-
Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)
View of Cambridge (1727)
Engraving 13 x 17 cm An eighteenth-century view of Cambridge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other general views of Cambridge. -
Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)
Clare College, Cambridge (1727)
Engraving 13 x 17 cm An eighteenth-century view of Clare College, Cambridge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Clare College, Cambridge -
Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)
Clare College, Cambridge (1727)
Engraving 13 x 17 cm An eighteenth-century view of North Court, Clare College, Cambridge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Clare College, Cambridge -
Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)
Cambridge University Library & Auditoriums (1727)
Engraving 13 x 17 cm An eighteenth-century view of Cambridge library and auditoriums, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other general views of Cambridge. -
Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)
Great St Mary's, Cambridge (1727)
Engraving 13 x 17 cm An eighteenth-century view of Great St Mary's, Cambridge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other general views of Cambridge. -
Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)
Emmanuel College, Cambridge (1727)
Engraving 13 x 17 cm An eighteenth-century view of Emmanuel College, Cambridge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Emmanuel College, Cambridge -
Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)
Christ's College, Cambridge (1727)
Engraving 13 x 17 cm An eighteenth-century view of Christ's College, Cambridge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Christ's College, Cambridge -
Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)
Jesus College, Cambridge (1727)
Engraving 13 x 17 cm An eighteenth-century view of Jesus College, Cambridge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Jesus College, Cambridge -
Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)
Sidney Sussex College, Cambridge (1727)
Engraving 13 x 17 cm An eighteenth-century view of Sidney Sussex College, Cambridge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Sidney Sussex College, Cambridge -
Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)
Corpus Christi College, Cambridge (1727)
Engraving 13 x 17 cm An eighteenth-century view of Corpus Christi College, Cambridge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Corpus Christi College, Cambridge -
Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)
St John's College, Cambridge (1727)
Engraving 13 x 17 cm An eighteenth-century view of St John's College, Cambridge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of St John's College, Cambridge -
Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)
St John's College, Cambridge (1727)
Engraving 13 x 17 cm An eighteenth-century view of St John's College, Cambridge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of St John's College, Cambridge -
Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)
Emmanuel College, Cambridge (1727)
Engraving 13 x 17 cm An eighteenth-century view of Emmanuel College, Cambridge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Emmanuel College, Cambridge -
Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)
Magdalene College, Cambridge (1727)
Engraving 13 x 17 cm An eighteenth-century view of Magdalene College, Cambridge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Magdalene College, Cambridge -
Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)
Trinity College, Cambridge (1727)
Engraving 13 x 17 cm An eighteenth-century view of Trinity College, Cambridge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity College, Cambridge -
Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)
Trinity College, Cambridge (1727)
Engraving 13 x 17 cm An eighteenth-century view of Neville's Court in Trinity College, Cambridge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity College, Cambridge -
Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)
Trinity College, Cambridge (1727)
Engraving 13 x 17 cm An eighteenth-century view of the Bishop's Hostel in Trinity College, Cambridge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity College, Cambridge -
Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)
Trinity College, Cambridge (1727)
Engraving 13 x 17 cm An eighteenth-century view of Trinity College, Cambridge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Trinity College, Cambridge -
Out of stock
Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692)
Gonville & Caius College, Cambridge (1727)
Engraving 13 x 17 cm An eighteenth-century view of Gonville and Caius College, Cambridge, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. Pieter van der Aa of Leiden was a Dutch publisher best known for preparing maps and atlases, though he also printed editions of foreign bestsellers and illustrated volumes. He is noted for the many engravings he produced after David Loggan's series of Oxford and Cambridge colleges and costumes. In 1727 Van Der Aa illustrated "Les Delices de la Grande Bretagne & de L'Irelande" by James Beeverell, the book in which this engraving appears. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Gonville and Caius College, Cambridge -
