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

£340

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

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

£340

John Bluck (early 19th century) after William Westall (1781 - 1850) Queens' College from the Private Walk (1814)
Aquatint with original hand colouring 19 x 28 cm Published by Rudolph Ackermann (1764 - 1834). William Westall was a British landscape artist. He was born in Hertford and enrolled at the Royal Academy schools in 1799. He later became the draughtsman for a voyage to Australia and the South Seas. After being shipwrecked, he travelled to Canton in China and to India, staying in Bombay for several months. He returned to England in 1805 but later set off for Madeira and Jamaica. He became a member of the Society of Painters in Water Colours (1811) and an associate of the Academy (1812). Following a mental breakdown, he regularly visited the Lake District and published ‘Views of the Valley and Vale of Keswick’ (1820). His series of aquatints of the Thames, the great universities, and England's public schools for Ackermann are among his most popular works. John Bluck was an aquatint engraver, mainly of topographical views, but also of marine and sporting subjects after his contemporaries. He produced plates for numerous publications. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Colours very good, mounted to board, old mount staining to margins within platemark, a little toning to paper.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£470

John Bluck (early 19th century) after Frederick Mackenzie (1788 - 1854) Quadrangle of Balliol College, Oxford (1814)
Aquatint with original hand colouring 21 x 27 cm Published by Rudolph Ackermann (1764 - 1834). Frederick Mackenzie (1788 - 1854) was a British watercolourist and architectural draughtsman. He first exhibited at the Royal Academy in 1804, and contributed eleven drawings between that year and 1828. He contributed to the Society of Painters in Water Colours exhibitions from 1813, becoming an associate in 1822, and a full member the following year. From 30 November 1831 till his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. John Bluck was an aquatint engraver, mainly of topographical views, but also of marine and sporting subjects after his contemporaries. He produced plates for numerous publications. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£235

John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Proctor (1814)
Aquatint with original hand colouring 27 x 21 cm Published by Rudolph Ackermann (1764 - 1834). A Proctor of the University of Oxford, splendacious in academic dress. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann's collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. He attended the Latin school in Stollberg, but his wish to study at the university was made impossible by lack of financial means, and he therefore became a saddler like his father. He worked as a saddler and coach-builder in different German cities, moved from Dresden to Basel and Paris, and then, 23 years old, settled in London. He established himself in Long Acre, the centre of coach-making in London and close to the market at Covent Garden. Ackermann then moved to Little Russell Street where he published Imitations of Drawings of Fashionable Carriages (1791) to promote his coach-making. Other publications followed. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. During the Napoleonic wars, Ackermann was an energetic supporter of the Allied cause and made significant contributions to British propaganda through his publication of anti-Napoleonic prints and military manuals. He became a naturalised British citizen in March 1809. As one of the pioneers of modern publishing methods, Ackermann developed an international distribution network for his publications and came to have significant commercial interests in South America. The business he founded in London flourished throughout the 19th century under the management of his descendants. He was buried at St. Clement Danes in the Strand, London. In 2020, the St. Louis Mercantile Library wrote that: "Ackermann excelled in the creation of landscape and architectural engravings. He created beautiful illustrations of the city of London, his adopted home, as well as two volumes of classic views of Westminster Abbey, along with exquisite views of river scenes. One of our favorite collections are four massive volumes of lovingly illustrated exterior and interior landmarks of Oxford and Cambridge Universities created just over two hundred years ago. These publications show Ackermann’s hand at every turn of the page along with the team of assistant designers and engravers he employed to create these works. Perhaps they were a way by which the artist could lay to rest his own regret at not being able to attend [an Oxbridge] college himself in a fondly depicted idyll to learning which these prints so aptly represent." Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Peterhouse, Cambridge engraving by Stadler after Westall

