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after Samuel Buck (1696 - 1779) and Nathaniel Buck (active 1724 - 1759)
The South View of Bindon Abbey, in the County of Dorset (1733)
Engraving 20 x 37 cm An engraved view of Bindon Abbey, a Cistercian monastery on the River Frome in Dorset. The monastery was founded in 1149 by William de Glastonia on the site since known as Little Bindon near Bindon Hill. In 1172 the monastery moved to a site near Wool, and was supported by the house of Plantagenet. The abbey was scheduled for Dissolution in 1536, and finally dissolved in 1539. Only ruins remain. Samuel and Nathaniel Buck were brothers and notable 18th century architectural artists, best known for their depictions of ancient castles and monasteries entitled 'Buck's Antiquities' and those of townscapes of England and Wales, ''Sea-Ports and Capital Towns''. Little is known about the brothers' lives. Samuel was born in Yorkshire and died in penury in London in 1779, and was buried in the churchyard of St Clement Danes. Nathaniel pre-deceased him, dying between 1759 and 1774. Condition: generally good; some age toning; mounted to board; sheet trimmed outside platemark. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Birth of a Lancaster
Original Silver Gelatin photograph, 1942 19 x 25 cm Stamped to reverse "Topical Press Agency Limited, Red Lion Court, Fleet Street London" and (partially obscured) "Certified by Topical Press Agency as passed by censor" "The Avro Lancaster - the fastest and greatest load carrier of all the world's heavy bombers, and scourge of the Germans from Cologne to Gdynia, Rostock to Augsburg near Munich, is now being produced so speedily that fresh squadrons are being equipped weekly, and nightly spread terror and destruction through the German industrial centres. "Photo shown: a girl inspector goes over every detail of fitting work in the bomber's nose. She is occupying the position that the bomb aimer will take on operational work. Every small part of the plane has undergone stringent inspection. "Ref number Y7119 Topical Press 2/9/42" There is nothing new in the world, a pretty girl always captures the attention of the photographer. In war-torn Britain, of course, the contribution of women to the war effort was hugely important, replacing men in factories so that the men could go off to war. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. Condition: mostly good. -
Blackheath Routemaster Slipboard Poster c1970
Screenprint poster 64x9cm In a black hand-finished frame. Printed for London Transport for use on Routemaster or RT buses. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Blair Hughes-Stanton (1902-1981) Reclining Nude, c. 1936
Tempera on canvas 76.5 x 102cm Signed lower right 'Blair H S'. Provenance: The estate of the artist. A magnificent abstract nude rendered in a dynamic colour palette. This is probably Hughes-Stanton's most important work, and belongs to the nation's great, if brief, period of British Surrealism. The three major elements are distinct: the pastel tones of the window view and wall, the sensual curvatures of the pale nude, and the bold foreground featuring a fantastically accomplished still life of a fruit bowl (which could be a painting in and of itself) and the impressively phallic chair back. This is a brilliant example of erotic modernist abstraction. Blair Hughes-Stanton, son of the artist Sir Herbert Hughes-Stanton, was a noted British artist of the interwar period. At the age of 13 he joined the Royal Navy training ship HMS Coway, but at 19 - advised by his father - he abandoned the sea for his paintbox. He studied art at Byam Shaw School (1919-1922) where he was influenced by Leon Underwood (who was a major influence throughout his studying), Royal Academy Schools (1922-23), and Leon Underwood's School (1923-25). He was celebrated mostly for his skills as an engraver, and was a founding member of the English Wood Engraving Society when it was established in 1925. His first wife was the printmaker Gertrude Hermes with whom he illustrated John Bunyan's The Pilgrim's Progress in 1928. In 1931 he became head of the Gregynog Press, later establishing the Gemini Press with his second wife Ida Graves. During the course of his career he worked in various media, though his art frequently focused on the female nude. He taught at Westminster School of Art (1934-39), Colchester School of Art (1945-47); St Martin's School of Art (1947-48); and Central School of Arts and Crafts (1948-80). His teaching career was interrupted by the Second World War, during which he served as a camofleur and then joined the Royal Engineers (ignoring his earlier life in the Navy). Serving in Greece, he was captured as a prisoner of war and was imprisoned in a camp. He returned to England after the war. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Bloomfields Car Showroom and Esso Garage, 88-106 Camberwell Road, London SE5
Gouache 39 x 52 cm A stylish gouache depiction of the Bloomfields Car Showroom, still extant as a car repair shop at 104-106 Camberwell Road. The artist completes the architectural perspective with brightly coloured mid-century cars and a mackintosh-clad gentleman. Condition: good; some wrinkling to paper and slight discolouration in areas. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more architectural views. -
Out of stock
Brownbridge (flourished 1930s - 1940s)
Boat Race at the Dorchester (1939)
Lithographic brochure 15 x 19.5 cm From a small archive of works by Brownbridge, a member of the Society of Industrial Artists. A design for a poster advertising the Dorchester's dinner after the Oxford and Cambridge Boat Race. The artist has built his design around dark and light blues, to represent the colours of Oxford and Cambridge respectively. Brownbridge's design is marvellously 1930s, from the boldly decorative typeface to the whimsically glamorous guests and their waiters floating below the invitation. Boat Race dinners in London are rather different today; at any rate, prices are not normally advertised as 'excluding Wines and Cigars'. Society of Industrial Artists correspondance (photographed above) is not included; please enquire separately. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other designs by Brownbridge. -
Valerie Thornton (1931-1991)
Bodleian Quadrangle, Oxford (1983)
Etching 24 x 35 cm Numbered 13/75 lower left, titled below, and signed and dated lower right, all in pencil. A very good example of Thornton's recognisable and unusual etching style. Her work is deeply concerned with material, and many of her etchings focus on eroded stone, emotive landscapes, and weathered architecture. Here, Thornton draws out the exceptional texture of the Bodleian Library's local stone. Valerie Thornton was a British etcher and printmaker. She was born in London, but was evacuated to Canada with her two brothers during World War II. She returned to London in 1944 and studied at the Byam Shaw School of Art in 1949. From 1950 to 1953 Thornton studied under P.F. Millard at the Regent Street Polytechnic, then spent eight months at Atelier 17 in Paris. In the early 1960s, she moved to New York and worked at Pratt Graphic Art Centre. In 1955, she succeeded Howard Hodgkin as assistant art teacher at Charterhouse School and in 1965 she became a founding member of the Print Makers Council. In 1970 she became a Fellow of the Royal Society of Painters-Etchers and Engravers. Thornton was a member of The Regent Street Group (a group of nine artists who studied together at the Regent Street Polytechnic in the early 1950s). The group also included Susan Horsfield, Renate Meyer, Michael Lewis, Ken Symonds, Philip Le Bas, and Peter Riches. Thornton's work is included in a number of major public collections including the Victoria and Albert Museum, the British Museum, and the Tate. Thornton died in 1991 in Chelsworth, Suffolk. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more works by Valerie Thornton. -
Anonymous Boston Museum Centennial 1870-1970
"Narcissus Tapestry, French or Franco-Flemish, Late 15th or 16th Century, Centennial Acquisition" 97x70cm Vintage poster 1970 If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. Two repaired edge tears to right margin, not into image, one 3" long, other shorter; one repaired short tear to left. -
Anonymous Boston Museum Centennial 1870-1970
"Mandala of Eight Bodhisatlvas, Nepal 12th Century, Centennial Acquisition" 97x70cm Vintage poster 1970 If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
David Loggan (1634 - 1692)
The University of Oxford Botanic Garden (1675)
Engraving 40 x 50 cm An eighteenth-century view of one of Oxford's dreamiest spaces: the Botanic Garden, engraved by David Loggan, the noted engraver, draughtsman, and painter. The University of Oxford Botanic Garden was founded in 1621 and is the oldest botanical garden in Great Britain. Loggan's engraving focuses on its architectural qualities, with four features of the garden highlighted for their beauty, symmetry, and prowess of design. Of particular interest in this etching are the six trompe l'oeil pieces: four gently curling pieces of paper which frame the gates of the garden, and two heraldic banners borne by cherubs and sporting legends about the garden's foundation. The Danby Gate (bottom left) at the front entrance to the garden is one of the three entrances designed by Nicholas Stone between 1632 and 1633. The gateway consists of three bays, each with a pediment; the niches contain statues of Charles I and Charles II in classical pose, and the niche in the the central pediment contains a bust of the Earl of Danby (hence the gate's name). Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: slight toning to central margin, odd marginal losses. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Bovril
Lithograph 75 x 73 cm An original advertisement for Bovril, featuring the brand's uniquely shaped amber glass bottle. One of the instructions for preparing the meat paste into a liquid is 'Stir Well from the Bottom', which went on to become a recognisable tagline for Bovril. Condition: old folds as issued; otherwise generally good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage posters. -
Herbert Harris (1888 - 1962)
Bovril - vi terra a galla ("Bovril keeps you afloat")
Lithograph 128 x 90 cm An original vintage poster advertising Bovril. The poster was designed in 1920 by notable poster artist Herbert Harris for the advertising agency S H Bentley. It originally read 'Bovril prevents that sinking feeling' in English. Bovril, says the poster, is the ultimate comfort, and will keep you going in adversity. The Italian version of the poster, published in the 1930s, instead supplied "Bovril - vi terra a galla" - "Bovril keeps you afloat". German and French versions with appropriate idioms were also produced; these European versions of the poster were Musso & Co. and designed by the Max Dalang Atelier, both in Zurich. Condition: generally very good; repaired tear from edge approx 4" long towards bottom on left side, essentially invisible. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage posters. -
Bowens (British, fl. mid 20th Century) Cambridge: Centre of Scientific Research
Pye Group Records Pye - Nixa - Mercury - Vanguard - EmArcy c. mid-late 1950s Haig Road in Cambridge, where Pye had their factory, was subsumed into Elizabeth Way and was a long way from King's College chapel. However that iconic building is used to illustrate the Cambridge connection. EmArcy Records is a jazz record label founded in 1954 by Mercury Records. Mercury Record Corporation was founded in Chicago in 1945 Pye Records was a British record label; it had started life manufacturing televisions and radios, with its main plant off Haig Road in Cambridge. It purchased Nixa Records in 1953 Vanguard Records is a US record label set up in 1950 primarily as a classical label. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
John Boydell (1719-1804)
A South Prospect of the City of Oxford
Hand-coloured engraving published 1751 in the series Four Views of Oxford 28x44.5cm If you are interested email info@manningfineart.co.uk or call us on 07929 749056. One of the most influential Georgian printsellers, Boydell was apprenticed to William Henry Toms at the age of 21, studying drawing at the St Marin's Lane Academy. From 1755 he imported foreign prints in great numbers. He became Mayor of London in 1790. -
Pieter van der Aa (1659-1733), after David Loggan (1634–1692)
Brasenose College, Oxford (1727)
Engraving 12 x 16 cm An eighteenth-century view of 'Le Nez de Bronze', or Brasenose, 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: a good impression. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Breckenridge, Colorado Vintage Ski Poster USA (1967)
67 x 53 cm Printed by LooArt Press, Colorado Springs, Colorado, 1967 Travel poster for skiing in Breckenridge, Colorado, featuring a photograph of a smiling skier - Trygve Berge sporting Kneissl skis - and a rather cool pair of shades and jumper. Direct from the surplus stock of the printers, LooArt Press, which closed in the early 1970s. Condition: Excellent. -