Abram Games (1914-1996)
Guinness 5 Million Daily
Original vintage poster 152 x 102 cm This advertising poster dates from the early 1960s. It features a playful use of text, with the correct orientation of the poster varying depending on whether you first read 'Guinness' or '5 Million daily.' In a further act of advertising mischief, it also disguises a simple illustration of a pint of Guinness within the text. This masterful use of typography is typical of his broader practice, as his works are characterised by his use of striking colour, bold graphic ideas, and beautifully integrated typography. Throughout the 20th century, Abram Games distinguished himself as one of the greatest British graphic designers of the time and his oeuvre now offers a scintillating record of social history. Other notable works of his include the 'Blonde Bombshell’ ATS poster of 1941 and the 'Festival Star', designed for the 1951 Festival of Britain. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Orlov, V and Denisenko За успехи в труде [Success Through Work] (1978) Moscow, Izdaltelstvo Plakat Original vintage posters 43 x 56 cm A poster collection comprising twelve leaves loosely inserted in a printed paper portfolio, one plate previously folded, a little light wear to some fore-edges, light wear to portfolio spine, else very good. First edition. A collection of popular Soviet motifs on the enduring theme of Success through Work, created to provide best-practice design templates for artworkers, artists and propaganda designers responsible for the illustration of official Soviet literature and art, mosaics, wall-paintings, and posters. Motifs include Lenin, the distinctive logos of various Soviet bodies including the Young Guard, and medallions commemorating events such as the October revolution. Numerous medal-designs for individual and collective excellence in all kinds of industry, including farming, mining, husbandry, and machine-working also appear. Designed for eminently practical use, with cut-out lines between the individual vignettes, these pattern books rarely survived intact. -
Ernest Wallcousins (1882-1976) Keep Calm and Carry On (Small size)
Ministry of Information Lithographic poster, 1939 37 x 25 cm ('Crown Folio' size) Very rare - we have traced copies in the Imperial War Museum collection but no other public collection. Provenance: part of a small stock of posters cleared from a police station in Suffolk in the 1940s. These posters were generally sent out to police stations in groups of six or twelve. Shortly after the war, during a clear-out of the police station, these posters were put aside to be disposed of. A young police constable requested permission to take them home, and permission was granted. They spent the following nearly eight decades, surviving house moves and a long-suffering wife, sitting in a drawer. Following the policeman's death, his family have allowed the posters to be sold. As the small stock of posters at this police station came in all three sizes (small at 38 x 25 cm; medium at 38 x 50 cm; large at 75 x 50 cm) we are able to offer all three for sale today. An instantly-recognisable brand today, this poster was reserved for use in the event of the German invasion. Once it became obvious that they were not going to invade, these posters were sent back for recycling. As they were never used, the survivors are incredibly rare. Of public collections only the Imperial War Museum – which has a very extensive collection of wartime posters – has a copy of this poster. The story of the poster is well known these days, but bears repeating. In 1939, with invasion an ever-present threat, HM Government commissioned three posters with snippets designed to encourage the population. Bearing a crown at the top, it was clearly intended to be a message from the King: “Your Courage, Your Cheerfulness, Your Resolution, Will Bring Us Victory” was displayed widely, with hundreds of thousands being printed; similarly “Freedom is in Peril Defend it with all Your Might.” The third poster – “Keep Calm and Carry On” – was distributed, but was to be held back and only used in the event of invasion. In the event the poster campaign was not a great success, with the people regarding it as an instruction from the powers-that-be that it was the people, not the leaders, who were going to be the ones doing the hard work. As the invasion never happened, Hitler’s armies being otherwise occupied elsewhere in the world, and the Spitfire achieving victory in the Battle of Britain, the Keep Calm posters were never used. Owing to the shortage of raw materials, the paper was recycled and there the story should have ended. However, in 2000, the owner of