£235

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

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

£340

John Bluck (early 19th century) after Augustus Charles Pugin (1762 - 1832) Old Gate of Magdalen College (1814)
Aquatint with original hand colouring 27 x 21 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the Old Gate of Magdalen College, Oxford, from Ackermann's 'History of Oxford'. Augustus Charles Pugin was an Anglo-French artist and architectural draughtsman. Pugin produced views of London, jointly creating the illustrations for the 'Microcosm of London' published by Rudolph Ackermann in 1811, followed by plates for Ackermann's books about Westminster Abbey, Oxford and Cambridge universities, and Winchester College. His later works included illustrations for Specimens of Gothic Architecture (1821–1823), The Royal Pavilion at Brighton (1826), Architectural Antiquities of Great Britain (1826), Specimens of the Architectural Antiquities of Normandy (1827), Illustrations of the Public Buildings of London (1825 to 1828), Paris and its Environs (1829 to 1831), and Examples of Gothic Architecture (1831). He also produced a book of furniture designs called Gothic Furniture, and assisted architects with detailing for their gothic designs. He ran a drawing school at his house in Bloomsbury. John Bluck was an aquatint engraver, mainly of topographical views, but also of marine and sporting subjects after his contemporaries. He produced plates for numerous publications. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good; the title has been moved from elsewhere in the book and pasted onto the bottom of the picture.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£225

John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Nobleman, Cambridge (1815)
Aquatint with original hand colouring 30 x 25 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of a nobleman studying at Cambridge, from Ackermann's 'A History of the University of Cambridge, Its Colleges, Halls and Public Buildings'. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann's collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. He attended the Latin school in Stollberg, but his wish to study at the university was made impossible by lack of financial means, and he therefore became a saddler like his father. He worked as a saddler and coach-builder in different German cities, moved from Dresden to Basel and Paris, and then, 23 years old, settled in London. He established himself in Long Acre, the centre of coach-making in London and close to the market at Covent Garden. Ackermann then moved to Little Russell Street where he published Imitations of Drawings of Fashionable Carriages (1791) to promote his coach-making. Other publications followed. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. During the Napoleonic wars, Ackermann was an energetic supporter of the Allied cause and made significant contributions to British propaganda through his publication of anti-Napoleonic prints and military manuals. He became a naturalised British citizen in March 1809. As one of the pioneers of modern publishing methods, Ackermann developed an international distribution network for his publications and came to have significant commercial interests in South America. The business he founded in London flourished throughout the 19th century under the management of his descendants. He was buried at St. Clement Danes in the Strand, London. In 2020, the St. Louis Mercantile Library wrote that: "Ackermann excelled in the creation of landscape and architectural engravings. He created beautiful illustrations of the city of London, his adopted home, as well as two volumes of classic views of Westminster Abbey, along with exquisite views of river scenes. One of our favorite collections are four massive volumes of lovingly illustrated exterior and interior landmarks of Oxford and Cambridge Universities created just over two hundred years ago. These publications show Ackermann’s hand at every turn of the page along with the team of assistant designers and engravers he employed to create these works. Perhaps they were a way by which the artist could lay to rest his own regret at not being able to attend [an Oxbridge] college himself in a fondly depicted idyll to learning which these prints so aptly represent." Condition: Paper slightly toned within platemark.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Fellow Commoner, University of Oxford 1814 engraving by John Agar

£150

John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Fellow Commoner, Cambridge (1814)
Aquatint 30 x 24 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of a curly-haired Fellow from Ackermann's 'History of Oxford'. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann's collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good; slight toning to paper.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£160

