Shop - Manning Fine Art

‘Join the Oxford University Ski Club’, 1934/35 Klosters Varsity Ski poster by James Riddell

£3,500

James Riddell (1909-2000) 'Join the University Ski Club'
Original vintage poster Lithograph 31 x 50 cm This charming poster was designed by professional skier James Riddell for the 1934/35 Varsity trip, bringing students from Oxford and Cambridge University together for the annual Varsity ski racing, held in Klosters. Riddell, a Cambridge alumnus, played a key role in the early days of skiing as a competitive sport and holiday industry. In his early days, he was a skiing champion: his accolades include winning the Kandahar Club's Muerren Inferno, still the longest and most demanding of amateur downhill races, and acting as vice-president at the 1936 Winter Olympics at Garmisch-Partenkirchen. After his professional skiing career, Ridell became an accomplished author, writing novels including 'The Ski Runs of Switzerland' (1957), 'The Ski Runs of Austria '(1958), 'Ski Holidays in the Alps' (1961) and 'Ski Lore and Disorder' (1962). He quit skiing in his 70s but continued to return to his much-loved Muerren, the Kandahar Club's Swiss Alpine headquarters, where he spent time painting watercolours. This poster is a fine example of art-deco art. The simplified, streamlined depiction of skiers with strong, curving lines reflects the influence of Art Deco’s geometric and dynamic design approach. The limited colour palette of blue, white, and red gives a striking and vibrant look. The lettering, with its outlined and shadowed appearance, is characteristic of the era's emphasis on bold, decorative typography. Finally, the flowing lines in the background and the dramatic positioning of the skiers create a feeling of speed and action, a hallmark of 1930s graphic design. The overall effect is dynamic, eye-catching and extremely memorable. Condition: Generally very good. Colours are excellent and the paper shows only a little sign of age.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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‘L’alliance de l’homme et de la montagne’, original skiing poster by Samivel

£950

'Samivel' Paul Gayet-Tancrède (1907 - 1992) L'alliance de l'homme et de la montagne
Original vintage poster 100 x 62 cm A man sits atop a grassy hill, taking in the nature around him and looking down into the valley below. He is surrounded by the white peaks of the French alps in the Parc national de la Vanoise. Nearby a sparrow has settled on a small boulder amongst the mountain flowers. The scene is bucolic and calls to mind traditional depictions of mountain life in the likes of Heidi. Samivel was a writer, an artist, a photographer, an explorer, and more. In 1948 he accompanied Paul Émile Victor on the first French Greenland expedition, making three documentary films in the process. His friends included Théodore Monod and Gilbert André - the latter the mayor of Bonneval-sur-Arc and one of the founders of the Vanoise National Park - and with them and others he spent his whole life aiming for the protection of the imperilled countryside. The graphic artist side of him had a life-long fascination with high mountains, and his illustrated books and series of posters of the French Alps have long been popular.

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‘We shall never surrender’, iconic Churchill poster

£8,000

Winston Churchill 'We shall never surrender.'
Original vintage poster 50 x 34 cm 'We shall not flag or fail, we shall go on to the end. We shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air. We shall defend our Island, whatever the cost may be; we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills. We shall never surrender.' Winston Churchill's 'We Shall Fight on the Beaches' speech, delivered to the House of Commons on June 4, 1940, is one of the most famous speeches of World War II. It was given in the wake of the Dunkirk evacuation (Operation Dynamo), where over 300,000 British and Allied troops were successfully rescued from France as German forces advanced. In this speech, Churchill had to describe a great military disaster, and warn of a possible invasion attempt by Nazi Germany, without casting doubt on eventual victory. The simple repetition and rhythm are unforgettable and helped to cement Churchill's reputation as an exceptional wartime leader.

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‘Join your Neighbours in the Civil Defence’, original vintage recruitment poster

£200

'Join your Neighbours in the Civil Defence'
Original vintage recruitment poster 38 x 26 cm Printed for HM Stationery Office by Stafford & Co Ltd Netherfield, Nottingham. There was no World War Two activity to which the population could not be encouraged by the use of a poster. First established in 1935, the Civil Defence Department was essential for maintaining order during air raids. Pictured here is a man in Civil Defence uniform walking along a residential street with a row of houses, exuding satisfaction at having protected the community from another night of bombing. 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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Oxford, original vintage map by Kerry Lee