Barter Books in Alnwick discovered a copy of the poster in the bottom of a box of books. They hung it up in their shop and started producing reproductions, and the poster has become an internationally recognised image, reproduced on mugs, t-shirts, and adapted into such uplifting slogans as “Keep Calm and Drink Tea”. The artist, Wallcousins, was an illustrator, official war artist of the Second World War, and painted the official victory portrait of Winston Churchill. A much more successful series of propaganda was created by ‘Fougasse’ – Cyril Bird. Picture editor of Punch from 1937-1949, then editor until 1953, he noted that the best sort of advertising would make people smile. He worked unpaid for the Ministry of Information during the war, producing cartoons with a short word of advise. His Careless Talk Costs Lives series of posters are amongst the most famous of the propaganda campaigns of the Second World War. -
Ernest Wallcousins (1882-1976) Keep Calm and Carry On (Medium size)
Ministry of Information Lithographic poster, 1939 50 x 37 cm ('Crown' size) Very rare - we have traced copies in the Imperial War Museum collection but no other public collection. Provenance: part of a small stock of posters cleared from a police station in Suffolk in the 1940s. These posters were generally sent out to police stations in groups of six or twelve. Shortly after the war, during a clear-out of the police station, these posters were put aside to be disposed of. A young police constable requested permission to take them home, and permission was granted. They spent the following nearly eight decades, surviving house moves and a long-suffering wife, sitting in a drawer. Following the policeman's death, his family have allowed the posters to be sold. As the small stock of posters at this police station came in all three sizes (small at 38 x 25 cm; medium at 38 x 50 cm; large at 75 x 50 cm) we are able to offer all three for sale today. An instantly-recognisable brand today, this poster was reserved for use in the event of the German invasion. Once it became obvious that they were not going to invade, these posters were sent back for recycling. As they were never used, the survivors are incredibly rare. Of public collections only the Imperial War Museum – which has a very extensive collection of wartime posters – has a copy of this poster. The story of the poster is well known these days, but bears repeating. In 1939, with invasion an ever-present threat, HM Government commissioned three posters with snippets designed to encourage the population. Bearing a crown at the top, it was clearly intended to be a message from the King: “Your Courage, Your Cheerfulness, Your Resolution, Will Bring Us Victory” was displayed widely, with hundreds of thousands being printed; similarly “Freedom is in Peril Defend it with all Your Might.” The third poster – “Keep Calm and Carry On” – was distributed, but was to be held back and only used in the event of invasion. In the event the poster campaign was not a great success, with the people regarding it as an instruction from the powers-that-be that it was the people, not the leaders, who were going to be the ones doing the hard work. As the invasion never happened, Hitler’s armies being otherwise occupied elsewhere in the world, and the Spitfire achieving victory in the Battle of Britain, the Keep Calm posters were never used. Owing to the shortage of raw materials, the paper was recycled and there the story should have ended. However, in 2000, the owner of Barter Books in Alnwick discovered a copy of the poster in the bottom of a box of books. They hung it up in their shop and started producing reproductions, and the poster has become an internationally recognised image, reproduced on mugs, t-shirts, and adapted into such uplifting slogans as “Keep Calm and Drink Tea”. A much more successful series of propaganda was created by ‘Fougasse’ – Cyril Bird. Picture editor of Punch from 1937-1949, then editor until 1953, he noted that the best sort of advertising would make people smile. He worked unpaid for the Ministry of Information during the war, producing cartoons with a short word of advise. His Careless Talk Costs Lives series of posters are amongst the most famous of the propaganda campaigns of the Second World War. -
KUKRYNIKSY Новый «Болшой Скачок» Пекина [The new Great Leap of Peking [Beijing]] Moscow, Izadetelstvo 'Plakat' 1977 54 x 37 cm, 12 posters loosely inserted in a printed paper portfolio featuring one further designs, portfolio lightly worn with numerous short tears, else fine. A dramatic collection of irreverent depictions of Imperialism in inimitable Kukryniksi style, from the 1970s. The posters pillory many prominent motifs of the 20th century, including Hitler, NATO, the BBC, and American civil rights. The Kukryniksi - a portmanteau name derived from the names of the three artists, Mikhail Kupryanov (Ku), Porfiri Krylov (Kry), and Nikolai Sokolov (Niks) - are arguably the most successful Russian caricaturists. Favoured by the establishment, they were rarely privileged in being allowed to travel, producing views of Europe as well as a variety of spirited propaganda drawings in support of the Russian war effort, and illustrating many classic Russian texts. -