Brenda King (1934-2011)
Venetian Schoolchildren (1974)
Oil on board 16.5.x 20.5 cm Signed and dated lower right. Naive scene of school children in a Venetian square in a distinctive 1970s frame. Brenda King was born in Cumbria in 1934. She enrolled at the Lancaster College of Art from 1950 to 1954 before enrolling at the Royal Academy from 1954 to 1957, indeed, going on to exhibit frequently at the RA summer exhibition. She moved to Cornwall in 1975 with her landscape painter husband Jeremy King (b.1933), and the pair shared a studio in St Just, Lands End. Her distinctively naive and playful style, often capturing incidental figures in quaint, pastoral British scenes, is said to have been strongly influenced by the oils and watercolours of Helen Bradley (1900-1979), another Lancastrian. If you are interested e-mail info@manningfineart.co.uk or call us on 07929 749056 Condition: Generally excellent, original 1970s frame shows some wear. -
Brendan Neiland (b.1941)
Kings Cross Intercity Poster
Original Vintage Poster - lithograph 102x64cm (40×25 inches) each 1991 Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Brendan Neiland (b.1941)
Original Designs for Intercity Posters - Edinburgh and York
Collage, spraypaint and cut out 91x58cm (36×23 inches) each 1991 Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Brendan Neiland (b.1941)
York Intercity Poster
Original Vintage Poster - lithograph 102x64cm (40×25 inches) each 1991 Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Brendon Neiland (b. 1941) Alice's Garden Oxford 50/195
Screenprint 66.5x57cm Here he surreally captures rippling reflection of Tom Tower in Christchurch. The style is emblematic of his later work that increasingly uses bold and dynamic colour palettes. For biographical details and other works by the artist click here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent. -
Brendon Neiland (b. 1941) Gilbert Scott's Rose Window Christ Church Oxford 106/195
Screenprint 66x58cm Here Neiland captures the colours of the new window installed in the cathedral by George Gilbert Scott (Junior) c. 1870. The style is emblematic of his later work that increasingly uses bold and dynamic colour palettes. For biographical details and other works by the artist click here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent. -
Brendon Neiland (b. 1941) Peckwater Christ Church 74/195
Screen print 68.5x56cm Here he surreally captures Peckwater Quad in Christchurch, experimenting with pictorial structure with vivacious dashes of blue, orange and yellow. It is emblematic of his later work that increasingly uses bold and dynamic colour palettes. For biographical details and other works by the artist click here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent. -
Brendon Neiland (b. 1941) Tom Tower Christ Church 38/195 Screenprint 66x58cm Here he surreally captures rippling reflection of Tom Tower in Christchurch. The style is emblematic of his later work that increasingly uses bold and dynamic colour palettes. For biographical details and other works by the artist click here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent. -
Mabel Oliver Rae (1868 - 1956)
The Bridge of Sighs, St John's College, Cambridge (circa 1920)
Etching 13 x 18 cm Hand-signed in pencil lower left, and titled in pencil lower right. Initialled 'MR' in plate lower left. The Bridge of Sighs is an iconic feature of St John’s College, and one of the most recognisable pieces of architecture in Cambridge. It was built in 1831 by the architect Henry Hutchinson and crosses the River Cam between the college's Third Court and New Court. It is the only covered bridge to cross the River Cam, and the only College bridge built in the Victorian Gothic style. Mabel Oliver Rae was born in Cambridge, Cambridgeshire, and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works with the pseudonym 'M.Oliver Rae', a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. Condition: even age toning, a little spotting, generally good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Attributed to John Worsley
Join the New Regular Army - A Real Man's Life
Published by Her Majesty’s Stationery Office. Printed by Chromoworks Limited, 1959 Lithographic poster 75x50cm Worsley was a war artist during World War II who was captured by the Germans and then an illustrator for Eagle comic. Click here for further biographical details and other posters by Worsley. The Soldier of the Queen depicted is a tank commander. At the time the poster was printed the main location for deployment of tanks was West Germany. In 1946 the British Army of the Rhine was created to protect Germany - and indeed Europe - from a Soviet invasion. Numbering up to 80,000 soldiers it was estimated that in the event of war the life expectancy of a tank commander would be less than two days. A Real Man's Life indeed. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Stanley Kennedy North (1887 - 1942)
British Empire Exhibition Map (1924)
Lithograph 51 x 75 cm This fascinating and attractive map with elaborate cartouche highlights the attractions of the British Empire Exhibition, a showcase held in London to exhibit the fruits of Britain's overseas colonies. It was designed to boost support for the Empire's activities, encourage trade of imperial goods, and remind other world powers of Britain's (historic) colonial capacity. The Empire Stadium was built especially to house the exhibition; it is known today as Wembley Stadium. The exhibition was opened by King George V on St George's Day, 1924. Condition: generally good; folds as issued; a few short tears at corners. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage posters. -
Leslie Arthur Wilcox RI RSMA (1904-1982) National Savings - Make Sure Your Ship Comes In
c.1945 75x50cm Original Vintage Poster During World War 2, the British Government had two particular financial problems addressed by this poster. There was little to buy, so the general populace had surplus cash to spend. If they spent it, this would be inflationary and would reduce the supply of items. Likewise, the Government needed money to spend on materiel and was short of cash. Encouraging the population to lend its spare cash to the Government was therefore a solution to this problem, and a series of posters - and other advertisings campaigns - aimed to address this point. For biographical details and other works by the artist click here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. A few tiny tears to margin, not into image. -
Bryan de Grineau (1883-1957)
St John’s College, Oxford for The Illustrated London News
Front Quad
Signed and inscribed Pencil Drawing published in The Illustrated London News 18 June 1955 33 x 52 cm (13 x 20.5 in.) Click here for other views of St John’s College by this artist and biographical details. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Bryan Ingham (1936-1997)
Upright Jug (1993-95)
Pencil and oil on board 64 x 19 cm Provenance: Bohun Galleries, Paintings in Hospitals. Signed, titled and dated 1993-95 (on backboard). Bryan Ingham was born in Yorkshire. For his National Service he joined the RAF, and spent his time in Germany as an airman. After demobilisation, his final report included the statement that "Ingham is an artistic sort of airman." In his spare time he had started painting in oils, and by the time he left the RAF he had completed a large number of paintings. He studied at St Martin's School of Art in London, where he had the tuition of a fine post-war generation of teachers who helped him to hone his draughtsmanship and other skills, and he swiftly showed a capacity for painting that drew the attention of his tutors and peers. On graduating he was offered and accepted a post-graduate place at the Royal College of Art, where in his second year he was awarded a Royal Scholarship and was a contemporary of a number of now better-known names including David Hockney. Ingham applied for and received a Leverhulme travel award to explore the sites of the great Renaissance painters, and spent many happy months engaged in this expedition. He spent time at the English Art school in Rome, where he lived well and busied himself the same studio that Barbara Hepworth had used. At this stage of his career, Ingham consciously rejected the prospect of pursuing a career as an establishment artist, although the RA was open to him, and he went to live in remote cottage in Cornwall. The subsequent years were varied and highly productive, and Ingham's personal artistic voice emerged in his oeuvre in the form of an always-developing dialogue with influences both of landscape and other artists of every age. His preoccupation with etching resulted in several hundred plates, some very large, and the results are as unmistakable as they are varied, but invariably of outstanding quality. He produced a number of sculptures in bronze and in plaster, while his lifelong output of paintings remained small but again of very high quality. He taught etching regularly until about 5 years before his death, latterly at Falmouth Art School, and also at Farnham Art College. During the late eighties he established a relationship with the art dealer Francis Graham-Dixon, who had a London gallery. This meant that his paintings were professionally marketed for the first time, and prices for his work rose steadily in the last ten years of his life, and subsequently. He was able to purchase a cottage in Helston for his parents, who lived there until their deaths. He then moved into a fine set of converted-barn studios with a patch of garden, quietly situated off the High St in Helston, and it was here, on 22 September 1997, that he died, having quietly suffered from cancer for nearly a year. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally excellent; framed. -
Bryan Ingham (1936-1997)
Erotische Bild (1988)
Oil on board 62 x 11 cm Provenance: Fracis Graham-Dixon gallery. Titled to backboard and dated 1988. Bryan Ingham was born in Yorkshire. For his National Service he joined the RAF, and spent his time in Germany as an airman. After demobilisation, his final report included the statement that "Ingham is an artistic sort of airman." In his spare time he had started painting in oils, and by the time he left the RAF he had completed a large number of paintings. He studied at St Martin's School of Art in London, where he had the tuition of a fine post-war generation of teachers who helped him to hone his draughtsmanship and other skills, and he swiftly showed a capacity for painting that drew the attention of his tutors and peers. On graduating he was offered and accepted a post-graduate place at the Royal College of Art, where in his second year he was awarded a Royal Scholarship and was a contemporary of a number of now better-known names including David Hockney. Ingham applied for and received a Leverhulme travel award to explore the sites of the great Renaissance painters, and spent many happy months engaged in this expedition. He spent time at the English Art school in Rome, where he lived well and busied himself the same studio that Barbara Hepworth had used. At this stage of his career, Ingham consciously rejected the prospect of pursuing a career as an establishment artist, although the RA was open to him, and he went to live in remote cottage in Cornwall. The subsequent years were varied and highly productive, and Ingham's personal artistic voice emerged in his oeuvre in the form of an always-developing dialogue with influences both of landscape and other artists of every age. His preoccupation with etching resulted in several hundred plates, some very large, and the results are as unmistakable as they are varied, but invariably of outstanding quality. He produced a number of sculptures in bronze and in plaster, while his lifelong output of paintings remained small but again of very high quality. He taught etching regularly until about 5 years before his death, latterly at Falmouth Art School, and also at Farnham Art College. During the late eighties he established a relationship with the art dealer Francis Graham-Dixon, who had a London gallery. This meant that his paintings were professionally marketed for the first time, and prices for his work rose steadily in the last ten years of his life, and subsequently. He was able to purchase a cottage in Helston for his parents, who lived there until their deaths. He then moved into a fine set of converted-barn studios with a patch of garden, quietly situated off the High St in Helston, and it was here, on 22 September 1997, that he died, having quietly suffered from cancer for nearly a year. Condition: Generally very good, scrapes to board as intended by artist. Framed. If you'd like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Builders YOU Are Hitting Back Original WW2 Poster (c.1940)