£1,000

Kerry Lee (1903 - 1988) Oxford
Original vintage map 46 x 60 cm Published by Pictorial Maps Limited, Kerry Lee's own company c.1965 This edition of the map was produced around 1965. It illustrates a number of famous Oxford landmarks, including the Radcliffe Camera, Christ Church College's Tom Tower and all of the colleges of Oxford University. Lee also frames this map with the crest of each college and an illustration of all the college founders. Well known as a creator of pictorial maps of British cities from the mid 20th century, Kerry Lee generally draws a self-portrait in the bottom corner by his signature - as here, where he is seen painting (mustachioed and bearded, and clad in a brown tunic) with his ever-faithful dog Jim. Educated at Reading Schools of Arts and Science, the Slade and the Sorbonne in Paris, he subsequently assisted his step-father, an architect named Mr Harvey, as draftsman. Following the Depression Lee set up 'Associated Artists' at Blandford Studios off Baker Street, with a group of other commercial artists. During World War II he was based in Hertfordshire creating detailed cut-away drawings of German aircraft, and after the war - still at Blandford Studios - published a series of pictorial maps, both those for British Rail and also his own publications. 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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London ‘The Bastion of Liberty’, original vintage map by Kerry Lee

£900

Kerry Lee (1903 - 1988) London 'The Bastion of Liberty' Original vintage map 46 x 60 cm Published by Pictorial Maps Limited, Kerry Lee's own company c.1965 This edition of the map was produced around 1965. It depicts a number of London's iconic landmarks, including Tower Bridge, St Paul's Cathedral, Westminster and the Houses of Parliament and Buckingham Palace, all of which are distinguishable by the red banners which highlight each London landmark. Lee frames this charming map with illustrations of London boroughs and other landmarks that lie out of the scope of the map, Hampstead, Alexandra Palance, and Greenwich, for example. Well known as a creator of pictorial maps of British cities from the mid 20th century, Kerry Lee generally draws a self-portrait in the bottom corner by his signature - as here, where he is seen painting (mustachioed and bearded, and clad in a green tunic) with his ever-faithful dog Jim. Educated at Reading Schools of Arts and Science, the Slade and the Sorbonne in Paris, he subsequently assisted his step-father, an architect named Mr Harvey, as draftsman. Following the Depression Lee set up 'Associated Artists' at Blandford Studios off Baker Street, with a group of other commercial artists. During World War II he was based in Hertfordshire creating detailed cut-away drawings of German aircraft, and after the war - still at Blandford Studios - published a series of pictorial maps, both those for British Rail and also his own publications.

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The Life of William Shakespeare and Map of Stratford-upon-Avon, original poster by Kerry Lee

£600

Kerry Lee (1903 - 1988) The Life of William Shakespeare and Map of Stratford-upon-Avon
Original vintage poster 46 x 60 cm Published by Pictorial Maps Limited, Kerry Lee's own company c.1965 This edition of the map was produced around 1965. It depicts a map of Stratford-upon-Avon with several well known landmarks including the Royal Shakespeare Theatre on the waterfront. As is typical for Lee's maps, however, this map has a unique charm as it not only illustrates the geography of the town, but also the history, recounting the life of Stratford-upon-Avon's most famous export, William Shakespeare. Lee scrawls a chronology of Shakespeare's life over any and every free green space, referring to the playwright affectionately as 'Will.' Lee also frames the map with scenes from Shakespeare's most famous plays, including Romeo and Juliet, The Tempest and Macbeth. Well known as a creator of pictorial maps of British cities from the mid 20th century, he generally draws a self-portrait in the bottom corner by his signature - as here, where he is seen painting (mustachioed and bearded, and clad in a green tunic) with his ever-faithful dog Jim. Educated at Reading Schools of Arts and Science, the Slade and the Sorbonne in Paris, he subsequently assisted his step-father, an architect named Mr Harvey, as draftsman. Following the Depression Lee set up 'Associated Artists' at Blandford Studios off Baker Street, with a group of other commercial artists. During World War 2 he was based in Hertfordshire creating detailed cut-away drawings of German aircraft, and after the war - still at Blandford Studios - published a series of pictorial maps, both those for British Rail and also his own publications.