KUKRYNIKSY Новый «Болшой Скачок» Пекина [The new Great Leap of Peking [Beijing]] Moscow, Izadetelstvo 'Plakat' 1979 54 x 37 cm, 11 (of 12) posters loosely inserted in a printed paper portfolio featuring two further designs, two short tears to the portfolio spine, else fine. A striking series of posters with an anti-Mao tone, from the time of the Sino-Vietman war. Taking a satirical look at the process of modernization in China, a process that involves embracing imperialism and shunning world socialism and communist, to create a united anti-socialist front. The Kukryniksi - a portmanteau name derived from the names of the three artists, Mikhail Kupryanov (Ku), Porfiri Krylov (Kry), and Nikolai Sokolov (Niks) - are arguably the most successful Russian caricaturists. Favoured by the establishment, they were rarely privileged in being allowed to travel, producing views of Europe as well as a variety of spirited propaganda drawings in support of the Russian war effort, and illustrating many classic Russian texts. -
Лауреаты Государственных Премий [State Prizewinners] Moscow 1971 28 x 44 cm This folio introduces to the population of Soviet Russia the dozen winners of the State Prizes in 1971 for Literature, Art, and Architecture. "The awarding of the State Prizes of the USSR in 1971 to a large contingent of our creative intelligentsia is new evidence of the constant concern of the Communist Party of the Soviet Union for the further development of literature and art." -
Genevive Moreau (French, fl. early Twentieth Century) Ar - Triangles in Green, Blue and Terracotta (c. 1925) Gouache 22 x 16 cm Signed in pencil; from a small portfolio of well-executed designs by the artist that we have listed, created 1925-26. Sheet size 31 x 24 cm. A well-executed design by one of the increasing number of French artists of the time. -
Genevieve Moreau (French, fl. early Twentieth Century) Three Designs in Blue Gouache 32 x 50 cm c. 1925 Signed in pencil; from a small portfolio of well-executed designs by the artist that we have listed, created in 1925-26. A well-executed design by one of the increasing number of French artists of the time. -
Fred Stingemore (1890-1954) London Underground Railways Pocket Map January 1927 Lithograph, linen-based card Bi-fold pocket map 12.5 x 15 cm (unfolded) Stingemore spent forty years in the London Transport drawing office, but is best known as the artist behind the map that preceded Harry Beck's famous and iconic 1933 new design - the circuit diagram version. The 1927 edition is identical to that of 1926, but features a yellow - rather than green - cover. The twelve editions of Stingemore's map featured different coloured covers. A broadly topographical map, he nevertheless distorted the central London area to make it clearer. His greatest claim to fame is of encouraging Harry Beck to resubmit his own design to London Transport. Beck was a technical draughtsman who worked for the London Metro Signal Office. Following being fired, he created the first diagrammatic Tube map in 1931. Having submitted it to the Publicity Office at London Transport, it was rejected. However an updated proposal was accepted, being published in January 1933 in an edition of 700,000 pocket maps - most of which were consigned to the dustbin within hours, days or weeks. Those that survive are rare. Immediately popular it was adoped and similar maps have been used ever since by London Transport - and indeed many other rail systems worldwide. Beck was inspired whilst creating an electrical circuit diagram to apply the same concept to the Underground system, in the understanding that passengers on the network were more interested in how the lines related to each other, than in how they related to the topography of the city. Beck worked on the map in his spare time, and was - depending on the story you believe - either not paid for his work, or was paid a mere five or ten guineas. These days his work is acknowledged on all published London Tranport maps. -
Harry Charles Beck (1902-1974) London Underground Railways Pocket Map 1937 No. 1 Lithograph 14.5 x 20.5 cm An early edition of Beck's iconic map, precursor to all other similar maps of other transport systems worldwide. The 1937 edition is very similar to the 1933 first published, though is distinguishable from other editions of the period by its thinner lines and use of circles instead of diamonds for connecting stations. Beck was a technical draughtsman who worked for the London Metro Signal Office. Following being fired, he created the first diagrammatic Tube map in 1931. Having submitted it to the Publicity Office at London Transport, it was rejected. However an updated proposal was accepted, being published in January 1933 in an edition of 700,000 pocket maps - most of which were consigned to the dustbin within hours, days or weeks. Those that survive are rare. Immediately popular it was adopted and similar maps have been used ever since by London Transport - and indeed many other rail systems worldwide. Beck was inspired whilst creating an electrical circuit diagram to apply the same concept to the Underground system, in the understanding that passengers on the network were more interested in how the lines related to each other, than in how they related to the topography of the city. Beck worked on the map in his spare time, and was - depending on the story you believe - either not paid for his work, or was paid a mere five or ten guineas. These days his work is acknowledged on all published London Transport maps. -