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

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

£300

J Sutherland after Augustus Charles Pugin (1762 - 1832) Merton College, North Window of the Ante Chapel (1813)
Aquatint with original hand colouring 27 x 21 cm Published by Rudolph Ackermann (1764 - 1834). Augustus Charles Pugin was an Anglo-French artist and architectural draughtsman. Pugin produced views of London, jointly creating the illustrations for the 'Microcosm of London' published by Rudolph Ackermann in 1811, followed by plates for Ackermann's books about Westminster Abbey, Oxford and Cambridge universities, and Winchester College. His later works included illustrations for Specimens of Gothic Architecture (1821–1823), The Royal Pavilion at Brighton (1826), Architectural Antiquities of Great Britain (1826), Specimens of the Architectural Antiquities of Normandy (1827), Illustrations of the Public Buildings of London (1825 to 1828), Paris and its Environs (1829 to 1831), and Examples of Gothic Architecture (1831). He also produced a book of furniture designs called Gothic Furniture, and assisted architects with detailing for their gothic designs. He ran a drawing school at his house in Bloomsbury. Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. He attended the Latin school in Stollberg, but his wish to study at the university was made impossible by lack of financial means, and he therefore became a saddler like his father. He worked as a saddler and coach-builder in different German cities, moved from Dresden to Basel and Paris, and then, 23 years old, settled in London. He established himself in Long Acre, the centre of coach-making in London and close to the market at Covent Garden. Ackermann then moved to Little Russell Street where he published Imitations of Drawings of Fashionable Carriages (1791) to promote his coach-making. Other publications followed. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. During the Napoleonic wars, Ackermann was an energetic supporter of the Allied cause and made significant contributions to British propaganda through his publication of anti-Napoleonic prints and military manuals. He became a naturalised British citizen in March 1809. As one of the pioneers of modern publishing methods, Ackermann developed an international distribution network for his publications and came to have significant commercial interests in South America. The business he founded in London flourished throughout the 19th century under the management of his descendants. He was buried at St. Clement Danes in the Strand, London. In 2020, the St. Louis Mercantile Library wrote that: "Ackermann excelled in the creation of landscape and architectural engravings. He created beautiful illustrations of the city of London, his adopted home, as well as two volumes of classic views of Westminster Abbey, along with exquisite views of river scenes. One of our favorite collections are four massive volumes of lovingly illustrated exterior and interior landmarks of Oxford and Cambridge Universities created just over two hundred years ago. These publications show Ackermann’s hand at every turn of the page along with the team of assistant designers and engravers he employed to create these works. Perhaps they were a way by which the artist could lay to rest his own regret at not being able to attend [an Oxbridge] college himself in a fondly depicted idyll to learning which these prints so aptly represent." Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£270

Mary, Countess of Pembroke, Foundress of Pembroke College, Cambridge
Hand-coloured aquatint 18 x 16 cm Published by Rudolph Ackermann (1764 - 1834). Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints.

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

£330

G Lewis after Frederick Mackenzie (1788 - 1854) Chapel of Lincoln College from the Ante Chapel (1814)
Hand-coloured aquatint 29 x 24 cm Published by Rudolph Ackermann (1764 - 1834). Frederick Mackenzie (circa 1788 - 1854) was a British watercolourist and architectural draughtsman. He first exhibited at the Royal Academy in 1804, and contributed eleven drawings between that year and 1828. He contributed to the Society of Painters in Water Colours exhibitions from 1813, becoming an associate in 1822, and a full member the following year. From 30 November 1831 until, his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£400

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

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

£230

Joseph Constantine Stadler (1755 - 1828) after William Henry Pyne (1769 - 1843 Kitchen of Trinity College, Cambridge (1815)
Aquatint with original hand colouring 27 x 21 cm Published by Rudolph Ackermann (1764 - 1834). The kitchen of Trinity College at the beginning of the nineteenth century, complete with scullery maids, dogs, and turning spits. Joseph Constantine Stadler was a prolific German émigré engraver of images after his contemporaries - here, 18th-century English landscape painter and diarist Joseph Farington. Stadler's engravings are wide-ranging in subject matter and include landscapes, seascapes and portraits, as well as military, sporting and decorative subjects. Stadler was employed by the leading print publisher of the time, John Boydell. Stadler lived in Knightsbridge when he died at the age of 73. William Henry Pyne was an English writer, illustrator, and painter, who also wrote under the name of Ephraim Hardcastle. He trained at the drawing academy of Henry Pars in London and first exhibited at the Royal Academy in 1790. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition:Generally very good; slight toning to within platemark.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£225