'Builders - YOU Are Hitting Back' Original WW2 Poster (c.1940) 76 x 50.5 cm Lithograph and letterpress (on paper) Printed by Lowe and Brydone Printers Ltd, London NW10. Published by HM Stationery Office. Because: You are building bases for the Flying Boats which guard the convoys You are building the Factories which makes the guns, tanks, planes & shells You are building the Airfields for the ever increasing number of bombers and fighters - Spitfire You are building the Hostels for your fellow workers to live in You are building the warehouses which store the Nation's Food Supply -
Johannes Kip (1652 - 1722) and Leonard Knyff (1650 - 1722)
Burlington House (1707)
Engraving with later hand-colouring 36 x 50 cm The linked careers of Jan Kip and Leonard Knyff made a specialty of engraved views of English country houses, represented in detail from the bird's-eye view, a pictorial convention for topography. Their major work was Britannia Illustrata: Or Views of Several of the Queens Palaces, as Also of the Principal seats of the Nobility and Gentry of Great Britain, Curiously Engraven on 80 Copper Plates, London (1707, published in the winter of 1708-9). The volume is among the most important English topographical publications of the 18th century. Architecture is rendered with care, and the settings of parterres and radiating avenues driven through woods or planted across fields, garden paths, gates and toolsheds are illustrated in detail. The images are staffed with figures and horses, coaches pulling into forecourts, water-craft on rivers, in line with the traditions of the Low Countries. The inscription in the plate reads: Burlington House in Pickadilly Belonging to the R.t Honble Charles Boyle Baron Clifforde of Londesburgh, and Earle of Burlington Baron of younghall & Bandon, Viscount Kynalmeaky & Dungarvan, Earle of Corke in the Kingdom of Ireland, Chief Governour of the County of Corke, and the Citty, and County of the Citty of Corke, Lord high Treasurer of Ireland, Lord high Steward of the Royalty of Knaresburgh in the County of Yorke, & one of the Gentlemen of his Majties Beddchamber. Condition: recent hand colouring, with wash-lined mount. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
C.A. Hay
Llangollen Bridge, Wales (early 19th century)
Pen, ink and monochrome watercolour 8 x 12 cm Llangollen Bridge is built across the River Dee at the North end of the high street of Llangollen in the county of Denbigshire in Wales. The Bridge is listed as one of the seven wonders of Wales and is Grade I listed. There has been a bridge across the Dee at Llangollen since at least 1284. Some historians believe that the bridge was constructed in the 1540s; there is evidence of sepulchral slabs within the bridge's masonry, indicating that it was rebuilt following the dissolution of Henry VIII's dissolution of the monasteries. We also have in stock an en-suite watercolour of the nearby Valle Crucis abbey, from which some of the bridge's stone might have been taken. Condition: Generally very good. Signed lower right. -
C.A. Hay
Valle Crucis Abbey, Wales (early 19th century)
Pen, ink and monochrome watercolour 8 x 12 cm Valle Crucis is a Cistercian abbey located in Llantysilio in Denbighshire, Wales. The abbey was built in 1201 by Madog ap Gruffydd Maelor, Prince of Powys Fadog. In 1537, at the height of Henry VIII's Dissolution of the Monasteries, Valle Crucis was dissolved and fell into disrepair. The abbey is now a ruin, though large parts of the original structure still survive. We also have in stock an en-suite watercolour of the nearby Llangollen Bridge; it is likely that some of the abbey's stone was used to build the bridge after the abbey had been dissolved. Condition: Generally very good. Signed lower right. -
Edward Burra (1905 - 1976)
Café
(1928 - 1929, this edition published 1971) Woodcut 10 x 15 cm; sheet size 24 x 34 cm Numbered 15/45 lower left and initialled EB lower right. Published by the Nicholas Treadwell Gallery in 1971. Burra's woodcut of a male and a female figure, entitled 'Café'. The two figures, seemingly a couple, gaze at one another intensely and intimately, giving the impression of having been interrupted by the viewer. Both figures' faces bear tattoo-like markings: he a star and the moon, she a geometric design resembling a noughts-and-crosses board. The "café" in which they sit is a dreamily abstract landscape full of palms and other plants from the tropics. Edward Burra was an English painter, draughtsman, and printmaker. He travelled to Italy in 1925, the same year he met the noted British Surrealist Paul Nash, and both of these influences are evident in this woodcut. Nash introduced Burra to woodcut-making in 1928, the same year that Burra began this woodcut series. His first solo show was held at the Leicester Galleries in April 1929, and he exhibited with the English Surrealists in the 1930s. Condition: Excellent. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Pieter van der Aa (1659-1733), after David Loggan (1634–1692)
Cambridge from the East (1727)
Engraving 12 x 16 cm An eighteenth-century view of Cambridge from the East, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter who specialised in engravings of Oxford and Cambridge. A wide Cambridgeshire sky opens out over the harvest scene; in the background, the spires of the city's skyline are numbered, and identified below. A fascinating engraving which muses on the relationship between the city and its University. 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: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Pieter van den Keere (1571 - circa 1646) after John Speed (1551 or 1552 - 1629)
Map of Cambridgeshire (1627)
Engraving 8 x 12 cm A beautifully coloured map of Cambridgeshire, with an antique description of the county to the reverse. The map, along with many others, was published in Speed's atlas, 'The Theatre of the Empire of Great Britaine', first published in 1611. This particular miniature edition of the 'Theatre' was published in miniature by George Humble in 1627, entitled 'England Wales Scotland and Ireland Described and Abridged With ye Historic Relation of things worthy memory from a farr larger Voulume. Done by John Speed.’ Speed's original map was likely engraved for this edition by Peter van den Keere. van den Keere's maps soon came to be known as "Miniature Speeds". John Speed was an English cartographer, chronologer and historian. The son of a citizen and Merchant Taylor in London, he rose from his family occupation to accept the task of drawing together and revising the histories, topographies and maps of the Kingdoms of Great Britain as an exposition of the union of their monarchies in the person of King James I and VI. He accomplished this with remarkable success, with the support and assistance of the leading antiquarian scholars of his generation. He drew upon and improved the shire maps of Christopher Saxton, John Norden and others, being the first to incorporate the hundred-boundaries into them, and he was the surveyor and originator of many of the town or city plans inset within them. His work helped to define early modern concepts of British national identity. His Biblical genealogies were also formally associated with the first edition of the King James Bible. He is among the most famous of English mapmakers. George Humble (1572 - 1640) was an English publisher, known for his publication of John Speed's 'The theatre of the empire of Great Britaine,' the first comprehensive atlas depicting the British Isles, and his later 'A prospect of the most famous parts of the World,' the first English world atlas. Pieter van den Keere was a Flemish engraver, publisher, and globe maker who worked in England and the Dutch Republic. Condition: generally very good; some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Ernest William Haslehurst (1866 - 1949)
The Market Place, Cambridge, with a view of Great St Mary’s Church and King's College Chapel
Watercolour 33.5 x 23 cm Haslehurst's watercolour of Cambridge's marketplace, overlooked by the spires of King's College Chapel and Great St Mary's. Ernest William Haslehust was an English landscape painter and book illustrator who worked in watercolours. He was a member of the Royal Institute of Painters in Water Colours (RI), Royal Society of British Artists (RBA), Royal West of England Academy (RWA) and Royal British Colonial Society of Artists (RBC), and exhibited regularly at many venues including the Royal Academy in London. He also designed posters for the LNER and LMS railway companies, and his art was featured in many magazines of the day including the Illustrated London News and The Tatler. Condition: generally good. Some spotting. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
V Robinson
The Lent Bumps 1931 - 1940
Pen, ink and watercolour 60 x 48 cm A hand-painted chart illustrating the results of the Lent Bumps from 1931 to 1939, with a note that in 1940 there were 'No Lent Races due to War'. The Lent Bumps, also known as "Lents" or the Lent Races are a set of University of Cambridge rowing races held each year on the River Cam. The races are open to all college boat clubs from the University of Cambridge, the University Medical and Veterinary Schools and Anglia Ruskin Boat Club. The Lent Bumps take place over five days (Tuesday to Saturday) at the end of February / start of March and are run as bumps races (of rowing race in which a number of boats chase each other in single file, each crew attempting to catch and 'bump' the boat in front without being caught by the boat behind). The men's races officially began in 1887 and the women's in 1976. Condition: generally good; some age toning to board and a little staining to the margins that will be hidden by a mount. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other Cambridge pictures. -
Out of stock
Johannes Kip (1652 - 1722) after R Whitehand
Prospect of Cambridge from the South East (1724)
Engraving 57 x 88 cm A view of the city of Cambridge, replete with college spires, by Johannes ''Jan'' Kip, the Dutch draughtsman, engraver and print dealer. The engraving illustrates an 18th century Cambridge defined by livestock and farmhands, as well as its University. The largest and best view of Cambridge, extremely rare - we have not traced any other copies at auction. Condition: good. Previously folded, occasional small losses and the odd slightly toned patch; two joined sheets. Trimmed to within platemark; very rare. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Speed (1551 or 1552 - 1629)
Map of Cambridgeshire
Engraving with later hand colouring 39 x 53 cm A beautifully coloured map of Cambridgeshire, with an antique description of the county to the reverse. The map, along with many others, was published in Speed's atlas, 'The Theatre of the Empire of Great Britaine', first published in 1611. The map is populated by four figures in academic dress, and bordered on all sides by college crests. John Speed was an English cartographer, chronologer and historian. The son of a citizen and Merchant Taylor in London, he rose from his family occupation to accept the task of drawing together and revising the histories, topographies and maps of the Kingdoms of Great Britain as an exposition of the union of their monarchies in the person of King James I and VI. He accomplished this with remarkable success, with the support and assistance of the leading antiquarian scholars of his generation. He drew upon and improved the shire maps of Christopher Saxton, John Norden and others, being the first to incorporate the hundred-boundaries into them, and he was the surveyor and originator of many of the town or city plans inset within them. His work helped to define early modern concepts of British national identity. His Biblical genealogies were also formally associated with the first edition of the King James Bible. He is among the most famous of English mapmakers. Condition: generally very good; one tiny hole to right side just beyond plate mark. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more Cambridge pictures. -
William Kip (active 1598 - 1610) after Christopher Saxton (1540 - 1610)
Map of Cambridgeshire (1637)
Engraving with later hand colouring 29 x 32 cm An antique map of Cambridgeshire. The map was originally published in William Camden's atlas 'Britannia', which was first published in 1586. William Kip was a goldsmith and map engraver. He was born in Utrecht in the Netherlands and moved to London to pursue his career as an engraver. Alongside William Hole, Kip re-engraved Christopher Saxton's 1574 county maps for publication in Camden's 'Britannia', and it is this venture for which he is most well-known. Christopher Saxton was an English cartographer who produced the first county maps of England and Wales. Between 1574 and 1578 he engraved maps of every county in Britain, and compiled them into an atlas in 1579. These maps bore Queen Elizabeth I's arms as well as those of Saxton's patron, Thomas Seckford. Condition: generally good; faint evidence of old staining. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more maps and general pictures of Cambridge. -
Anon.
