk Costs Lives series of posters are amongst the most famous of the propaganda campaigns of the Second World War.

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1939 Original Keep Calm and Carry On Poster (small size) Second World War

£4,950

Ernest Wallcousins (1882-1976) Keep Calm and Carry On (Small size)
Ministry of Information Lithographic poster, 1939 37 x 25 cm ('Crown Folio' size) Very rare - we have traced copies in the Imperial War Museum collection but no other public collection. Provenance: part of a small stock of posters cleared from a police station in Suffolk in the 1940s. These posters were generally sent out to police stations in groups of six or twelve. Shortly after the war, during a clear-out of the police station, these posters were put aside to be disposed of. A young police constable requested permission to take them home, and permission was granted. They spent the following nearly eight decades, surviving house moves and a long-suffering wife, sitting in a drawer. Following the policeman's death, his family have allowed the posters to be sold. As the small stock of posters at this police station came in all three sizes (small at 38 x 25 cm; medium at 38 x 50 cm; large at 75 x 50 cm) we are able to offer all three for sale today. An instantly-recognisable brand today, this poster was reserved for use in the event of the German invasion. Once it became obvious that they were not going to invade, these posters were sent back for recycling. As they were never used, the survivors are incredibly rare. Of public collections only the Imperial War Museum – which has a very extensive collection of wartime posters – has a copy of this poster. The story of the poster is well known these days, but bears repeating. In 1939, with invasion an ever-present threat, HM Government commissioned three posters with snippets designed to encourage the population. Bearing a crown at the top, it was clearly intended to be a message from the King: “Your Courage, Your Cheerfulness, Your Resolution, Will Bring Us Victory” was displayed widely, with hundreds of thousands being printed; similarly “Freedom is in Peril Defend it with all Your Might.” The third poster – “Keep Calm and Carry On” – was distributed, but was to be held back and only used in the event of invasion. In the event the poster campaign was not a great success, with the people regarding it as an instruction from the powers-that-be that it was the people, not the leaders, who were going to be the ones doing the hard work. As the invasion never happened, Hitler’s armies being otherwise occupied elsewhere in the world, and the Spitfire achieving victory in the Battle of Britain, the Keep Calm posters were never used. Owing to the shortage of raw materials, the paper was recycled and there the story should have ended. However, in 2000, the owner of Barter Books in Alnwick discovered a copy of the poster in the bottom of a box of books. They hung it up in their shop and started producing reproductions, and the poster has become an internationally recognised image, reproduced on mugs, t-shirts, and adapted into such uplifting slogans as “Keep Calm and Drink Tea”. The artist, Wallcousins, was an illustrator, official war artist of the Second World War, and painted the official victory portrait of Winston Churchill. A much more successful series of propaganda was created by ‘Fougasse’ – Cyril Bird. Picture editor of Punch from 1937-1949, then editor until 1953, he noted that the best sort of advertising would make people smile. He worked unpaid for the Ministry of Information during the war, producing cartoons with a short word of advise. His Careless Talk Costs Lives series of posters are amongst the most famous of the propaganda campaigns of the Second World War.

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Soviet Posters 1978 Success Through Work Russian Motifs

£650

Orlov, V and Denisenko За успехи в труде [Success Through Work] (1978) Moscow, Izdaltelstvo Plakat Original vintage posters 43 x 56 cm A poster collection comprising twelve leaves loosely inserted in a printed paper portfolio, one plate previously folded, a little light wear to some fore-edges, light wear to portfolio spine, else very good. First edition. A collection of popular Soviet motifs on the enduring theme of Success through Work, created to provide best-practice design templates for artworkers, artists and propaganda designers responsible for the illustration of official Soviet literature and art, mosaics, wall-paintings, and posters. Motifs include Lenin, the distinctive logos of various Soviet bodies including the Young Guard, and medallions commemorating events such as the October revolution. Numerous medal-designs for individual and collective excellence in all kinds of industry, including farming, mining, husbandry, and machine-working also appear. Designed for eminently practical use, with cut-out lines between the individual vignettes, these pattern books rarely survived intact.

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Abram Games Guinness Poster

£1,200

Abram Games (1914-1996)

Guinness 5 Million Daily
Original vintage poster 152 x 102 cm This advertising poster dates from the early 1960s. It features a playful use of text, with the correct orientation of the poster varying depending on whether you first read 'Guinness' or '5 Million daily.' In a further act of advertising mischief, it also disguises a simple illustration of a pint of Guinness within the text. This masterful use of typography is typical of his broader practice, as his works are characterised by his use of striking colour, bold graphic ideas, and beautifully integrated typography. Throughout the 20th century, Abram Games distinguished himself as one of the greatest British graphic designers of the time and his oeuvre now offers a scintillating record of social history. Other notable works of his include the 'Blonde Bombshell’ ATS poster of 1941 and the 'Festival Star', designed for the 1951 Festival of Britain. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056.

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Gonville & Caius College, Cambridge engraving by Pieter van der Aa after David Loggan

£250

Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)

Gonville & Caius College, Cambridge (1727)

Engraving 13 x 17 cm An eighteenth-century view of Gonville and Caius College, Cambridge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Gonville and Caius College, Cambridge

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Trinity College, Cambridge engraving by Pieter van der Aa after David Loggan iv

£250

Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)

Trinity College, Cambridge (1727)

Engraving 13 x 17 cm An eighteenth-century view of Trinity College, Cambridge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity College, Cambridge

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Trinity College, Cambridge engraving by Pieter van der Aa after David Loggan iii

£250

Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)

Trinity College, Cambridge (1727)

Engraving 13 x 17 cm An eighteenth-century view of the Bishop's Hostel in Trinity College, Cambridge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity College, Cambridge

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Trinity College, Cambridge engraving by Pieter van der Aa after David Loggan ii

£250

Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)

Trinity College, Cambridge (1727)

Engraving 13 x 17 cm An eighteenth-century view of Neville's Court in Trinity College, Cambridge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity College, Cambridge

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Trinity College, Cambridge engraving by Pieter van der Aa after David Loggan i

£250

Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)

Trinity College, Cambridge (1727)

Engraving 13 x 17 cm An eighteenth-century view of Trinity College, Cambridge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity College, Cambridge

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Magdalene College, Cambridge engraving by Pieter van der Aa after David Loggan

£250

Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)

Magdalene College, Cambridge (1727)

Engraving 13 x 17 cm An eighteenth-century view of Magdalene College, Cambridge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Magdalene College, Cambridge

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Emmanuel College, Cambridge engraving by Pieter van der Aa after David Loggan

£250

Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)

Emmanuel College, Cambridge (1727)

Engraving 13 x 17 cm An eighteenth-century view of Emmanuel College, Cambridge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Emmanuel College, Cambridge

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