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‘Never have so many owed so much to so few,’ original Winston Churchill poster (1940)

£8,000

Original Winston Churchill Poster
Lithograph 51 x 40 cm c.1940-1945 "Never in the field of human conflict have so many owed so much to so few." The summer of 1940 saw the Battle of Britain reach its peak. Churchill delivered this speech to the House of Commons on the 20th of August 1940. The Battle of Britain had reached its peak that summer and when Churchill famously stated "Never in the field of human conflict have so many owed so much to so few", he was paying tribute to the enormous efforts made by the fighter pilots and bomber crews to establish air superiority over England. At the end of June 1940, the Luftwaffe had a large numerical superiority over the Royal Air Force, with around 2,550 planes compared to the only 750 planes of the RAF. As a result, the pilots who fought in the victorious Battle of Britain were known as "the few." This speech figures among Churchill's most famous, standing alongside "we shall fight on the beaches", "their finest hour", and "blood, toil, tears, and sweat" in the history books. This poster features the famous quote in bold lettering with a faint outline of Churchill's face in the background. The insignia of the Royal Air Force dominates the top of the poster, linking the speech to its context within the Battle of Britain. Condition: Generally very good, backed to linen.
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 WW2 poster

£650

German Aircraft Original vintage poster
Lithograph 57 x 45 cm This original vintage poster, published in 1941, depicts a series of German aircraft, including the fighter plane Heinkel HE 113, the bomber plane Junkers JU 89 and the sea plane Arado Ar 196. Each plane is depicted from three different angles, illustrating their unique features and insignia. During the Second World War, the Ministry of Information produced a number of posters detailing the differences between British and German aircraft. They were designed to help British civilians and military personnel identify enemy aircraft, distinguishing them from Allied planes. Condition: Generally very good, tape stain to right hand corner, 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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Spires of Oxford from the Canal I, watercolour by William Matthison

£2,200

William Matthison (1853-1926) Spires of Oxford from the Canal Watercolour 22 x 55 cm Signed lower right. A charming watercolour of the spires of Oxford as seen from the canal. Matthison expertly captures the light of a cool winter evening. He depicts a charming scene in this watercolour: the sun is setting, sheep are grazing on the banks of the canal, steam rises out the chimney of one canal boat, another moves slowly through the water and a young girl guides her horse along the path. Matthison was born near Birmingham and attended King Edward’s School in the city. He learned drawing at the Birmingham Central School of Art and then became a pupil of Birmingham artist Edward Watson. He became a professional artist in 1875 and moved to Oxfordshire a few years after; this was where he had the opportunity to produce many of the Oxford views for which he is known today. In 1902 he moved to Park Town in Oxford and was commissioned by Robert Peel to paint more than seventy views of the University of Oxford, which were subsequently made into postcards. Priced at seven for a shilling, they were only available from E Cross of Pembroke Street (a long-since closed business). Raphael Tuck & Sons also commissioned him to produce postcard scenes of Cambridge. Matthison’s views of Oxford were later printed in Fifty Watercolour Drawings of Oxford, published in 1912 by Alden & Co. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other general views of Oxford, click here.

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Spires of Oxford from the Canal II, watercolour by William Matthison

£2,200

William Matthison (1853-1926) Spires of Oxford from the Canal Watercolour 22 x 55 cm Signed lower right. A charming watercolour of the spires of Oxford as seen from the canal. Matthison expertly captures the light of a warm summer's evening. He depicts a charming scene in this watercolour, with cows drinking from the canal, a canal boat quietly drifting by and a young girl leading her friend along the path on a horse. Matthison was born near Birmingham and attended King Edward’s School in the city. He learned drawing at the Birmingham Central School of Art and then became a pupil of Birmingham artist Edward Watson. He became a professional artist in 1875 and moved to Oxfordshire a few years after; this was where he had the opportunity to produce many of the Oxford views for which he is known today. In 1902 he moved to Park Town in Oxford and was commissioned by Robert Peel to paint more than seventy views of the University of Oxford, which were subsequently made into postcards. Priced at seven for a shilling, they were only available from E Cross of Pembroke Street (a long-since closed business). Raphael Tuck & Sons also commissioned him to produce postcard scenes of Cambridge. Matthison’s views of Oxford were later printed in Fifty Watercolour Drawings of Oxford, published in 1912 by Alden & Co. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other general views of Oxford, click here.

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Sidney Sussex College, Cambridge, engraving by David Loggan

£1,950

David Loggan (1634 - 1692) Sidney Sussex College, Cambridge
Engraving 33 x 45 cm An eighteenth-century view of Queens' College, Cambridge, engraved by David Loggan, the noted engraver, draughtsman, and painter. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (c. 1708). The contemporary artist Andrew Ingamells (b.1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of Sidney Sussex, please click here.