Harry Charles Beck (1902-1974) London Underground Railways Pocket Map 1936 No. 1 Lithograph 14.5 x 20.5 cm An early edition of Beck's iconic map, precursor to all other similar maps of other transport systems worldwide. The 1936 edition is very similar to the 1933 first published. Beck was a technical draughtsman who worked for the London Metro Signal Office. Following being fired, he created the first diagrammatic Tube map in 1931. Having submitted it to the Publicity Office at London Transport, it was rejected. However an updated proposal was accepted, being published in January 1933 in an edition of 700,000 pocket maps - most of which were consigned to the dustbin within hours, days or weeks. Those that survive are rare. Immediately popular it was adopted and similar maps have been used ever since by London Transport - and indeed many other rail systems worldwide. Beck was inspired whilst creating an electrical circuit diagram to apply the same concept to the Underground system, in the understanding that passengers on the network were more interested in how the lines related to each other, than in how they related to the topography of the city. Beck worked on the map in his spare time, and was - depending on the story you believe - either not paid for his work, or was paid a mere five or ten guineas. These days his work is acknowledged on all published London Transport maps. -
Harry Charles Beck (1902-1974) London Underground Railways Pocket Map September 1933 Lithograph 14.5 x 20.5 cm An edition from the first year of publication of Beck's iconic map, precursor to all other similar maps globally. This reimagining of the tube map constituted a veritable departure from earlier maps, stripping the sprawling Tube network down to a neat diagram of coloured, criss-crossing lines. Harry Beck was a technical draughtsman who worked for the London Metro Signal Office. Following being fired, he created the first diagrammatic Tube map in 1931. Having submitted it to the Publicity Office at London Transport, it was rejected. However an updated proposal was accepted, being published in January 1933 in an edition of 700,000 pocket maps - most of which were consigned to the dustbin within hours, days or weeks. Those that survive are rare. Immediately popular it was adopted and similar maps have been used ever since by London Transport - and indeed many other rail systems worldwide. Beck was inspired whilst creating an electrical circuit diagram to apply the same concept to the Underground system, in the understanding that passengers on the network were more interested in how the lines related to each other, than in how they related to the topography of the city. Beck worked on the map in his spare time, and was - depending on the story you believe - either not paid for his work, or was paid a mere five or ten guineas. These days his work is acknowledged on all published London Transport maps. -
Juan Reus (1912-2003) Original Vintage Bullfighting Poster September 1942 107cm x 53cm Juan Reus was born in 1912 in Valencia, where he became a well-known painter, draftsman and, notably, graphic designer of bullfighting posters. Orphaned at birth, Reus attended school until the age of seven, at which point he began work as an apprentice at a local hardware store, where he met the painter Constantino Gómez, piquing his artistic interests. He later went to work in a decorative fans shop and held his first exhibition in the bazaars of Prats and Collado in Valencia. In the 1940s, he was hired as a graphic designer of bullfighting posters in the lithographic Ortega workshop. These posters are generally characterised by bright colours and fluid, gestural movements, whereby the swish of the matador's cloak is almost palpable. This 1942 edition advertises a bullfighting event, featuring Marcial Lalanda, Manuel Rodriguez Manolete - often considered one of the greatest bullfighters of all time -, Pepe Luis Vázquez and Juan Mari Peréz Taberno. -