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

£275

John Alcock, Founder of Jesus College, Cambridge
Aquatint with original hand colouring 18 x 16 cm Published by Rudolph Ackermann (1764 - 1834). Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Henry VIII Founder of Trinity College, Cambridge engraving for Ackermann

£225

Henry VIII Founder of Trinity College, from a Picture in the College
Aquatint with original hand colouring 27 x 21 cm Published by Rudolph Ackermann (1764 - 1834). Henry VIII, the founder of Trinity College. This engraving was published in Ackermann's 'History of Cambridge', a study of the architecture and notable figures of Cambridge's colleges. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good; slight toning to within platemark.

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

£230

John Bluck (early 19th century) after Augustus Charles Pugin (1762 - 1832) Hall of Trinity College, Cambridge (1815)
Aquatint with original hand colouring 21 x 27 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of a quiet Trinity College Hall from Ackermann's 'History of Cambridge'. Augustus Charles Pugin was an Anglo-French artist and architectural draughtsman. Pugin produced views of London, jointly creating the illustrations for the 'Microcosm of London' published by Rudolph Ackermann in 1811, followed by plates for Ackermann's books about Westminster Abbey, Oxford and Cambridge universities, and Winchester College. His later works included illustrations for Specimens of Gothic Architecture (1821–1823), The Royal Pavilion at Brighton (1826), Architectural Antiquities of Great Britain (1826), Specimens of the Architectural Antiquities of Normandy (1827), Illustrations of the Public Buildings of London (1825 to 1828), Paris and its Environs (1829 to 1831), and Examples of Gothic Architecture (1831). He also produced a book of furniture designs called Gothic Furniture, and assisted architects with detailing for their gothic designs. He ran a drawing school at his house in Bloomsbury. John Bluck was an aquatint engraver, mainly of topographical views, but also of marine and sporting subjects after his contemporaries. He produced plates for numerous publications. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good; toning to within platemark.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£230

John Bluck (early 19th century) after Augustus Charles Pugin (1762 - 1832) Hall of Queen's College
Aquatint with original hand colouring 24 x 29 cm Published by Rudolph Ackermann (1764 - 1834). Augustus Charles Pugin was an Anglo-French artist and architectural draughtsman. Pugin produced views of London, jointly creating the illustrations for the 'Microcosm of London' published by Rudolph Ackermann in 1811, followed by plates for Ackermann's books about Westminster Abbey, Oxford and Cambridge universities, and Winchester College. His later works included illustrations for Specimens of Gothic Architecture (1821–1823), The Royal Pavilion at Brighton (1826), Architectural Antiquities of Great Britain (1826), Specimens of the Architectural Antiquities of Normandy (1827), Illustrations of the Public Buildings of London (1825 to 1828), Paris and its Environs (1829 to 1831), and Examples of Gothic Architecture (1831). He also produced a book of furniture designs called Gothic Furniture, and assisted architects with detailing for their gothic designs. He ran a drawing school at his house in Bloomsbury. John Bluck was an aquatint engraver, mainly of topographical views, but also of marine and sporting subjects after his contemporaries. He produced plates for numerous publications. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Paper slightly toned within platemark.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£230