Camden Festival Routemaster
Slipboard Poster c.1970 Screenprint poster 64x9cm In a black hand-finished frame. Printed for London Transport for use on Routemaster or RT buses. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent. -
Out of stock
Cyril Kenneth Bird ‘Fougasse’ (British, 1887-1965) Careless Talk Costs Lives III
Lithographic poster c.1940 32 x 20 cm (12.5 x 8 in) Reprinted by the IV Army Corps by the 103rd Engineers Lacking the normal Fougasse edition, the IV Army Corps commissioned their Engineers - the 103rd Engineers - to produce their own edition. Indescribably rare, one of the ones in this series is inscribed 'To Al, with sincerest regards Warren C Guggenheim'. The cartoonist Fougasse, was a British cartoonist who was art editor of Punch 1937-1949, and subsequently editor until 1953. He is best known for his ‘Careless Talk Costs Lives’ series of posters, and the other posters both for the Ministry of Information, London Underground and others. The Ministry of Information’s wartime poster campaign was soon regarded as dull and uninspiring on account of its hectoring messages such as ‘Keep Calm and Carry On.’ There were posters telling the population how to conduct virtually every minute of their daily lives – for instance by saving old clothes for rags, turning off the lights, saving food, digging for victory, or watching out for spies. With this instruction overload the population ceased paying attention to the posters, so Fougasse offered his services to the Ministry of Information unpaid, with a view to bringing a touch of humour to serious messages. An amusing picture and a pithy caption helped to get the message across to the reader. His distinctive style, with the red border, was adopted by other Ministry artists. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good, a few very soft creases as normal. -
Cyril Kenneth Bird ‘Fougasse’ (British, 1887-1965) Careless Talk Costs Lives IV
Lithographic poster c.1940 32 x 20 cm (12.5 x 8 in) Reprinted by the IV Army Corps by the 103rd Engineers Lacking the normal Fougasse edition, the IV Army Corps commissioned their Engineers - the 103rd Engineers - to produce their own edition. Indescribably rare, one of the ones in this series is inscribed 'To Al, with sincerest regards Warren C Guggenheim'. The cartoonist Fougasse, was a British cartoonist who was art editor of Punch 1937-1949, and subsequently editor until 1953. He is best known for his ‘Careless Talk Costs Lives’ series of posters, and the other posters both for the Ministry of Information, London Underground and others. The Ministry of Information’s wartime poster campaign was soon regarded as dull and uninspiring on account of its hectoring messages such as ‘Keep Calm and Carry On.’ There were posters telling the population how to conduct virtually every minute of their daily lives – for instance by saving old clothes for rags, turning off the lights, saving food, digging for victory, or watching out for spies. With this instruction overload the population ceased paying attention to the posters, so Fougasse offered his services to the Ministry of Information unpaid, with a view to bringing a touch of humour to serious messages. An amusing picture and a pithy caption helped to get the message across to the reader. His distinctive style, with the red border, was adopted by other Ministry artists. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good, a few very soft creases as normal. -
Cyril Kenneth Bird ‘Fougasse’ (British, 1887-1965) Careless Talk Costs Lives V
Lithographic poster c.1940 32 x 20 cm (12.5 x 8 in) Reprinted by the IV Army Corps by the 103rd Engineers Lacking the normal Fougasse edition, the IV Army Corps commissioned their Engineers - the 103rd Engineers - to produce their own edition. Indescribably rare, one of the ones in this series is inscribed 'To Al, with sincerest regards Warren C Guggenheim'. The cartoonist Fougasse, was a British cartoonist who was art editor of Punch 1937-1949, and subsequently editor until 1953. He is best known for his ‘Careless Talk Costs Lives’ series of posters, and the other posters both for the Ministry of Information, London Underground and others. The Ministry of Information’s wartime poster campaign was soon regarded as dull and uninspiring on account of its hectoring messages such as ‘Keep Calm and Carry On.’ There were posters telling the population how to conduct virtually every minute of their daily lives – for instance by saving old clothes for rags, turning off the lights, saving food, digging for victory, or watching out for spies. With this instruction overload the population ceased paying attention to the posters, so Fougasse offered his services to the Ministry of Information unpaid, with a view to bringing a touch of humour to serious messages. An amusing picture and a pithy caption helped to get the message across to the reader. His distinctive style, with the red border, was adopted by other Ministry artists. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good, a few very soft creases as normal. -
Out of stock
Cyril Kenneth Bird ‘Fougasse’ (British, 1887-1965) Careless Talk Costs Lives VI
Lithographic poster c.1940 32 x 20 cm (12.5 x 8 in) Reprinted by the IV Army Corps by the 103rd Engineers Lacking the normal Fougasse edition, the IV Army Corps commissioned their Engineers - the 103rd Engineers - to produce their own edition. Indescribably rare, one of the ones in this series is inscribed 'To Al, with sincerest regards Warren C Guggenheim'. The cartoonist Fougasse, was a British cartoonist who was art editor of Punch 1937-1949, and subsequently editor until 1953. He is best known for his ‘Careless Talk Costs Lives’ series of posters, and the other posters both for the Ministry of Information, London Underground and others. The Ministry of Information’s wartime poster campaign was soon regarded as dull and uninspiring on account of its hectoring messages such as ‘Keep Calm and Carry On.’ There were posters telling the population how to conduct virtually every minute of their daily lives – for instance by saving old clothes for rags, turning off the lights, saving food, digging for victory, or watching out for spies. With this instruction overload the population ceased paying attention to the posters, so Fougasse offered his services to the Ministry of Information unpaid, with a view to bringing a touch of humour to serious messages. An amusing picture and a pithy caption helped to get the message across to the reader. His distinctive style, with the red border, was adopted by other Ministry artists. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good, a few very soft creases as normal. -
Out of stock
Cyril Kenneth Bird ‘Fougasse’ (British, 1887-1965) Careless Talk Costs Lives VII
Lithographic poster c.1940 32 x 20 cm (12.5 x 8 in) Reprinted by the IV Army Corps by the 103rd Engineers Lacking the normal Fougasse edition, the IV Army Corps commissioned their Engineers - the 103rd Engineers - to produce their own edition. Indescribably rare, one of the ones in this series is inscribed 'To Al, with sincerest regards Warren C Guggenheim'. The cartoonist Fougasse, was a British cartoonist who was art editor of Punch 1937-1949, and subsequently editor until 1953. He is best known for his ‘Careless Talk Costs Lives’ series of posters, and the other posters both for the Ministry of Information, London Underground and others. The Ministry of Information’s wartime poster campaign was soon regarded as dull and uninspiring on account of its hectoring messages such as ‘Keep Calm and Carry On.’ There were posters telling the population how to conduct virtually every minute of their daily lives – for instance by saving old clothes for rags, turning off the lights, saving food, digging for victory, or watching out for spies. With this instruction overload the population ceased paying attention to the posters, so Fougasse offered his services to the Ministry of Information unpaid, with a view to bringing a touch of humour to serious messages. An amusing picture and a pithy caption helped to get the message across to the reader. His distinctive style, with the red border, was adopted by other Ministry artists. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good, a few very soft creases as normal. -
after Samuel Buck (1696 - 1779) and Nathaniel Buck (active 1724 - 1759)
View of Durham Castle being the Bishops Palace (1769)
Engraving 18 x 26 cm An engraved view of Durham Castle, complete with engraved frame in the plate. Empty of any inhabitants, the magnificence of the castle's architecture, is made all the more evident. This engraving was produced for 'England Displayed, published in London in 1769 or 1770 by Adlard and Brown; it was made after the original by Samuel and Nathaniel Buck, originally published in their 'Views of Ruins of Castles & Abbeys in England', created between 1726 and 1742. Durham Castle is a Norman castle in Durham, England, which has been occupied since 1837 by Castle - that is, University College, Durham. Previously, it was the residence of the Bishops of Durham; it stands on top of a hill above the River Wear on Durham's peninsula, opposite Durham Cathedral. Samuel and Nathaniel Buck were brothers and notable 18th century architectural artists, best known for their depictions of ancient castles and monasteries entitled 'Buck's Antiquities' and those of townscapes of England and Wales, ''Sea-Ports and Capital Towns''. LIttle is known about the brothers' lives. Samuel was born in Yorkshire and died in penury in London in 1779, and was buried in the churchyard of St Clement Danes. Nathaniel pre-deceased him, dying between 1759 and 1774. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Cecil Aldin (1870 - 1935)