Juan Reus (1912-2003) Original Vintage Bullfighting Poster March 1944 107cm x 53cm Juan Reus was born in 1912 in Valencia, where he became a well-known painter, draftsman and, notably, graphic designer of bullfighting posters. Orphaned at birth, Reus attended school until the age of seven, at which point he began work as an apprentice at a local hardware store, where he met the painter Constantino Gómez, piquing his artistic interests. He later went to work in a decorative fans shop and held his first exhibition in the bazaars of Prats and Collado in Valencia. In the 1940s, he was hired as a graphic designer of bullfighting posters in the lithographic Ortega workshop. These posters are generally characterised by bright colours and fluid, gestural movements, whereby the swish of the matador's cloak is almost palpable. This 1944 edition advertises a bullfighting event in Castellón, featuring Pepe Luis Vazquez, Rafael Ortega Gallito and Manuel Alvarez Andaluz. -
Juan Reus (1912-2003) Original Vintage Bullfighting Poster April 1955 107cm x 53cm Juan Reus was born in 1912 in Valencia, where he became a well-known painter, draftsman and, notably, graphic designer of bullfighting posters. Orphaned at birth, Reus attended school until the age of seven, at which point he began work as an apprentice at a local hardware store, where he met the painter Constantino Gómez, piquing his artistic interests. He later went to work in a decorative fans shop and held his first exhibition in the bazaars of Prats and Collado in Valencia. In the 1940s, he was hired as a graphic designer of bullfighting posters in the lithographic Ortega workshop. These posters are generally characterised by bright colours and fluid, gestural movements, whereby the swish of the matador's cloak is almost palpable. This 1955 edition advertises a bullfighting event in Malaga, featuring Rafael Ortega, Miguel Baez Litri and Cesar Giron. -
Juan Reus (1912-2003) Original Vintage Bullfighting Poster May 1954 107cm x 53cm Juan Reus was born in 1912 in Valencia, where he became a well-known painter, draftsman and, notably, graphic designer of bullfighting posters. Orphaned at birth, Reus attended school until the age of seven, at which point he began work as an apprentice at a local hardware store, where he met the painter Constantino Gómez, piquing his artistic interests. He later went to work in a decorative fans shop and held his first exhibition in the bazaars of Prats and Collado in Valencia. In the 1940s, he was hired as a graphic designer of bullfighting posters in the lithographic Ortega workshop. These posters are generally characterised by bright colours and fluid, gestural movements, whereby the swish of the matador's cloak is almost palpable. This 1954 edition advertises a bullfighting event in Madrid, featuring Isidro Ortuño Jumillano, Julio Aparicio Martínez and, the famed, Antonio Chenel Antoñete. -
Carlos Ruano Llopis (1878-1950) Original Vintage Bullfighting Poster June 1947 107cm x 53cm Carlos Ruano Llopis was born in 1878 in Orbs, Spain where he would become a celebrated painter and bullfighting poster artist. He began his career in a fan-making workshop to support his family. In 1909, he won the gold medal at the Regional Exhibition, allowing him to enjoy a scholarship to further his studies in Italy. From here onwards, he began to develop his characteristic bullfighting motif. This obsession with bulls was perhaps borne out of his own desire to pursue glory as a matador, an ambition he only curbed in deference to his beloved mother. The vivacity of his bullfighting posters became his trademark and, on one occasion, the prodigious matador Joselito “Gallo” even proclaimed, ‘the artist who painted this knows how to bullfight, even if he has never fought bulls before.’ Bright colours, movement and a sense of passion bring these posters to life, offering a uniquely Spanish charm. This 1947 edition advertises a bullfighting event in Granada, featuring Domingo Ortega, Agustin Parra Parrita, and the famous socialite Luis Miguel Dominguin. -
Carlos Ruano Llopis (1878-1950) Original Vintage Bullfighting Poster July 1941 107cm x 53cm Carlos Ruano Llopis was born in 1878 in Orba, Spain where he would become a celebrated painter and bullfighting poster artist. He began his career in a fan-making workshop to support his family. In 1909, he won the gold medal at the Regional Exhibition, allowing him to enjoy a scholarship to further his studies in Italy. From here onwards, he began to develop his characteristic bullfighting motif. This obsession with bulls was perhaps borne out of his own desire to pursue glory as a matador, an ambition he only curbed in deference to his beloved mother. The vivacity of his bullfighting posters became his trademark and, on one occasion, the prodigious matador Joselito “Gallo” even proclaimed, ‘the artist who painted this knows how to bullfight, even if he has never fought bulls before.’ Bright colours, movement and a sense of passion bring these posters to life, offering a uniquely Spanish charm. This 1941 edition advertises a bullfighting event in Valencia, featuring Marcial Lalanda, Manuel Rodriguez Manolete - often considered one of the greatest bullfighters of all time -, and Manolo Martín Vazquez. -