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Queens’ College, Cambridge, engraving by David Loggan

£1,950

David Loggan (1634 - 1692) Queens' College, Cambridge
Engraving 33 x 45 cm An eighteenth-century view of Queens' College, Cambridge, engraved by David Loggan, the noted engraver, draughtsman, and painter. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (c. 1708). The contemporary artist Andrew Ingamells (b.1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of Queens' College, please click here.

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Sidney Sussex, Cambridge, engraving by David Loggan

£1,950

David Loggan (1634 - 1692) Sidney Sussex College, Cambridge
Engraving 33 x 45 cm An eighteenth-century view of Sidney Sussex, Cambridge, engraved by David Loggan, the noted engraver, draughtsman, and painter. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (c. 1708). The contemporary artist Andrew Ingamells (b.1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of Sidney Sussex, please click here.

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Watching Over the Fire, pencil drawing by Hillary Hennes

£350

Hillary Hennes (1919-1993) Watching Over the Fire
Pencil drawing 43 x 28 cm Hillary Hennes was a British artist and illustrator. Her father was a curator at the South London Art Gallery and she was consequently initiated into the art world from a young age. After attending the Blackheath High School, Hennes (then Miller) studied at the Blackheath School of Art and then spent a further three years at the Royal College of Art. After graduating, Miller taught at the South East Sussex Technical College and in 1946 married the artist Hubert Hennes. Between 1948 and 1967 Miller frequently exhibited paintings at the Royal Academy in London and also illustrated a number of books on gardening and natural history, such as The Living World and Boff's Book of Gardening. This pencil drawing depicts a woman resting by the fireplace. Her legs are crossed and she is slumped gently to the side. Hennes excellently captures the light of the room: the mirror in the background reflects a sunny day and the woman is basked in light, though it is unclear if this from the gentle glow of a fire or the sun rays peaking through the window. 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’s College Chapel, Cambridge, 1842 by R.A.E Little

£850

R.A.E Little Christ's College Chapel, Cambridge, 1842
Watercolour 20 x 26 cm Charming watercolour depicting a view of Christ's College Chapel in the mid nineteenth century. In this painting, Little pays special attention to the watercolours and the light and shadows that fill the chapel. Thanks to this care, the scene is imbued with an uplifting ambiance. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of Christ's College, Cambridge, please click here.

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Girton College, Cambridge, watercolour by Joy Fox

£600

Joy Fox (née Hollings) Girton College
Watercolour 24 x 17 cm Signed to bottom right. Little is known about Joy Fox. It seems that she studied at Girton College, Cambridge between 1939 and 1942. This charming watercolour depicting the main gate at the college featured in Douglas de Lacey's book 'Girton's War: the Village 1939-1945.' The work included memories of rationing and the various strategies employed to keep warm and to find clothes for coming up to Girton. There are also descriptions of lectures, college rules, entertainments and war work. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of Girton College, please click here.

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Pencil design for stained glass window by Jane Gray

£350

Jane Gray (b.1931) Design for stained glass window
Pencil and coloured pencil on paper 52 x 68 cm Dated 1975 to lower right. Jane Gray A.R.C.A. (b.1931) is a British stained glass artist. She studied stained glass at the Kingston School of Arts (1949-51) and later at the Royal College of Art (1951-55) under Lawrence Lee. Lee was so impressed with Gray’s work that he asked her to work alongside him on the design of ten nave windows for Coventry Cathedral. This six-year-long design project culminated in their final installation in 1962 after the cathedral’s consecration. Gray was the first woman to become a liveryman of the Worshipful Company of Glaziers and has designed more than a hundred windows in private and public buildings, chapels and over forty churches across the country, including St Peter’s, Martindale, Shrewsbury Abbey, St Oswald, Oswestry and St Mary, Chirk. Gray’s designs mark a crucial turning point in the history of stained glass art as the Victorian style gave way to a modern aesthetic. In her work, Gray navigates this shift with a style that, whilst distinctly modern, retains a deep rooted sense of the medieval. Despite many of her commissions being for church windows, stained glass design was not simply about religious depiction for Gray, but more about ‘colour, shapes, luminosity, [and] playing with rainbows’. This stained glass cartoon depicts a lovely wildflower meadow. In keeping with her love of colour and luminosity, the flowers included in this design promise to breathe a breath of fresh air into any room. Although it remains unclear if and where this design was realised in glass, Gray's drawing and annotations offer valuable insights into her working process.