The Master
Lithograph 48 x 40 cm A jolly lithograph of an MFH and his hounds. Cecil Charles Windsor Aldin was a British artist and illustrator best known for his paintings and sketches of animals, sports, and rural life. Aldin executed village scenes and rural buildings in chalk, pencil, and also wash sketching. He was an enthusiastic sportsman and a Master of Fox Hounds, and many of his pictures illustrated hunting. Aldin's early influences included Randolph Caldecott and John Leech. Condition: generally very good, a few marks to margins, one or two marks to frame. -
Cuthbert "CB" Bradley for Vanity Fair Magazine 'A Judge': The Rev Cecil Legard
11 July 1901 Lithograph 21 x 37 cm CB's cartoon depicts The Rev Cecil Legard (1843-1918), the Rector of Cottesbrooke and heir to the baronetcy. As well as a clergyman, Legard was a noted sportsman and hound expert; he was a steeplechase rider, and also edited the Foxhound Kennel Stud Book. CB depicts him judging hounds, excellently outfitted; as the biography on the reverse of the mounted lithograph notes, he might be 'the best judge of a foxhound in England'. A copy of the cartoon is held by the Kingston Lacy Estate in Dorset. Cuthbert Bradley was also a sporting man - he famously authored 'Fox-Hunting from Shire to Shire with Many Noted Packs' and worked as a sporting journalist for The Field. As well as illustrating for Vanity Fair, he painted polo and foxhunting scenes, and other pictures of equestrian interest. The majority of his Vanity Fair cartoons are of hunting men. The Vanity Fair magazine of 1868 to 1914 was subtitled 'A Weekly Show of Political, Social and Literary Wares'. Founded by Thomas Gibson Bowles, who aimed to expose the contemporary vanities of Victorian society, it featured regular full-page, colour lithographs of famous (or infamous) contemporary figures. It is for these caricatures that the original Vanity Fair is best known today. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good. -
Télépheriques de l'Aiguille du Midi et de la Vallée Blanche Chamonix Mont Blanc
Original vintage poster 98x63cm Condition: Good, small loss to top-right corner approx 1cm x 1cm; some creases/very short tears to edges, and a few light creases to poster. Will look great once framed with a mount to hide the edge deficiencies. -
Chapel Interior (circa 1800)
Engraving 49 x 40 cm An engraving of a magnificent chapel interior. Two men tour the chapel, one gesticulating towards the spectacular design of the chancel window. Condition: good. Some gentle discolouration; in faux burr-maple frame. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Joseph Constantine Stadler (1755 - 1828) after Frederick Mackenzie (1788 - 1854)
The Chapel of All Souls College, Oxford (1814)
Hand-coloured aquatint 29.5 x 21 cm Published by Rudolph Ackermann (1764 – 1834). An engraving of All Souls' chapel. All Souls College was founded in 1437 by Henry Chichele, Archbishop of Canterbury, to serve as a memorial to Henry V and the English dead in the Hundred Years War. The Front Quad appears virtually unchanged since it was first built in the years 1438-1343, thanks to a sympathetic Victorian restoration. The chapel was modelled after that of New College, where Chichele was a Member. It has a superb hammer-beam roof, excellent mediaeval stained glass, and a large number of original stalls. All services in the chapel are according to the Book of Common Prayer; the King James Bible is also used rather than more modern translations. Frederick Mackenzie (circa 1788 - 1854) was a British watercolourist and architectural draughtsman. He first exhibited at the Royal Academy in 1804, and contributed eleven drawings between that year and 1828. He contributed to the Society of Painters in Water Colours exhibitions from 1813, becoming an associate in 1822, and a full member the following year. From 30 November 1831 until, his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. Joseph Constantine Stadler was a prolific German émigré engraver of images after his contemporaries - here, 18th-century English landscape painter and diarist Joseph Farington. Stadler''s engravings are wide-ranging in subject matter and include landscapes, seascapes and portraits, as well as military, sporting and decorative subjects. Stadler was employed by the leading print publisher of the time, John Boydell. Stadler lived in Knightsbridge when he died at the age of 73. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Robert Parkinson
Exeter College Chapel from Broad Street (1964)
Lithograph 33 x 46 cm A lithograph of Exeter's chapel, viewed from Broad Street, from a drawing by Robert Parkinson. Parkinson's depiction of the chapel centres around its architecture; markedly inspired by the Sainte-Chapelle in Paris and designed by Sir George Gilbert Scott, the chapel was built between 1856 and 1860. Here, Parkinson has its spire reach upward into a blank sky. Parkinson's 1962 etching was reproduced as a lithograph in 1964, to be published in the "Oxford Almanack". The Oxford Almanack was an annual almanac published by the Oxford University Press for the University of Oxford from 1674 through 2019 (when printing sadly ceased due to "dwindling interest"). The almanac traditionally included engravings or lithographs of the University and information about the upcoming year. Other almanac artists have included James Basire, Michael Burghers, J. M. W. Turner, and John Piper. Condition: very good, save for crease to top left corner (tear to margin which will be hidden under the mount). If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Out of stock
Charles E Brown (1896-1982)
AVRO Lancasters of 35 Sqdn in Flight
Original Silver Gelatin photograph, 1940s 19 x 27 cm Formed in 1916, the Squadron spent 1917 and 1918 in France flying the FK8. In support of the Spring Offensive of March 1918, it dropped 118 25lb bombs - which would have made up one third of the bombing load of a Lancaster. In 1940 the Squadron was reformed as the first Halifax squadron, pilots including Leonard Cheshire and James Brian Tait - both subsequently of 617 'Dambusters' Squadron. In 1944 the Squadron converted to the Lancasters to be seen in this photograph. Sqd Ldr Alec Panton Cranswick DFC DSO was shot down in 1944 on his 107th bombing mission - a record for any British airman. Following the War, the Squadron engaged in both the Victory flypast over London and a goodwill tour of the United States. Subsequently disbanded and reformed several times, it operated the Boeing Washington, the Canberra, and for twenty years the Vulcan. Charles E Brown was a famous photographer of aircraft whose father was a butcher in Wimbledon, London. Young Charles was given a camera for his 14th birthday and in 1911 photographed an Edwardian gentleman in trouble landing his balloon in neighbouring Southfields. This photograph was published in the Daily Mirror – the fee being half a crown – and Brown was encouraged to join the Daily Mirror’s photography department upon leaving school at 16. Towards the end of the First World War he served with the Royal Air Force at their official London Photographic Centre. Following the war, he took to photographing trains, and captured a famous photograph of a Southern Railway locomotive that was used for the following ten years in railway posters. The income from this allowed him to pursue his passion of aviation photography in the 1920s and 1930s, from which commissions from the Air Ministry and Fleet Air Arm followed. During the war his work included commissions for Aeronautics magazine. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. Condition: Marginal creases, losses, short tear to left edge, very short tear to right edge, generally good, -
Out of stock
Charles E Brown (1896-1982)
Lancastrian VH742 - The first Jet Airliner
Original Silver Gelatin photograph, 1940s 19 x 24 cm Stamped to reverse 'Charles E Brown' with address and 6140-2 reference number, together with press release reading: "THE FIRST JET LINER "Captain R T Shepherd, Rolls Royce chief test pilot, demonstrating the remarkable performance of the 62,500 lb Avro LANCASTRIAN on the two NENE jets alone. With the two Merlins and their propellors stopped one is struck by the entire absence of visible moving parts. Even more noticeable is the reduced noise and complete lack of vibration." The Lancastrian was developed from the Lancaster bomber with armaments and armour removed, and a new - streamlined - nose. The first batch were made by converting Lancaster bombers, latter batches made from scratch. The Lancaster had been designed to carry bombs rather than passengers, and so the space available meant that whilst the Lancastrian was not suitable for large numbers of passengers it was admirably suited to carrying mail and other perishable goods.First to fly was Lancastrian VH742, delivered to the Rolls-Royce flight development airfield at Hucknall in October 1945. Its outer Merlin engines were removed and the nacelles were also taken away, while the fuel system was completely rebuilt to carry both gasoline for the inner engines and kerosine for the new jets. In the outer positions were added completely new nacelles housing Nene turbojets, then the most powerful jet engines in the world. It flew again on August 14, 1946 with two Merlins and two Nenes.
