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David Loggan (1634-1692)
Prospectus Cantabrigiae Orientalis & Occidentalis
Engraving 32 x 46 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (c. 1708). The contemporary artist Andrew Ingamells (b.1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. This particular edition represents a unique view of Cambridge from the east and the west. Notable landmarks including King's Chapel and Great St Mary's Church are visible in this fine David Loggan engraving. Condition: Good; five small invisibly repaired holes to image If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other general views of Cambridge, click here. -
Cyril Kenneth Bird ‘Fougasse’ (1887 - 1965)
Careless Talk Costs Lives (circa 1940)
Lithographic Poster Collection 31 x 40 cm each [62 x 80 cm overall]"Strictly between you and me..."; "...but for Heaven's sake, don't say I told you!"; "Don't forget the walls have ears!" - This collection of posters brings together a series of Fougasse's snappy slogans, all to the backdrop of various Hitlers hiding under tables, melding with the wallpaper, and even replacing the historical figures in the traditional portrait featured. Through this public information messaging, Fougasse aimed to remind his contemporaries not to discuss secrets which may be of use to the enemy. Fougasse was a British cartoonist. He was art editor of Punch between 1937 and 1949, and subsequently editor until 1953. He is best known for his ‘Careless Talk Costs Lives’ series of posters, and the other posters for the Ministry of Information and London Transport. As the Second World War progressed, the Ministry of Information’s poster campaign had become less and less effective. There were posters instructing the population to save old clothes for rags, turn off the lights, save food, dig for victory, watch out for spies, and keep calm and carry on. With this instruction overload, the population had ceased paying attention to the posters. Fougasse noticed this, and offered his services unpaid to the Ministry of Information, with a view to bringing a touch of humour to the posters. His amusing designs with pithy captions, reminiscent of newspaper cartoons, helped to get the Ministry's messages across in a novel way. Fougasse's distinctive poster style, with the red border, was subsequently adopted by other Ministry artists.Condition: Very good; slight age toning. This is the version on thin paper. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
London Underground
'Return Tickets At Single Fare'
20 x 61cm Advertising panel for Metropolitan Line compartment stock 1930s-1950s. Cut down at corners as very often, a sign of being in use on the Metropolitan Line. The simple typography of Edward Johnstone's typeface, developed specially for London Transport, with his absolutely excellent and highly distinctive lower-case 'g' is a joy to behold. In constant use since 1916 it is one of the oldest examples of unchanged corporate branding. Johnstone's pupil Eric Gill adapted the typeface for his own ubiquitous 'Gill Sans'. -
William Nicholson (1872 - 1949)
St John's College, Oxford
Lithograph 39 x 28 cm Signed in ink, numbered 123, and with Stafford Gallery blindstamp to bottom right. Sir William Nicholson was a British painter and printmaker. He is also known as an illustrator, author of children’s books, stained glass designer, and theatre set designer. Between 1902 and 1904 William Nicholson lived in Woodstock; during this period he made several architectural studies of Oxford's colleges and other University buildings. It was during this period that he produced this striking lithograph of St John's College, capturing a dark academic aura through his use of sombre hues. Condition: Generally very good, slight even toning to paper; old tape stain to margin which will be under the mount If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of St John's College, Oxford. -
William Nicholson (1872 - 1949)
St John's College, Oxford II
Lithograph 21 x 36 cm Signed in ink, illegibly inscribed (by Nicholson), and with Stafford Gallery blindstamp to bottom right. S ir William Nicholson was a British painter and printmaker. He is also known as an illustrator, author of children’s books, stained glass designer, and theatre set designer. Between 1902 and 1904 William Nicholson lived in Woodstock; during this period he made several architectural studies of Oxford's colleges and other University buildings. It was during this period that he produced this lithograph of a bucolic scene at St John's. The grass is green, the trees are blowing in the wind and the charm of this Oxford college radiates throughout. Condition: Generally very good, slight even toning to paper; old tape stain to margin which will be under the mount If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of St John's College, Oxford. -
Joseph Constantine Stadler (1755 - 1828) after Joseph Farington (1747-1821)
Oxford High Street with Queen's College and University College
Engraving with hand colouring 22 x 33 cm Published by J & J Boydell. Joseph Constantine Stadler was a prolific German émigré engraver of images after his contemporaries - here, 18th-century English landscape painter and diarist Joseph Farington. Stadler's engravings are wide-ranging in subject matter and include landscapes, seascapes and portraits, as well as military, sporting and decorative subjects. Stadler was employed by the leading print publisher of the time, John Boydell. Stadler lived in Knightsbridge when he died at the age of 73. Joseph Farington was born in Lancashire and went to study with Richard Wilson in London in 1763. In 1764, 1765, and 1766 he won “premiums” from the Society of Artists for his landscape drawing; he became a member in 1765. He joined the Royal Academy when it was founded in 1769 and was elected an ARA in 1783 and an RA in 1785. Farington contributed works to the Academy’s exhibitions every year until 1801, but only occasionally between 1801 and 1813. He was an active member of the Academy and sat on several important committees, including the one which determined where artworks would be hung during the exhibitions. In 1793 he became a fellow of the Society of Antiquaries and helped establish the British Institution. This particular edition depicts a view down Oxford High Street with Queen's College and University College in the eighteenth century. The hand colouring lends a unique charm to this engraving, where the light colours and calm streets suggest the sereneness of the start of an Oxford summer day. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other general views of Oxford, click here. -