John Bluck (early 19th century) after Augustus Charles Pugin (1762 - 1832) Hall of Emmanuel College
Aquatint with original hand colouring 24 x 29 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the hall of Emmanuel College, Cambridge, from Ackermann's 'A History of the University of Cambridge, Its Colleges, Halls and Public Buildings'. Augustus Charles Pugin was an Anglo-French artist and architectural draughtsman. Pugin produced views of London, jointly creating the illustrations for the 'Microcosm of London' published by Rudolph Ackermann in 1811, followed by plates for Ackermann's books about Westminster Abbey, Oxford and Cambridge universities, and Winchester College. His later works included illustrations for Specimens of Gothic Architecture (1821–1823), The Royal Pavilion at Brighton (1826), Architectural Antiquities of Great Britain (1826), Specimens of the Architectural Antiquities of Normandy (1827), Illustrations of the Public Buildings of London (1825 to 1828), Paris and its Environs (1829 to 1831), and Examples of Gothic Architecture (1831). He also produced a book of furniture designs called Gothic Furniture, and assisted architects with detailing for their gothic designs. He ran a drawing school at his house in Bloomsbury. John Bluck was an aquatint engraver, mainly of topographical views, but also of marine and sporting subjects after his contemporaries. He produced plates for numerous publications. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good, paper slightly toned within platemark.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Trinity College, Cambridge Great Court engraving by Bluck for Ackermann

£360

John Bluck (early 19th century) after William Westall (1781 - 1850) Quadrangle of Trinity College, Cambridge (1815) Aquatint with original hand colouring 18 x 28 cm Published by Rudolph Ackermann (1764 - 1834). William Westall was a British landscape artist. He was born in Hertford and enrolled at the Royal Academy schools in 1799. He later became the draughtsman for a voyage to Australia and the South Seas. After being shipwrecked, he travelled to Canton in China and to India, staying in Bombay for several months. He returned to England in 1805 but later set off for Madeira and Jamaica. He became a member of the Society of Painters in Water Colours (1811) and an associate of the Academy (1812). Following a mental breakdown, he regularly visited the Lake District and published ‘Views of the Valley and Vale of Keswick’ (1820). His series of aquatints of the Thames, the great universities, and England's public schools for Ackermann are among his most popular works. John Bluck was an aquatint engraver, mainly of topographical views, but also of marine and sporting subjects after his contemporaries. He produced plates for numerous publications. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good; slight toning to within platemark.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Gentleman Commoner, University of Oxford 1814 engraving by John Agar

£230

John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Gentleman Commoner, Oxford (1814)
Aquatint with original hand colouring 27 x 21 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of a gentleman student from Ackermann's 'History of Oxford'. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann's collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£470

John Reeves (1752 - 1829) after Frederick Mackenzie (1788 - 1854) Gate of Christ Church - from Pembroke College (1814)
Hand-coloured aquatint 27 x 21 cm Published by Rudolph Ackermann (1764 - 1834). Frederick Mackenzie (circa 1788 - 1854) was a British watercolourist and architectural draughtsman. He first exhibited at the Royal Academy in 1804, and contributed eleven drawings between that year and 1828. He contributed to the Society of Painters in Water Colours exhibitions from 1813, becoming an associate in 1822, and a full member the following year. From 30 November 1831 until, his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Frances Sidney, Sidney Sussex College, Cambridge engraving for Ackermann

£275

Frances Sidney, Countess of Sussex, Foundress of Sidney Sussex College, Cambridge
Hand-coloured aquatint 18 x 16 cm Published by Rudolph Ackermann (1764 - 1834). Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£225

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

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Elizabeth de Clare, Clare College, Cambridge engraving for Ackermann

£275

Elizabeth de Clare, Foundress of Clare College, Cambridge
Hand-coloured aquatint 18 x 16 cm Published by Rudolph Ackermann (1764 - 1834). Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£225