On September 19, 1946 this aircraft acted as the world's first jet airliner by making three passenger flights carrying representatives of the Press as well as Ministry officials and other passengers (who were all most impressed and suggested that an airline that could offer jet travel would be the talk of the world). Rolls-Royce also flew a second Nene-Lancastrian, VH737, and two Avon-Lancastrians, VM732 and VL970. The latter The first flight of a jet airliner was reported as follows:
"The Nene-Lanc, Flies to Paris "THE flight of the Nene Lancaster from London to Paris last Monday, to play its part in connection with the exhibition, may be said to have marked a historic part in British aircraft development, for it constituted the first time that any jet-powered airliner had flown from one country to another. Moreover, since this particular aircraft has been flying fairly regularly since round about the time of the Radlett exhibition, the flight to Paris was no special performance, but merely one more public demonstration of its inherent reliability. "In the hands of Capt. R. T. Shepherd, chief test pilot for Rolls-Royce, the “Nene-Lanc” landed at Le Bourget at 10.58 a.m., G.M.T., after a 50-minute flight from London Airport, giving an average speed of 247.5 m.p.h. [398.3 kilometers per hour] Two passengers were carried in addition to the crew; they were Mr. Roy Chadwick, the Avro designer, and Mr. R. B. William Thompson, Chief Information Officer of the Ministry of Supply. "Capt. Shepherd said that he was very pleased with the aircraft’s performance and added that, but for having to circle Le Bourget Airport Twice before landing, the flight would have been completed in 43 minutes." FLIGHT and AIRCRAFT ENGINEER, No. 1978. Vol. L., Thursday, November 21st, 1946 at Page 561, Column 2. Charles E Brown was a famous photographer of aircraft whose father was a butcher in Wimbledon, London. Young Charles was given a camera for his 14th birthday and in 1911 photographed an Edwardian gentleman in trouble landing his balloon in neighbouring Southfields. This photograph was published in the Daily Mirror – the fee being half a crown – and Brown was encouraged to join the Daily Mirror’s photography department upon leaving school at 16. Towards the end of the First World War he served with the Royal Air Force at their official London Photographic Centre. Following the war, he took to photographing trains, and captured a famous photograph of a Southern Railway locomotive that was used for the following ten years in railway posters. The income from this allowed him to pursue his passion of aviation photography in the 1920s and 1930s, from which commissions from the Air Ministry and Fleet Air Arm followed. During the war his work included commissions for Aeronautics magazine. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. Condition: Generally very good. -
Out of stock
Charles E Brown (1896-1982)
BSAA Lancastrian G-AGWL 'Star Guide'
Original Silver Gelatin photograph, 1940s 19 x 24 cm Stamped to reverse 'Charles E Brown' with address and 6337-13 reference number. The Lancastrian was developed from the Lancaster bomber with armaments and armour removed, and a new - streamlined - nose. The first batch were made by converting Lancaster bombers, latter batches made from scratch. The Lancaster had been designed to carry bombs rather than passengers, and so the space available meant that whilst the Lancastrian was not suitable for large numbers of passengers it was admirably suited to carrying mail and other perishable goods. G-AGWL ‘Star Guide’ was registered 28/11/45. Its first flight was on 1/2/46 for the Ministry of Supply & Aircraft Production (MoSAP), being delivered in February to British South American Airlines (BSAA) as ‘Star Guide’. In January 1949 it was bought by Flight Refuelling Ltd subsequently being used on the Berlin Airlift and was scrapped 26/9/51 at Tarrant Rushton. Charles E Brown was a famous photographer of aircraft whose father was a butcher in Wimbledon, London. Young Charles was given a camera for his 14th birthday and in 1911 photographed an Edwardian gentleman in trouble landing his balloon in neighbouring Southfields. This photograph was published in the Daily Mirror – the fee being half a crown – and Brown was encouraged to join the Daily Mirror’s photography department upon leaving school at 16. Towards the end of the First World War he served with the Royal Air Force at their official London Photographic Centre. Following the war, he took to photographing trains, and captured a famous photograph of a Southern Railway locomotive that was used for the following ten years in railway posters. The income from this allowed him to pursue his passion of aviation photography in the 1920s and 1930s, from which commissions from the Air Ministry and Fleet Air Arm followed. During the war his work included commissions for Aeronautics magazine. Condition: Generally very good. -
Charles E Brown (1896-1982)
Testbed Avro Lancaster Bomber LL735
Silver Gelatin Black & White Photographic Print 19x25cm Stamped to reverse "6231-3 Copyright photograph by Charles E Brown, 14, Longfellow Road, Worcester Park, Surrey, Derwent 4396." The Lancaster bomber needs no introduction as the most famous and important bomber of the Second World War. Here however LL735, a Mk II, is is fitted with a fifth engine, a jet engine. The air intake may be seen above the fuselage and the engine itself replaces the rear gun turret. In 1943 LL735 was fitted with the Metropolitan-Vickers F2/1 Beryl jet engine, and in 1945 it trialed the F2/4 jet engine. This photograph would have been particularly secret at the time it was taken. Charles E Brown was a famous photographer of aircraft whose father was a butcher in Wimbledon, London. Young Charles was given a camera for his 14th birthday and in 1911 photographed an Edwardian gentleman in trouble landing his balloon in neighbouring Southfields. This photograph was published in the Daily Mirror - the fee being half a crown - and Brown was encouraged to join the Daily Mirror's photography department upon leaving school at 16. Towards the end of the First World War he served with the Royal Air Force at their official London Photographic Centre. Following the war, he took to photographing trains, and captured a famous photograph of a Southern Railway locomotive that was used for the following ten years in railway posters. The income from this allowed him to pursue his passion of aviation photography in the 1920s and 1930s, from which commissions from the Air Ministry and Fleet Air Arm followed. During the war his work included commissions for Aeronautics magazine. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. -
Charles March Gere R.A. R.W.S. (1869 - 1957) King's College from the Backs Watercolour 36 x 69 cm Monogrammed lower left. An atmospheric watercolour of one of Cambridge's most exalted sights: King's College chapel from the Backs, together with Clare College. Charles March Gere R.A. R.W.S. was an English painter, illustrator of books, and stained glass and embroidery designer associated with the Arts and Crafts movement. -
Charles Pulsford ARSA (1912 - 1989)
Abstract Figure in Yellow and Blue
Watercolour and ink 56 x 38 cm Signed lower right. An abstract figure in arresting colours. The artist plays with the intersection of round and lateral mark-making to form a human figure, perhaps reminiscent of a crucifixion. Pulsford's skill as an abstract landscape artist is also evident here, with the form suggestive of natural and industrial topography like fields, rivers, railway tracks, and electric pylons. Pulsford was born in Staffordshire to Scottish parents. His family returned to Dunfermline when he was a child, and he subsequently attended Edinburgh College of Art (ECA) between 1933 and 1937. He, along with other prominent Scottish artists, embraced modernism and abstraction following the end of the war. Alan Davie, William Turnbull, William Gear and Eduardo Paolozzi are the key artists of the group with which he was association, and the National Galleries of Scotland regard Pulsford as the 'fifth man' of the group. Between 1952 and 1960 he taught at ECA and then at Canterbury College of Art. Condition: generally very good, old tape stains to extreme margins. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Provenance: the artist, the residual stock of William Hardie. -
Charles Pulsford ARSA (1912-1989)
Abstract Harbour
Watercolour 36 x 46 cm Signed lower right. Pulsford was born in Staffordshire to Scottish parents. His family returned to Dunfermline when he was a child, and he subsequently attended Edinburgh College of Art (ECA) between 1933 and 1937. He, along with other prominent Scottish artists, embraced modernism and abstraction following the end of the war. Alan Davie, William Turnbull, William Gear and Eduardo Paolozzi are the key artists of the group with which he was association, and the National Galleries of Scotland regard Pulsford as the 'fifth man' of the group. Between 1952 and 1960 he taught at ECA and then at Canterbury College of Art. Provenance: the artist, the residual stock of William Hardie Gallery. Condition: Generally very good, in fine hand-finished frame. If you are interested, email info@manningfineart.co.uk or call us on 07929 749056. -
Charles Pulsford ARSA (1912-1989)
Abstract Landscape
Watercolour with wax resist 55 x 31 cm Provenance: the artist; the residual stock of William Hardie. Pulsford was born in Staffordshire to Scottish parents. His family returned to Dunfermline when he was a child, and he subsequently attended Edinburgh College of Art (ECA) between 1933 and 1937. He, along with other prominent Scottish artists, embraced modernism and abstraction following the end of the war. Alan Davie, William Turnbull, William Gear and Eduardo Paolozzi are the key artists of the group with which he was association, and the National Galleries of Scotland regard Pulsford as the 'fifth man' of the group. Between 1952 and 1960 he taught at ECA and then at Canterbury College of Art. Condition: Generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Charles Pulsford ARSA (1912-1989)
'Monochrome Landscape'
Watercolour with ink 39 x 43 cm Initialled lower left Provenance: the artist; the residual stock of William Hardie. Pulsford was born in Staffordshire to Scottish parents. His family returned to Dunfermline when he was a child, and he subsequently attended Edinburgh College of Art (ECA) between 1933 and 1937. He, along with other prominent Scottish artists, embraced modernism and abstraction following the end of the war. Alan Davie, William Turnbull, William Gear and Eduardo Paolozzi are the key artists of the group with which he was association, and the National Galleries of Scotland regard Pulsford as the 'fifth man' of the group. Between 1952 and 1960 he taught at ECA and then at Canterbury College of Art. Condition: Good. Paper slightly toned, a little spotting. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Charles Pulsford ARSA (1912-1989)
Abstract Stained Glass Design
Gouache 40 x 25 cm Provenance: the artist, the residual stock of William Hardie Gallery. This mesmerising depiction of an abstract figure is likely a design for a stained glass window panel. Pulsford was born in Staffordshire to Scottish parents. His family returned to Dunfermline when he was a child, and he subsequently attended Edinburgh College of Art (ECA) between 1933 and 1937. He, along with other prominent Scottish artists, embraced modernism and abstraction following the end of the war. Alan Davie, William Turnbull, William Gear and Eduardo Paolozzi are the key artists of the group with which he was association, and the National Galleries of Scotland regard Pulsford as the 'fifth man' of the group. Between 1952 and 1960 he taught at ECA and then at Canterbury College of Art. Condition: Generally very good. If you are interested, email info@manningfineart.co.uk or call us on 07929 749056. -