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Naess Sovereign, lithograph by Laurence Dunn

£200

Laurence Dunn (1910 - 2006) Naess Sovereign
Pencil drawing 29 x 43 cm A vibrantly coloured lithograph depicting the Naess Sovereign at sea. The Naess Sovereign was originally built in 1961 by Mitsubishi Zosen, Nagasaki. When delivered, she was the third largest vessel in the world, and the largest vessel under British flag. In 1963, she was then followed by her sister vessel: the Naess Champion. Both ships were owned by the Naess group, one of the largest private shipping countries in the world. They were subsequently sold to Burmah Oil and the Sovereign was eventually laid up in 1975 and broken up in 1977. Laurence Dunn was a well-known British marine artist and writer known for his depictions of ships. He grew up in Devon, where he practised drawing passing ships, and went on to study at the Central School of Art. He then worked for shipbuilding firm John I. Thornycroft & Company Limited, where he contributed to the design of the Royal Yacht. During the Second World War, Dunn worked in naval intelligence. In the early 1960s, he created many line drawings of Atlantic ocean liners. Upon his death in 2006, the World Ship Society published the following obituary: DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home. 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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HMS Hermes, lithograph by Laurence Dunn

£200

Laurence Dunn (1910 - 2006) HMS Hermes
Pencil drawing 20 x 38 cm A vibrantly coloured lithograph depicting the HMS Hermes with illustrations of uniforms on the HMS Hermes to the reverse. As per Dunn's notes, this lithograph was produced for the builders and admiralty following the ship's reconstruction. HMS Hermes (R12) was a Centaur-class aircraft carrier of the British Royal Navy, commissioned in 1959. It served in multiple roles over its career, including as a strike carrier, commando carrier, and anti-submarine warfare carrier. It was originally commissioned in 1959 and was designed as a as a strike carrier for fixed-wing aircraft. During the 1980s it served as the flagship of the British task force against Argentina, playing a crucial role in air defence and amphibious operations. It was eventually sold to India in 1987 and was recommissioned as INS Viraat, before being taken out of service in 2017. Laurence Dunn was a well-known British marine artist and writer known for his depictions of ships. He grew up in Devon, where he practised drawing passing ships, and went on to study at the Central School of Art. He then worked for shipbuilding firm John I. Thornycroft & Company Limited, where he contributed to the design of the Royal Yacht. During the Second World War, Dunn worked in naval intelligence. In the early 1960s, he created many line drawings of Atlantic ocean liners. Upon his death in 2006, the World Ship Society published the following obituary: DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home. 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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Container Ship, pencil drawing by Laurence Dunn

£200

Laurence Dunn (1910 - 2006) Container Ship
Pencil drawing 41 x 21 cm Laurence Dunn was a well-known British marine artist and writer known for his depictions of ships. He grew up in Devon, where he practised drawing passing ships, and went on to study at the Central School of Art. He then worked for shipbuilding firm John I. Thornycroft & Company Limited, where he contributed to the design of the Royal Yacht. During the Second World War, Dunn worked in naval intelligence. In the early 1960s, he created many line drawings of Atlantic ocean liners. Upon his death in 2006, the World Ship Society published the following obituary: DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home.

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Keble College, Oxford, etching by Mabel Oliver Rae

£195

Mabel Oliver Rae (1868-1956) Keble College, Oxford
c.1920 Etching 14 x 18 cm Signed in pencil below. Mabel Oliver Rae was born in Cambridge, Cambridgeshire, and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works with the pseudonym 'M.Oliver Rae', a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. This particular etching depicts a lovely view of Keble College, Oxford. Condition: Generally very good, mounted to board, residual glue to margins under the mount.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

For other views of Keble College, Oxford, click here.

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Clare Bridge Cambridge, etching by Mabel Oliver Rae

£195

Mabel Oliver Rae (1868-1956) Clare Bridge, Cambridge
c.1920 Etching 13 x 17 cm Signed in pencil below. Mabel Oliver Rae was born in Cambridge, Cambridgeshire, and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works with the pseudonym 'M.Oliver Rae', a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. This particular etching depicts a lovely view of Clare Bridge, Cambridge. Rae expertly captures the reflections of the bridge's arcs and the shadows of the trees on the water surface. In the foreground of the etching, a punter enjoys the tranquil scene and the work is consequently imbued by the atmosphere of a warm summer's day. Condition: generally very good, slight age toning to paper.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of Clare College, Cambridge, please click here.