John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Doctor in Divinity (1814) Aquatint with original hand colouring 29 x 24 cm Published by Rudolph Ackermann (1764 - 1834). A Doctor in Divinity of the University of Oxford, resplendent in academic dress. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann's collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. He attended the Latin school in Stollberg, but his wish to study at the university was made impossible by lack of financial means, and he therefore became a saddler like his father. He worked as a saddler and coach-builder in different German cities, moved from Dresden to Basel and Paris, and then, 23 years old, settled in London. He established himself in Long Acre, the centre of coach-making in London and close to the market at Covent Garden. Ackermann then moved to Little Russell Street where he published Imitations of Drawings of Fashionable Carriages (1791) to promote his coach-making. Other publications followed. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. During the Napoleonic wars, Ackermann was an energetic supporter of the Allied cause and made significant contributions to British propaganda through his publication of anti-Napoleonic prints and military manuals. He became a naturalised British citizen in March 1809. As one of the pioneers of modern publishing methods, Ackermann developed an international distribution network for his publications and came to have significant commercial interests in South America. The business he founded in London flourished throughout the 19th century under the management of his descendants. He was buried at St. Clement Danes in the Strand, London. In 2020, the St. Louis Mercantile Library wrote that: "Ackermann excelled in the creation of landscape and architectural engravings. He created beautiful illustrations of the city of London, his adopted home, as well as two volumes of classic views of Westminster Abbey, along with exquisite views of river scenes. One of our favorite collections are four massive volumes of lovingly illustrated exterior and interior landmarks of Oxford and Cambridge Universities created just over two hundred years ago. These publications show Ackermann’s hand at every turn of the page along with the team of assistant designers and engravers he employed to create these works. Perhaps they were a way by which the artist could lay to rest his own regret at not being able to attend [an Oxbridge] college himself in a fondly depicted idyll to learning which these prints so aptly represent." Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£225

John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Doctor in Divinity (1814) Aquatint with original hand colouring 24 x 29 cm Published by Rudolph Ackermann (1764 - 1834). A Doctor in Divinity of the University of Cambridge, resplendent in academic dress. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann's collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. He attended the Latin school in Stollberg, but his wish to study at the university was made impossible by lack of financial means, and he therefore became a saddler like his father. He worked as a saddler and coach-builder in different German cities, moved from Dresden to Basel and Paris, and then, 23 years old, settled in London. He established himself in Long Acre, the centre of coach-making in London and close to the market at Covent Garden. Ackermann then moved to Little Russell Street where he published Imitations of Drawings of Fashionable Carriages (1791) to promote his coach-making. Other publications followed. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. During the Napoleonic wars, Ackermann was an energetic supporter of the Allied cause and made significant contributions to British propaganda through his publication of anti-Napoleonic prints and military manuals. He became a naturalised British citizen in March 1809. As one of the pioneers of modern publishing methods, Ackermann developed an international distribution network for his publications and came to have significant commercial interests in South America. The business he founded in London flourished throughout the 19th century under the management of his descendants. He was buried at St. Clement Danes in the Strand, London. In 2020, the St. Louis Mercantile Library wrote that: "Ackermann excelled in the creation of landscape and architectural engravings. He created beautiful illustrations of the city of London, his adopted home, as well as two volumes of classic views of Westminster Abbey, along with exquisite views of river scenes. One of our favorite collections are four massive volumes of lovingly illustrated exterior and interior landmarks of Oxford and Cambridge Universities created just over two hundred years ago. These publications show Ackermann’s hand at every turn of the page along with the team of assistant designers and engravers he employed to create these works. Perhaps they were a way by which the artist could lay to rest his own regret at not being able to attend [an Oxbridge] college himself in a fondly depicted idyll to learning which these prints so aptly represent." Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£320

Frederick Christian Lewis (1779 - 1856) after Frederick Mackenzie (1788 - 1854) Divinity School (1813)
Hand-coloured aquatint 24 x 29 cm Published by Rudolph Ackermann (1764 - 1834). Oxford's medieval Divinity School, which was once the beating heart of theological studies at the University. Frederick Mackenzie (circa 1788 - 1854) was a British watercolourist and architectural draughtsman. He first exhibited at the Royal Academy in 1804, and contributed eleven drawings between that year and 1828. He contributed to the Society of Painters in Water Colours exhibitions from 1813, becoming an associate in 1822, and a full member the following year. From 30 November 1831 until, his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. Frederick Christian Lewis was an English etcher, engraver, and painter. He studied under Joseph Stadler and at the Royal Academy and produced the plates for the publisher John Chamberlaine's 'Original Designs of the most celebrated Masters in the Royal Collection' in 1812. His superlative skills as engraver led to frequent commissions from Royalty, and to his contribution to J. M. W. Turner's Liber Studiorum, a collection of seventy-one etchings with mezzotint, greatly influencing landscape painting. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£230