Meadows-Frost (possibly Sir John Meadows Frost [1856 - 1935])
Charterhouse School Chapel
Watercolour 37 x 31 cm Signed 'Meadows-Frost' and dated. A watercolour of Charterhouse's magnificent gothic chapel. Designed by Sir Giles Gilbert Scott, the chapel was consecrated in 1927 as a memorial to nearly 700 Carthusians who died in the Great War. It is the largest war memorial in England. Sir John Meadows Frost was the Mayor of Chester from 1913 to 1918. The following record, likely referring to Sir John's eldest son, also appears in the Charterhouse Register of 1872-1910; this watercolour was executed in 1894. It is likely that one of the family painted it, and any more information as to which individual it was would be gratefully received: "Frost, John Meadows, t). 22 April, 1885: i g. of John Meadows Frost, of Chester; (Girdlestoneites); Left C.Q. 1903. Ch. Ch., Oxf.; B.A. — In firm of Messrs. F. A. Frost & Sons (Millers). tn. 1 910, Olivia, I "U. of Henry Shelmerdine, of Southport. J. M. Frost, Esq., junr., Holmfield, Westminster Park, Chester." Another son, Thomas Laurence Frost, was educated at Charterhouse between between 1901 and 1907, spending 3 years with the Charterhouse Cadet Corps, followed by Clare College, Cambridge. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Reginald Hallward (1858 - 1948)
Stained glass memorial design for Chelford Church
Pencil and gouache 12 x 7 cm With pencil annotations by the artist. Reginald Hallward was born on the Isle of Wight, and was a painter, poet, glassmaker and book designer. He is best known for his stained glass window designs and the tempera murals he painted in several churches. A great exponent of the English Arts and Crafts movement, he often used black paint for outlines, rather than leaded glass. A consumate craftsman, he insisted on painting, firing and leading with his own hands. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other pictures by Reginald Hallward. -
Brendan Neiland (b. 1941) R.A. (Expelled)
Cherwell Bridge
Screenprint 53 x 34 cm Signed, titled, and numbered 43 / 175 in pencil. A screenprint of Oxford’s beauteous Cherwell Bridge in University Parks, reflected in the glassy surface of the river. Reflected architecture is one of Neiland’s most recurring themes. Neiland's work is widely exhibited in major museums and galleries worldwide including, in Britain, the Victoria and Albert Museum, The Tate Gallery London, The Collections of the British Council, and the Arts Council of Great Britain. He is represented by the Redfern Gallery and has had numerous shows internationally, including at the Galerie Belvedere in Singapore, who represent him in Singapore and the Far East. Condition: very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Bernard Myers (1925 - 2007)
Chiswick Reach
Oil on paper 50 x 72 cm Myers' impressionist view of Chiswick Reach (likely painted from his studio, which overlooked the Thames) depicts a hazy morning mist making its way down the river. The artist's sparse and muted palette renders the sky barely discernible from the water; chevron brushstrokes make up trees which cast their shadows over the Thames. A flotilla of boats, ghost-like with their white sails, appear from the blue mist. Bernard Myers was a painter and printmaker who trained at St Martin’s School of Art, the Camberwell School of Arts and Crafts, and the Royal College of Art in the 1940s and 1950s. This painting won the David Murray Landscape Scholarship and was painted while Myers was a student at the RCA. He went on to teach there before moving into a studio in Hammersmith. He lived and painted at 5 Durham Wharf, just off Chiswick Mall and with a view of the Thames, from the 1980s until his death in 2007. Provenance: New Grafton Gallery. Condition: excellent. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of London. -
Out of stock
Tom Carr (1912 - 1977)
Christ Church and New College Beagles in Northumberland (1967)
Lithograph 28 x 38 cm Signed in pencil lower right. A classic Carr hunting print of the Christ Church (now the Christ Church and Farley Hill) Beagles, and the Magdalen and New College Beagles, on their annual trip to Northumberland. Tom Carr was a painter of hunting and racing scenes. He was born in Durham and worked as a blacksmith at Preistman Collieries, before sustaining an injury which saw him admitted to hospital, where he took up drawing and painting. He decided to become an artist and went to study at King's College, Newcastle-upon-Tyne, using the compensation money from his injury to pay for his tuition. Carr became known for his energetic hunting scenes, and earned the patronage of the Dukes of Beaufort and Northumberland. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other hunting pictures. -
John Ivester Lloyd (1873 - 1942)
Christ Church Beagles
Lithograph 31 x 42 cm Thomas Ivester Lloyd (1873 - 1942) was born in Liverpool. During the First World War, he served with the Remount Service, in common with many other equine artists. He was later commissioned into the Royal Artillery. From childhood he hunted, and he became Master of the Sherington Foot Beagles. As well as his equine portraits, he illustrated some books. The pony books he illustrated were all written by his son, John Ivester-Lloyd. Condition: colours excellent. Original frame. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other hunting pictures. -
Edwin La Dell (1914-1970)
Christ Church, Oxford (1956)
Lithograph 33 x 42 cm Signed and dated lower right. With invoice from Royal Academy and letter from the artist. This view of Christ Church from the meadows is rendered in a muted palette, suggestive of a late autumn afternoon. Four coat-and-hat-clad pedestrians stroll along, accompanied by small child and dog. La Dell studied at the Sheffield School of Art, where he won a scholarship to the Royal College of Art. From 1934 to 1940 John Nash was the head of printmaking there, and taught La Dell. La Dell himself became head of lithography there in 1948, and remained in post until his death. During the war La Dell was an official war artist and a camofleur, but he is probably best known for his lithographs of Oxford and Cambridge that he published himself. His works are widely held in the public collections, including the Royal Academy and the Government Art Collection, the latter of which holds many of his views of Cambridge. Condition: mounted to board. Slight but even age toning. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Christ Church. -
Edwin La Dell (1914-1970)
The Meadows, Oxford
Lithograph 40 x 55 cm Signed, titled, and numbered 31/80 in pencil. A bright blue winter sky looks over Christ Church Meadows, complete with pedestrians waltzing down Deadman's Walk. La Dell studied at the Sheffield School of Art, where he won a scholarship to the Royal College of Art. From 1934 to 1940 John Nash was the head of printmaking there, and taught La Dell. La Dell himself became head of lithography there in 1948, and remained in post until his death. During the war La Dell was an official war artist and a camofleur, but he is probably best known for his lithographs of Oxford and Cambridge that he published himself. His works are widely held in the public collections, including the Royal Academy and the Government Art Collection, the latter of which holds many of his views of Cambridge. Condition: very good. Backed to linen. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Christ Church. -
Jane Gray (b.1931)
Christ Church, Bicton, Shropshire, Design for Stained Glass Window (2005)
Watercolour 16 x 5 cmSigned, dated and studio stamp verso.
Christ Church in Bicton Heath, Shrewsbury is a fine example of an early Victorian church, built in 1854 by Edward Haycock Snr in the Early English style with many lancet features. This stained glass window above the chancel arch was commissioned to celebrate the new millennium.
Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
Jane Gray (b.1931)
Christ Church, Charnock Richard, Lancashire Design for Stained Glass Window (1989)
Watercolour 25.5 x 15.5 cmSigned, dated and studio stamp verso.
Christ Church was built in 1860 at the heart of the 13th century country village of Charnock Richard. Alongside its stained glass windows, the church boasts historic tile work and an exceptional marble memorial to the original benefactor’s wife, Frances Darlington. This window was installed in 1990.
Provenance: the artist’s studio sale. Literature: Jane Gray, Playing with Rainbows. (Shropshire: Ellingham Press, 2011), p.80. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
Jane Gray (b.1931)
Christ Church, Charnock Richard, Lancashire, Design for Stained Glass Window (1988)
Watercolour 25.5 x 15.5 cm Signed, dated and studio stamp verso.Christ Church was built in 1860 at the heart of the 13th century country village of Charnock Richard. Alongside its stained glass windows, the church boasts historic tile work and an exceptional marble memorial to the original benefactor’s wife, Frances Darlington.
Provenance: the artist’s studio sale. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
David Loggan (1634 - 1692)
Christ Church, Oxford (1675)
Engraving 42 x 84 cm Loggan's view of Christ Church from the 'Oxonia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells (born 1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Christ Church. -
David Loggan (1634-1692)
Christ Church, Oxford (1675)
Engraving 42 x 84 cm Loggan's view of Christ Church from the 'Oxonia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells (born 1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: very good; later hand coloured. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Christ Church. -
John Dadley (1767 - 1817) after Edward Dayes (1763 - 1804)
Front View of Christ Church (1796)
Engraving 33 x 45 cm An engraving illustrating the magnificent facade of Christ Church from St Aldate's, dominated by Tom Tower. John Dadley was a British portraitist and engraver. Edward Dayes was an English watercolour painter and mezzotint engraver. He first exhibited at the Royal Academy in 1786, when he showed a portrait and views of Waltham Cross and Canterbury. In the three following years he exhibited both miniatures and landscapes. He continued to exhibit at the Academy regularly until the year of his death, contributing a total of 64 works. He also exhibited at the Society of Artists, and worked as draughtsman to the Duke of York and Albany. Condition: generally very good; some age toning to margins. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Christ Church. -
Pieter van der Aa (1659-1733), after David Loggan (1634–1692)
Christ Church, Oxford (1727)
Engraving 12 x 16 cm An eighteenth-century view of Christ Church, 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: a good impression. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Jane Gray (b.1931)
Christ Church, Oxon, Shrewsbury, Design for Millennium Stained Glass Window (1999)
Watercolour 12.5 x 3.5 cmSigned, dated and studio stamp verso.
Christ Church in Oxon, Shrewsbury is a fine example of an early Victorian church, built in 1854 by Edward Haycock Snr in the Early English style with many lancet features. This stained glass window above the chancel arch was commissioned to celebrate the new millennium, and centres on the star of Bethlehem against a coastal backdrop. This window was installed in 2001.