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Merton Tower, Oxford, etching by Mabel Oliver Rae

£195

Mabel Oliver Rae (1868-1956) Tom Tower, Oxford c.1920 Etching 12 x 9 cm Signed in pencil below. Mabel Oliver Rae was born in Cambridge, Cambridgeshire, and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works with the pseudonym 'M.Oliver Rae', a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. This particular etching depicts a lovely view of Merton Tower, Oxford. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

For other views of Merton College, Oxford, click here.

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Abstract Landscape, watercolour by Colin Fifield

£500

Colin Fifield (1940-2022) Abstract landscape
Watercolour 26 x 36 cm Colin Fifield was a British artist specialising in painting and pottery. He trained at the Camberwell School of Arts and Crafts before specialising in painting and etching at the Slade School of Art. Over the course of his long career, Fifield displayed a variety of interests, ranging from landscape paintings in oils, watercolours and acrylics to pen and ink drawings. Many of his paintings take inspiration from the landscapes of Kent in South East England, featuring the bucolic pastures and fields. This painting is characteristic of Fifield's artistic output. He playfully depicts a rural landscape scene, incorporating wavy shapes and bright colours. In doing so, he brings the painting to life. The waves through the long crops and grasses evoke the wind breezing through them. The hazy clouds in the sky seem to be moving, and a man-- simplistic in form--walks down the country-lane, appreciating the tranquility of the moment.

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Tom Tower, Oxford, etching by Mabel Oliver Rae

£175

Mabel Oliver Rae (1868-1956) Tom Tower, Oxford c.1920 Etching 12 x 9 cm Signed in pencil below. Mabel Oliver Rae was born in Cambridge, Cambridgeshire, and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works with the pseudonym 'M.Oliver Rae', a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. This particular etching depicts a lovely view of Tom Tower, Oxford. Condition: Generally very good, small tear to bottom right and slight age toning to paper.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of Christ Church, Oxford, click here.

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King’s College Cambridge, etching by Mabel Oliver Rae

£175

Mabel Oliver Rae (1868-1956) Kings College, Cambridge (view from the Meadow) c.1920 Etching 12 x 9 cm Signed in pencil below. Mabel Oliver Rae was born in Cambridge, Cambridgeshire, and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works with the pseudonym 'M.Oliver Rae', a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. This particular etching depicts a lovely view of King's chapel from the backs. The River Cam is also visible in the foreground, with what seems to be a punter making their way across the river.

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Rufford Old Hall- Door Details, pencil drawing by M R A Hollis

£400

M R A Hollis Rufford Old Hall, Door Details
Pencil drawing 56 x 77 cm Professor Malcolm A Hollis was a chartered surveyor, arbitrator and professor of Building Pathology. He produced this architectural sketch while studying at the Liverpool College of Building. The study depicts details of the door at Rufford Old Hall. Hollis' accuracy is impressive: the clean lines all seem to be perfectly spaced, the presumably metal detailing on the door symmetrical and aesthetically pleasing. His commendable precision make this a striking piece. Rufford Old Hall is a historic Tudor manor house in Rufford, Lancashire, England. It was built in the 16th century and was the home of the Hesketh family for over 400 years. It is also notable as a stomping ground for the young William Shakespeare. It is now managed as a National Trust property and is a popular tourist attraction.

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The Local History Society Presents Prehistoric Animals, vintage poster by M R A Hollis

£300

M R A Hollis The Local History Society Presents Prehistoric Animals
Vintage poster Gouache 38 x 55 cm Professor Malcolm A Hollis was a chartered surveyor, arbitrator and professor of Building Pathology. This poster very clearly stands apart from his other architectural sketches. It is playful and bold, depicting a stegosaurus.

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Rufford Old Hall, pencil drawing by M R A Hollis

£400

M R A Hollis Rufford Old Hall, Charles II Wing
Pencil drawing 56 x 77 cm Professor Malcolm A Hollis was a chartered surveyor, arbitrator and professor of Building Pathology. He produced this architectural sketch while studying at the Liverpool College of Building. The study depicts a view of the Charles II Wing at Rufford Old Hall. As is typical of Hollis' drawings, the sketch is characterised by extremely clean lines, attention to detail and a strong architectural perspective. Particular attention is paid to the grouting of the brick work and the building's crest, signalling that it was originally built in 1662. Rufford Old Hall is a historic Tudor manor house in Rufford, Lancashire, England. It was built in the 16th century and was the home of the Hesketh family for over 400 years. It is also notable as a stomping ground for the young William Shakespeare. It is now managed as a National Trust property and is a popular tourist attraction.