John Bluck (early 19th century) after Frederick Nash (1782 - 1856) Crypt of St Peter's Church, Oxford (1813)
Aquatint with original hand colouring 21 x 27 cm Published by Rudolph Ackermann (1764 - 1834). Frederick Nash was born in Lambeth. He studied architectural drawing under Thomas Malton and then enrolled at the Royal Academy of Arts. From 1801 to 1809 he worked with the antiquarians John Britton and Edward Wedlake Brayley, subsequently becoming a member of the Society of Painters in Watercolours - a group of painters who had left the Royal Academy following complaints of under-recognition of their works. Nash became primarily a landscape painter and toured the rivers of Germany. John Bluck was an aquatint engraver, mainly of topographical views, but also of marine and sporting subjects after his contemporaries. He produced plates for numerous publications. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good; trimmed close to platemark at bottom.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£225

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

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

£230

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

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

£275

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

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

£200

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

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

£300

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

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

£275

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

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Out of stock

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

£320

John Bluck (early 19th century) after Frederick Mackenzie (1788 - 1854) Chapel of Trinity College, Cambridge (1814)
Aquatint with original hand colouring 27 x 21 cm Published by Rudolph Ackermann (1764 - 1834). Frederick Mackenzie (1788 - 1854) was a British watercolourist and architectural draughtsman. He first exhibited at the Royal Academy in 1804, and contributed eleven drawings between that year and 1828. He contributed to the Society of Painters in Water Colours exhibitions from 1813, becoming an associate in 1822, and a full member the following year. From 30 November 1831 till his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. John Bluck was an aquatint engraver, mainly of topographical views, but also of marine and sporting subjects after his contemporaries. He produced plates for numerous publications. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good; slight toning within platemark.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£275

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

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

£320

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

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

£300

John Hill (1770 - 1850) after Frederick Mackenzie (1788 - 1854) Brasenose College, Part of the Schools etc. Taken from the top of the Radcliffe Library (1813)
Hand-coloured aquatint 24 x 29 cm Published by Rudolph Ackermann (1764 - 1834). Frederick Mackenzie (circa 1788 - 1854) was a British watercolourist and architectural draughtsman. He first exhibited at the Royal Academy in 1804, and contributed eleven drawings between that year and 1828. He contributed to the Society of Painters in Water Colours exhibitions from 1813, becoming an associate in 1822, and a full member the following year. From 30 November 1831 until, his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. John Hill was born in London in 1770, and was an engraver's apprentice. He worked in aquatint and largely produced book illustration aquatints. He went to America in 1816 and produced the notable Picturesque Views of American Scenery amongst other books of prints. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good, paper slightly toned within platemark.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£200

John Bluck (early 19th century) after Frederick Mackenzie (1788 - 1854) Astronomical Observatory, Oxford (1815) Aquatint with original hand colouring 30 x 25 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the Astronomical Observatory in Oxford - that is, the Radcliffe Observatory, now a part of Green Templeton College. The observatory building commenced to designs by Henry Keene in 1772, and was completed in 1794 to the designs of James Wyatt, with a prominent octagonal tower based on the Tower of the Winds in Athens. Its tower is topped with a statue by John Bacon of Atlas holding up the World. Frederick Mackenzie (1788 - 1854) was a British watercolourist and architectural draughtsman. He first exhibited at the Royal Academy in 1804, and contributed eleven drawings between that year and 1828. He contributed to the Society of Painters in Water Colours exhibitions from 1813, becoming an associate in 1822, and a full member the following year. From 30 November 1831 till his death he was treasurer to the society. In later life Mackenzie was no longer commissioned to illustrate books. John Bluck was an aquatint engraver, mainly of topographical views, but also of marine and sporting subjects after his contemporaries. He produced plates for numerous publications. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good, paper quite toned within platemark.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£410