Carlos Ruano Llopis (1878-1950) Original Vintage Bullfighting Poster August 1955 107cm x 53cm Carlos Ruano Llopis was born in 1878 in Orba, Spain where he would become a celebrated painter and bullfighting poster artist. He began his career in a fan-making workshop to support his family. In 1909, he won the gold medal at the Regional Exhibition, allowing him to enjoy a scholarship to further his studies in Italy. From here onwards, he began to develop his characteristic bullfighting motif. This obsession with bulls was perhaps borne out of his own desire to pursue glory as a matador, an ambition he only curbed in deference to his beloved mother. The vivacity of his bullfighting posters became his trademark and, on one occasion, the prodigious matador Joselito “Gallo” even proclaimed, ‘the artist who painted this knows how to bullfight, even if he has never fought bulls before.’ Bright colours, movement and a sense of passion bring these posters to life, offering a uniquely Spanish charm. This 1955 edition advertises a bullfighting event in Valencia, featuring Rafael Ortega, Isidro Ortuño Jumillano, and the much celebrated Antonio Chenel Antoñete. This poster is striking in the vibrancy of the colours and the strong sense of movement, as Llopis masterfully captures the force of the bull charging through the matador's cloth. -
Cyril Kenneth Bird ‘Fougasse’ (1887 - 1965)
The Indispensables
Lithographic poster 30 x 22 cm Fougasse was a British cartoonist. He was art editor of Punch between 1937 and 1949, and subsequently editor until 1953. He is best known for his ‘Careless Talk Costs Lives’ series of posters, and the other posters for the Ministry of Information and London Transport. As the Second World War progressed, the Ministry of Information’s poster campaign had become less and less effective. There were posters instructing the population to save old clothes for rags, turn off the lights, save food, dig for victory, watch out for spies, and keep calm and carry on. With this instruction overload, the population had ceased paying attention to the posters. Fougasse noticed this, and offered his services unpaid to the Ministry of Information, with a view to bringing a touch of humour to the posters. His amusing designs with pithy captions, reminiscent of newspaper cartoons, helped to get the Ministry's messages across in a novel way.Fougasse's distinctive poster style, with the red border- as seen in this poster-was subsequently adopted by other Ministry artists.Condition: backed to linen; generally excellent. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
Out of stock
Cyril Kenneth Bird ‘Fougasse’ (1887 - 1965)
Jump for Them
Lithographic poster 30 x 22 cm Fougasse was a British cartoonist. He was art editor of Punch between 1937 and 1949, and subsequently editor until 1953. He is best known for his ‘Careless Talk Costs Lives’ series of posters, and the other posters for the Ministry of Information and London Transport. As the Second World War progressed, the Ministry of Information’s poster campaign had become less and less effective. There were posters instructing the population to save old clothes for rags, turn off the lights, save food, dig for victory, watch out for spies, and keep calm and carry on. With this instruction overload, the population had ceased paying attention to the posters. Fougasse noticed this, and offered his services unpaid to the Ministry of Information, with a view to bringing a touch of humour to the posters. His amusing designs with pithy captions, reminiscent of newspaper cartoons, helped to get the Ministry's messages across in a novel way.Fougasse's distinctive poster style, with the red border- as seen in this poster-was subsequently adopted by other Ministry artists. In this poster, taken from The Art of Refereeing, Fougasse depicts a man hurling a book in the direction of a scrum, drawing an intriguing analogy between sports and literary culture.Condition: backed to linen; generally excellent. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
British Airways Holidays
Concorde Vacations (1999)
Original Vintage Lithographic Poster 92 x 61 cm Original vintage travel poster, advertising Concorde Vacations by British Airways Holidays and featuring an image of an iconic Concorde plane flying through the night. This unique edition a stunning image of the supersonic passenger plane Concorde, set against a night-time backdrop and framed almost as if a rocket shooting through space. The aircraft was originally developed and manufactured jointly between the British Aircraft Corporation and the French airline company Sud-Aviation. The aircraft was capable of flying at a maximum speed over twice the speed of sound (taking less than 3.5 hours to fly the London to New York route but costing over 30 times more than a regular plane ticket). Although the venture ultimately ended in tragedy, with the fatal crash in July 2000, their speed and luxury distinguished the planes as an icon of modernity. -
Air France Vacances - Espagne