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The Old Bluecoat School, pencil drawing by M R A Hollis

£400

M R A Hollis The Old Bluecoat School
Pencil drawing 56 x 77 cm Professor Malcolm A Hollis was a chartered surveyor, arbitrator and professor of Building Pathology. He produced this architectural sketch while studying at the Liverpool College of Building. The study depicts a frontal view of the Bluecoat School, showcasing its grand 18th-century architecture and is characterised by clean lines and a strong sense of architectural perspective. The Bluecoat School is the oldest building in both central Liverpool and the city's UNESCO World Heritage Site. It was originally built in 1717 to house the Blue Coat School for Orphans. After almost 200 years, the school moved to a different premises in 1906 and in 1907 the Sandon Studios Society, a breakaway from University of Liverpool’s School of Applied Art, moved into the vacant building, establishing one of the first dedicated art centres in the world. It continues to serve this purpose today and celebrated its 300 year anniversary in 2017.

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The Bluecoat School, pencil drawing by M R A Hollis

£400

M R A Hollis The Old Bluecoat School
Pencil drawing 56 x 77 cm Professor Malcolm A Hollis was a chartered surveyor, arbitrator and professor of Building Pathology. He produced this architectural sketch while studying at the Liverpool College of Building. The work is characterised by clean lines and a strong sense of architectural perspective. His appreciation of architecture and attention to detail particularly shine through, however, in his careful depiction of the plaster mouldings on the columns. The Bluecoat School is the oldest building in both central Liverpool and the city's UNESCO World Heritage Site. It was originally built in 1717 to house the Blue Coat School for Orphans. After almost 200 years, the school moved to a different premises in 1906 and in 1907 the Sandon Studios Society, a breakaway from University of Liverpool’s School of Applied Art, moved into the vacant building, establishing one of the first dedicated art centres in the world. It continues to serve this purpose today and celebrated its 300 year anniversary in 2017.

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‘The Splendid Outcast’, stage designs by Rosemary Anne Sisson

£250

Rosemary Anne Sisson (1923-2017) 'The Splendid Outcast', stage designs
20 x 28 cm Watercolour (set of three) Cesar Borgia has ambitious plans and one of them is to take over the Kingdom of Naples...What follows in 'the Splendid Outcast' is a sordid love story. Marriages slip into affairs, affairs turn into assassinations, lust transforms to greed... Sisson wrote this play in 1960. The stage designs that followed in 1961 are vibrant, marked with the warm tones one might expect in a play set in Renaissance period Italy. Although a writer by craft, Sisson also proves herself adept with a brush and palette, executing playful mise-en-abimes as she incorporates miniature works of art into her stage designs. The abundance of windows and light in these watercolours also gestures to a world beyond her play, quite literally breathing a breath of fresh air and life into these works. Rosemary Anne Sisson was born in 1923 in Middlesex to the well-known Shakespeare scholar Charles Jasper Sisson, Lord Northcliffe. She developed a reputation as an acclaimed writer and playwright and was subsequently described by playwright Simon Farquhar in 2014 as being "one of television's finest period storytellers."

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Clare Bridge, watercolour by Mark McCrum

£250

Mark McCrum Clare Bridge
Watercolour 29 x 39 cm Signed and dated to lower right Mark McCrum, born in Cambridge, England, is a distinguished author and artist known for his diverse body of work spanning travel writing, ghostwriting, crime fiction, and landscape painting. An accomplished landscape painter, McCrum specialises in watercolours, often painting en plein air to capture the immediacy of the scene. His works feature landscapes from Cambridge and regions such as North Norfolk, Scotland's Outer Hebrides, and the West of Ireland. He has held multiple solo exhibitions, showcasing his evocative portrayals of natural settings. This lovely watercolour depicts Clare bridge in Cambridge, with the still water of the Cam reflecting the arches of the bridge. Although unfinished, the greenery of the trees gestures outwards and it is not hard to imagine the serene scene surrounding the bridge. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.
For other views of Clare College, please click here.