Provenance: the artist’s studio sale. Literature: Jane Gray, Playing with Rainbows. (Shropshire: Ellingham Press, 2011), p.86. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
David Loggan (1634 - 1692)
Christ's College, Cambridge (1690)
Engraving 39 x 48 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: generally even all-over toning; old repair to lower central fold with small loss. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Christopher Wyndham Hughes (1881-1961) Italian Church Entrance
Pencil drawing c.1930s 35 x 23cm Born in St Albans, in Hertfordshire UK, Hughes was a painter, illustrator, printmaker and teacher. He served in the First World War in the 7th Battalion Wiltshire Regiment being awarded a Military Cross in the 1917 New Years Honours List and attaining the rank of Colonel. Subsequently he taught art at Marlborough College. He was taught painting by his father, Wyndham Hughes, who was an expert in stained glass and ecclesiastical decoration. This is from a series of drawing we have of an Italian trip, to see some others, scroll down to "More from this Seller" and below it click on "See all from this seller." If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
Jane Gray (b.1931)
Church of St Andrew and St Mary, Pitminster, Somerset, Design for Stained Glass Window (1987)
Watercolour 40.5 x 20.5 cmSigned, dated and studio stamp verso.
The Church of St Andrew and St Mary in Pitminster was built on the site of an earlier Saxon church around 1300 and was later added to in the 15th century and restored in 1869 by the prolific English Gothic Revival architect, Sir Gilbert Scott. Gray’s design for the east window of the church, featuring a colourful Christian depiction of Christ calling Andrew to be his disciple; the window features the Sea of Galilee, the heavenly city and fishing symbols, accompanied by the line, ‘Follow me, I will make you fishers of men’, from Matthew 4:19. The window was installed in 1989.
Provenance: the artist’s studio sale. Literature: Jane Gray, Playing with Rainbows. (Shropshire: Ellingham Press, 2011), pp.44-5, 79. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
Jane Gray (b.1931)
Church of St Peter and St John the Baptist, Wivelsfield, Sussex, Design for Stained Glass Memorial Window (1993)
Watercolour 16.5 x 5.5 cmSigned, dated and studio stamp verso.
The country Church of St Peter and St John the Baptist in Wivelsfield, East Sussex, dates back to around the 11th century. Since then it has undergone several renovations; the south aisle is 13th century, the tall south chapel is 14th century, the southwest tower was built around 1500 and the chancel was lengthened in the 19th century. Originally, the church was a chapelry of Ditchling, and it wasn't until after the Reformation that the church separated completely. This window was commissioned to commemorate Sir Bryant Godman Irvine, former Deputy Speaker of the House of Commons, and to his wife, and features both their family crests. The window was installed in 1995.
Provenance: the artist’s studio sale. Literature: Jane Gray, Playing with Rainbows. (Shropshire: Ellingham Press, 2011), p.84. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
Jane Gray (b.1931)
Church of the Holy Nativity, Bristol, Design for Stained Glass Memorial Window, Commemorating Frank Ernest Pring (1997)
Watercolour 25 x 9.5 cm Signed, dated and studio stamp verso.The Church of the Holy Nativity in Bristol started out as a Mission Chapel in the latter half of the 19th century, when the population of hamlets surrounding Bristol expanded into suburbs—the result of industrial growth around Temple Meads railway station. The site chosen was close to Arnos Vale Cemetery in Knowle, where a wooden church was built to serve the local residents, opening in 1865. From the start the Mission Chapel was well attended and grew significantly in size until it became necessary to find a larger, more permanent building to accommodate the congregation. In 1867 the Chapel was moved to a new site in Wells Road, Knowle, and an appeal for building funds started. To save money the new church was developed in sections, and the Mayor of Bristol laid the foundation stone of the new church in June 1870, it was dedicated on Holy Cross Day, in September, 1871. Tragically, during the first heavy air raid on Bristol on 24th November 1940, Holy Nativity became the first church in the city to be destroyed, however, by some stroke of luck, the Tower, Clock and Bells survived the destruction and it was said that as flames consumed the church the clock continued to chime. Approval to rebuild the church was given in December 1950 and the new church was completed in November 1955. The church was consecrated on the Feast of the Conversion of St Paul, in January 1958. This window was dedicated to the memory of the late churchwarden emeritus, Ernest Pring. In this window, Gray incorporated many significant features of Ernest’s life such as his churchwarden’s staff, the Boy Scouts, his favourite biblical text and the Bristol landscape. A cross dominates the design and a star beams light across the whole design from above. Adjacent to the window is a memorial to Phyllis Pring, Ernest’s wife, also designed by Gray. This window was installed in 1998.
Provenance: the artist’s studio sale. Literature: Jane Gray, Playing with Rainbows. (Shropshire: Ellingham Press, 2011), pp.50, 60, 85. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other works by Jane Gray and more information about her, please click here. -
Reginald Hallward (1858 - 1948)
Design for a church wall painting (1904)
Pencil and watercolour on paper 6 x 12 cm With pencil annotations by the artist. A romantic design for a wall painting above a church organ, featuring angels variously reading, singing, and playing the lute. Reginald Hallward was born on the Isle of Wight, and was a painter, poet, glassmaker and book designer. He is best known for his stained glass window designs and the tempera murals he painted in several churches. A great exponent of the English Arts and Crafts movement, he often used black paint for outlines, rather than leaded glass. A consumate craftsman, he insisted on painting, firing and leading with his own hands. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other pictures by Reginald Hallward. -
Gordon House (1932 - 2004)
Circle E
Lithograph 86 x 45 cm Signed, numbered 48/75, and titled in pencil below the plate. An excellent example of Gordon House's work: a modern design, influenced by art deco, in blue and yellow. Gordon House was born in Pontardawe, South Wales in 1932 and studied at Luton and St. Albans Schools of Art. He began working for advertising agencies in the 1950s and became a full-time artist in 1961, exhibiting several solo shoes. He designed for several leading London galleries, the Ashmolean Museum in Oxford, and popular bands such as the Beatles and the Rolling Stones. Several dozen Gordon House prints are held by the Tate. Condition: very good; backed to board. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other abstract lithographs by Gordon House. -
David Roberts (1769 - 1864)
Citadel of Sidon - April 28th, 1839 (published 1943)
Lithograph with hand-colouring 23 x 35 cm (sheet size 17.5 x 24.5 cm) The Citadel of Sidon, or Sidon Sea Castle, was built by crusaders in the thirteenth century as a fortress of the holy land. This lithograph is part of David Roberts' series of views of the Holy Land, which he produced from sketches made during lengthy tours of the Near East in the 1830s. Egypt was much in vogue at this time, and travellers, collectors and lovers of antiquities were keen to buy works inspired by the East or depicting the great monuments of ancient Egypt; Roberts was more than happy to produce pictures on this lucrative theme. Queen Victoria was one of his 400 subscribers, and her set of lithographs is still held by the Royal Collection Trust. The lithographer Louis Haghe worked with Roberts to turn the original sketches into high-quality lithographs, which were then published in the 1840s by the printer F. G. Moon in London. David Roberts RA RBA was a Scottish painter known for his Orientalist pictures. He was elected as a Royal Academician in 1841. -
Clare College and Bridge, Cambridge
Albumen print of a photograph, circa 1850 Mounted to board and inscribed 'Clare Coll + Bridge Cambridge'. Clare College is a constituent college of the University of Cambridge in Cambridge. The college was founded in 1326 as University Hall, making it the second-oldest surviving college of the University after Peterhouse. It was refounded in 1338 as Clare Hall after an endowment from Elizabeth de Clare, and took on its current name in 1856. Clare is famous for its chapel choir and for its gardens on The Backs, overlooking the River Cam. Condition: generally very good, slight toning to sky. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Fulleylove RI, ROI (1845 - 1908)
Clare College Gates, Cambridge (1890)
Watercolour 11.5 x 17cm Signed lower right. John Fulleylove was an English landscape artist and illustrator. He was apprenticed to a firm of architects in Leicester, and later became a full-time painter in watercolour and oils. He exhibited widely in the UK, at such venues as the Royal Academy, the Fine Art Society, and the Royal Society of British Artists. Abroad, he painted in France, Italy, Greece, and the Middle East; his predilection for travel and his interest in architecture provided him with plenty of subjects for themed exhibitions. He exhibited watercolour views of Oxford in 1888 and of Cambridge in 1890, of Paris and Versailles in 1894, and of the Holy Land in 1902. 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 Clare. -
Joseph Constantine Stadler (1755 - 1828) after William Westall (1781 - 1850)
Entrance to the Avenue, from Clare Hall Piece (1815)
Hand-coloured aquatint 25 x 30 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the gates of Clare College, formerly known as Clare Hall. The River Cam winds its way through the scene; we can see the New Buildings of King's College, Cambridge on the far bank. Victorian figures, several with parasols, picnic or promenade in the foreground. Joseph Constantine Stadler was a prolific German émigré engraver of images after his contemporaries - here, 18th-century English landscape painter and diarist Joseph Farington. Stadler's engravings are wide-ranging in subject matter and include landscapes, seascapes and portraits, as well as military, sporting and decorative subjects. Stadler was employed by the leading print publisher of the time, John Boydell. Stadler lived in Knightsbridge when he died at the age of 73. William Westall was a British landscape artist. He was born in Hertford and enrolled at the Royal Academy schools in 1799. He later became the draughtsman for a voyage to Australia and the South Seas. After being shipwrecked, he travelled to Canton in China and to India, staying in Bombay for several months. He returned to England in 1805 but later set off for Madeira and Jamaica. He became a member of the Society of Painters in Water Colours (1811) and an associate of the Academy (1812). Following a mental breakdown, he regularly visited the Lake District and published ‘Views of the Valley and Vale of Keswick’ (1820). His series of aquatints of the Thames, the great universities, and England's public schools for Ackermann are among his most popular works. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: good. Some gentle age toning. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
David Loggan (1634 - 1692)
Clare College, Cambridge (1690)
Engraving with later hand-colouring 36 x 43 cm Loggan's aerial view of Clare College; the cartouche borne by two cherubs, titular banner, and college crest have been hand-coloured. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: good; trimmed to platemark and mounted to antique laid paper. Other items pasted to reverse. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Clare College, Cambridge. -
Alfred Allan
Clare College, Cambridge
Engraving 24.5 x 17 cm Signed lower left. An atmospheric watercolour depicting Clare College. Alfred Allan has painted several Cambridge colleges and also specialises in coastal scenes. Condition: generally very good; fractional age toning visible to the sky, top right. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Clare College, Cambridge.