John Bluck (early 19th century) after Augustus Charles Pugin (1762 - 1832) All Souls - taken from the top of the Radcliffe Library (1814)
Aquatint with original hand colouring 21 x 27 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of serene All Souls from Ackermann's 'History of Oxford'. Augustus Charles Pugin was an Anglo-French artist and architectural draughtsman. Pugin produced views of London, jointly creating the illustrations for the 'Microcosm of London' published by Rudolph Ackermann in 1811, followed by plates for Ackermann's books about Westminster Abbey, Oxford and Cambridge universities, and Winchester College. His later works included illustrations for Specimens of Gothic Architecture (1821–1823), The Royal Pavilion at Brighton (1826), Architectural Antiquities of Great Britain (1826), Specimens of the Architectural Antiquities of Normandy (1827), Illustrations of the Public Buildings of London (1825 to 1828), Paris and its Environs (1829 to 1831), and Examples of Gothic Architecture (1831). He also produced a book of furniture designs called Gothic Furniture, and assisted architects with detailing for their gothic designs. He ran a drawing school at his house in Bloomsbury. John Bluck was an aquatint engraver, mainly of topographical views, but also of marine and sporting subjects after his contemporaries. He produced plates for numerous publications. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£200

John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Pensioner, Cambridge (1815)
Aquatint with original hand colouring 30 x 25 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of a pensioner (one who paid a fixed annual fee in order to study) of the University from Ackermann's 'A History of the University of Cambridge, Its Colleges, Halls and Public Buildings'. The student pores over an open book with quill poised nearby. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann's collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. He attended the Latin school in Stollberg, but his wish to study at the university was made impossible by lack of financial means, and he therefore became a saddler like his father. He worked as a saddler and coach-builder in different German cities, moved from Dresden to Basel and Paris, and then, 23 years old, settled in London. He established himself in Long Acre, the centre of coach-making in London and close to the market at Covent Garden. Ackermann then moved to Little Russell Street where he published Imitations of Drawings of Fashionable Carriages (1791) to promote his coach-making. Other publications followed. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. During the Napoleonic wars, Ackermann was an energetic supporter of the Allied cause and made significant contributions to British propaganda through his publication of anti-Napoleonic prints and military manuals. He became a naturalised British citizen in March 1809. As one of the pioneers of modern publishing methods, Ackermann developed an international distribution network for his publications and came to have significant commercial interests in South America. The business he founded in London flourished throughout the 19th century under the management of his descendants. He was buried at St. Clement Danes in the Strand, London. In 2020, the St. Louis Mercantile Library wrote that: "Ackermann excelled in the creation of landscape and architectural engravings. He created beautiful illustrations of the city of London, his adopted home, as well as two volumes of classic views of Westminster Abbey, along with exquisite views of river scenes. One of our favorite collections are four massive volumes of lovingly illustrated exterior and interior landmarks of Oxford and Cambridge Universities created just over two hundred years ago. These publications show Ackermann’s hand at every turn of the page along with the team of assistant designers and engravers he employed to create these works. Perhaps they were a way by which the artist could lay to rest his own regret at not being able to attend [an Oxbridge] college himself in a fondly depicted idyll to learning which these prints so aptly represent." Condition: Very good; slight paper toning.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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

£200

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

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

£700

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

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London Transport Posters (1978), lithograph by Mervyn Laurence

£200

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

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German Aircraft, original vintage Second World War poster

£350

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

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

£1,100

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

John Alcock, Founder of Jesus College, Cambridge

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

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

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

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

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

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

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

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

Elizabeth de Clare, Foundress of Clare College, Cambridge

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Mervyn Laurence London Transport Posters

German Aircraft Original vintage Second World War poster

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

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