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The Holy Sepulchre at Northwold in the county of Norfolk, 1795, engraving by James Basire

£295

James Basire & Robert Blemmel Schnebbelie The Holy Sepulchre at Northwold in the county of Norfolk
Engraving 45 x 60 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing by the English painter and illustrator Robert Blemmel Schnebbelie. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This particular edition depicts the Holy Sepulchre at Northwold in Norfolk. This sepulchre probably dated to the late 15th century and was used for the Deposition and Resurrection rituals on Good Friday and Easter Sunday-- an in depth commentary on such sepulchre in Norfolk was written by Veronica Sekules for the University of Missouri. 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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Architectural View of Exeter Cathedral, 1797, engraving by James Basire

£1,200

James Basire & John Carter Architectural View of Exeter Cathedral
Engraving 61 x 95 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, based on drawing by the English architect and draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This particular edition depicts a side-view of Exeter Cathedral. Basire's creation of contrasts between light and dark creates a strong sense of architectural perspective as the arms of the transept protrude away from the nave. Basire's strong command of the medium also allows him to expertly capture the fine details of the stained glass windows, presenting a lovely view over this majestic building. Condition: Generally very good, slight spotting to the central fold.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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St Albans Cathedral, 1810, engraving by James Basire

£1,200

James Basire & John Carter Floor plan of St Albans Cathedral
Engraving 61 x 95 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire, based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This particular edition depicts a cross section of St Alban's Cathedral, offering a unique insight into both the architectural features of the building and its finer masonry and design details. Condition: Generally very good, slight spotting to the central fold.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Floor Plan of St Albans Cathedral, 1810, engraving by James Basire

£800

James Basire & John Carter Floor Plan of St Albans Cathedral
Engraving 61 x 95 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire, based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This particular edition depicts the architectural floor plan of St Albans Cathedral. The cruciform architecture is striking, as portrayed from an aerial view. Basire and Carter also expertly preserve the finer details of this beautiful cathedral in these plans, depicting the details of the floor tiling and the masonry of the columns. This attention both to the architecture and the details produces a unique overall view of the cathedral. 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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A Chimney Piece in the Bishop’s Palace at Exeter, 1797, engraving by James Basire after William Turner Davey

£295

James Basire & William Turner Davey A Chimney Piece in the Bishop's Palace at Exeter
Engraving 45 x 60 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. The society commissioned a series of architectural engravings by James Basire, this one based on a drawing by the English artist and engraver William Turner Davey. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This engraving depicts an ornate chimney piece in the Bishop's Palace at Exeter. It features a number of crests and Basire's masterful engraving technique expertly captures the fine masonry of the piece. 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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Architectural Fragments of St Albans Cathedral, 1810, engraving by James Basire

£295

James Basire & John Carter Architectural Fragments of St Albans Cathedral
Engraving 60 x 44 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire, based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. 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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Architectural Fragments of St Albans Cathedral, 1810, engraving by James Basire

£295

James Basire & John Carter Architectural Fragments of St Albans Cathedral
Engraving 60 x 44 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire, based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. 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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Architectural Fragments of St Albans Cathedral, 1810, engraving by James Basire

£295

James Basire & John Carter Architectural Fragments of St Albans Cathedral
Engraving 60 x 44 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire, based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. 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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Architectural Fragments of St Albans Cathedral, 1810, engraving by James Basire

£295

James Basire & John Carter Architectural Fragments of St Albans Cathedral
Engraving 60 x 44 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire, based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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The Abbey Church of St Albans, 1810, engraving by James Basire

£295

James Basire & John Carter The Abbey Church of St Albans
Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising St Albans Cathedral as one of England's most significant medieval structures, the society commissioned a series of engravings by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. 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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Architectural Details of St Albans Cathedral, 1810, engraving by James Basire

£295

James Basire & John Carter Architectural Details of St Albans Cathedral
Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. 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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St Albans Cathedral, 1810 engraving by James Basire

£700

James Basire & John Carter St Albans Cathedral
Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. This particular engraving is especially striking, as Carter expertly creates contrasts between light and dark, giving his work a strong sense of depth and conveying the impressive stature of St Albans Cathedral. 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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Architectural Fragments of St Albans Cathedral, 1810, engraving by James Basire

£295

James Basire & John Carter Architectural Fragments of St Albans Cathedral
Engraving 44 x 62 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good, some spotting to the corners.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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Specimens of the Architecture of St Albans Cathedral, 1810, engraving by James Basire

£295

James Basire & John Carter Specimens of the Architecture and Ornaments of the Abbey Church at St Albans
Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to studying and preserving historical monuments. Recognising it as one of England's most significant medieval structures, the society commissioned a series of engravings of St Albans Cathedral by James Basire--based on drawings by the architectural draughtsman John Carter. In doing so, the Antiquaries hoped to preserve and disseminate knowledge of England’s architectural heritage. Condition: Generally very good, some spotting to the corners.
If you would like to know more, please email info@manningfineart.co.uk or call us on 07929 749056.

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