Original vintage poster 100 x 66 cm This Air France poster encourages French tourists to travel to Spain. Pictured is a woman dressed in traditional Spanish dress, holding a flag with the insignia of the airline. Conditi0n: Generally very good; small repaired areas to two top corners, approx 1 sq cm, small old tape stains to reverse at bottom corners. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage travel posters. -
Rudolph Ackermann (1764-1831)
Crystal Palace - View from The North Bank of the Serpentine
Tinted Lithograph 31 x 46 cm A nineteenth-century view of Crystal Palace from the north bank of the Serpentine. This unique edition intriguingly captures the stir of movement across the bustling riverside promenade, with well-dressed ladies, horse-drawn carriages and chivalrous gentleman at the fore. Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. In 1795 he established a print-shop and drawing-school at 96 Strand. Here, Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. -
Julian Trevelyan (1910 - 1988)
Ufizzi Gallery (1966)
Etching and aquatint 47 x 34 cm (paper 80 x 57 cm) Trevelyan's vibrant kaleidoscopic depiction of the interior of the Uffizi, Florence. Numbered 61/100 lower left, titled below, and signed lower right, all in pencil. Condition: Excellent - this print is often rather faded; old tape damage to reverse in top centimetre of print. -
'Zero' Hans Schleger London Underground Railways Pocket Map 1938 No. 2 Lithograph 14.5 x 20.5 cm An early edition of London Transport's iconic map, precursor to all other similar maps of other transport systems worldwide. The 1938 edition was designed by Hans Schleger, unlike the 1933 - first published - edition of Harry Beck. Beck was furious that his design had been given to Schleger and by 1941 responsibility returned to Beck. Hans Schleger was born in Germany. After the First World War, he studied at the Berlin Kunstgewerbeschule. After working in Berlin, he moved to New York in 1924 and began to work as a graphic designer. He returned to Berlin in 1929 and began working for the British advertising agency Crawfords, where he met Edward McKnight Kauffer, who introduced him to Jack Beddington (the head of advertising at Shell Mex BP). He moved to London following the rise of Hitler and produced a series of posters for Shell Mex. During the Second World War he worked for the British Government. He later taught at the Chicago Institute of Design and subsequently designed the trademarks of the John Lewis Partnership, Penguin, Deutsche Bank, and the Edinburgh Festival. Beck, on the other hand, was a technical draughtsman who worked for the London Metro Signal Office. After being fired, he created the first diagrammatic Tube map in 1931. Having submitted it to the Publicity Office at London Transport, it was rejected. However an updated proposal was accepted, being published in January 1933 in an edition of 700,000 pocket maps - most of which were consigned to the dustbin within hours, days or weeks. Those that survive are rare. Immediately popular it was adopted and similar maps have been used ever since by London Transport - and indeed many other rail systems worldwide. Beck was inspired whilst creating an electrical circuit diagram to apply the same concept to the Underground system, in the understanding that passengers on the network were more interested in how the lines related to each other, than in how they related to the topography of the city. Beck worked on the map in his spare time, and was - depending on the story you believe - either not paid for his work, or was paid a mere five or ten guineas. These days his work is acknowledged on all published London Transport maps. -
Harry Charles Beck (1902-1974) London Underground Railways Pocket Map 1936 No. 2 Lithograph 14.5 x 20.5 cm An early edition of Beck's iconic map, precursor to all other similar maps of other transport systems worldwide. The 1936 edition is very similar to the 1933 first published. Beck was a technical draughtsman who worked for the London Metro Signal Office. Following being fired, he created the first diagrammatic Tube map in 1931. Having submitted it to the Publicity Office at London Transport, it was rejected. However an updated proposal was accepted, being published in January 1933 in an edition of 700,000 pocket maps - most of which were consigned to the dustbin within hours, days or weeks. Those that survive are rare. Immediately popular it was adopted and similar maps have been used ever since by London Transport - and indeed many other rail systems worldwide. Beck was inspired whilst creating an electrical circuit diagram to apply the same concept to the Underground system, in the understanding that passengers on the network were more interested in how the lines related to each other, than in how they related to the topography of the city. Beck worked on the map in his spare time, and was - depending on the story you believe - either not paid for his work, or was paid a mere five or ten guineas. These days his work is acknowledged on all published London Transport maps.