Gavin Stamp (1948-2018) Christmas Card, 1975 - St Martin's Military Church, Delhi
Ballpoint pen and ink 21 x 20 cm Born in 1948, Gavin Stamp was educated on a London County Council Scholarship at Dulwich College and took a degree in history and architectural history at Cambridge. He moved to London in 1972 and worked as an architectural draughtsman and graphic designer, combining this with journalism and cataloguing at the RIBA drawings collection. By the late 1970s he was describing himself as ‘an odd-job man in the vicious cut-throat world of architectural history’. Over the course of his career, his scholarship and enthusiasm promoted the understanding and celebration of several great but neglected architects, while he also succeeded in saving many 19th and 20th century buildings from demolition. Sourced from his estaste, Gavin Stamp designed this Christmas card depicting St Martin's Military Church, Delhi in the winter of 1975. The pared back aesthetic allows us to appreciate the neatness of the parallel dashes and the pleasing pointillist effect created across the trees. -
Louis Osman
Plans for workshops at Canon's Ashby
Pen, ink and pencil 50 x 38 cm Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. ollowing the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. At Canons Ashby, the plans of which are shown here, he established a workshop and had a team of silversmiths and goldsmiths working for him. In 1974 he created the exhibition celebrated by this lavishly illustrated catalogue. His 1969 crown for the Investiture of the Prince of Wales was on display, together with many other items of his own creation, and also by other silversmiths such as Malcolm Green, Philip Noaks and Stephen Nunn, also acknowledging the work of Desmond Clenn-Murphy, Peter Musgrove and Christopher Philipson in his own works. Condition: Very good, on tracing paper; five sheets -
Ronald Fielding Dodd (1890-1958)
St Edmund Hall - 1930 Proposed Extensions to Chapel and Library
Reproduction with hand colouring 54 x 40 cm Ronald Fielding Dodd ARIBA was a Scottish architect and Associate of the Royal Institute of British Architects. After serving as a Second Lieutenant in the British Army’s Machine Gun Corps during the First World War, Dodd was most active as an architect in the 1930s. Over the course of the decade, he contributed designs for St Peter’s College, Oxford; St Edmund Hall, Oxford; Stowe School; the Acland Hospital in North Oxford, where he added a Neo-Georgian frontage; and the 16th-century Chippinghurst Manor in Oxfordshire. To mark his architectural achievements, there is now a Fielding Dodd Prize for “Outstanding Work” involving architecture at Oxford Brookes University. These particular plans date from 1930 and depict the proposed extensions to the Chapel and the Library. Condition: Generally very good, thin paper with some wear. For other views of St Edmund Hall, click here. -
Ronald Fielding Dodd (1890-1958)
St Edmund Hall - 1933 Proposed Alterations W.C.
Reproduction with hand colouring 33 x 42 cm Ronald Fielding Dodd ARIBA was a Scottish architect and Associate of the Royal Institute of British Architects. After serving as a Second Lieutenant in the British Army’s Machine Gun Corps during the First World War, Dodd was most active as an architect in the 1930s. Over the course of the decade, he contributed designs for St Peter’s College, Oxford; St Edmund Hall, Oxford; Stowe School; the Acland Hospital in North Oxford, where he added a Neo-Georgian frontage; and the 16th-century Chippinghurst Manor in Oxfordshire. To mark his architectural achievements, there is now a Fielding Dodd Prize for “Outstanding Work” involving architecture at Oxford Brookes University. These particular plans date from 1933 and depict the proposed alterations to the accommodation W.C. Hand coloured with vibrant colours, these plans transform their modest subject into something quite beautiful. Condition: Generally very good, thin paper with some wear. For other views of St Edmund Hall, click here. -
Ronald Fielding Dodd (1890-1958)
St Edmund Hall - 1932 Proposed alterations to 46 & 47 High Street
Architectural Reproduction 55 x 41 cm Ronald Fielding Dodd ARIBA was a Scottish architect and Associate of the Royal Institute of British Architects. After serving as a Second Lieutenant in the British Army’s Machine Gun Corps during the First World War, Dodd was most active as an architect in the 1930s. Over the course of the decade, he contributed designs for St Peter’s College, Oxford; St Edmund Hall, Oxford; Stowe School; the Acland Hospital in North Oxford, where he added a Neo-Georgian frontage; and the 16th-century Chippinghurst Manor in Oxfordshire. To mark his architectural achievements, there is now a Fielding Dodd Prize for “Outstanding Work” involving architecture at Oxford Brookes University. These particular plans date from 1932 and depict the proposed alterations to 46 and 47 High Street, belonging to St Edmund Hall, Oxford. Condition: Generally very good, thin paper with some wear. For other views of St Edmund Hall, click here. -
Ronald Fielding Dodd (1890-1958)
St Edmund Hall - 1928 Existing Buildings - Second Floor Plans
Architectural Reproduction 46 x 77 cm Ronald Fielding Dodd ARIBA was a Scottish architect and Associate of the Royal Institute of British Architects. After serving as a Second Lieutenant in the British Army’s Machine Gun Corps during the First World War, Dodd was most active as an architect in the 1930s. Over the course of the decade, he contributed designs for St Peter’s College, Oxford; St Edmund Hall, Oxford; Stowe School; the Acland Hospital in North Oxford, where he added a Neo-Georgian frontage; and the 16th-century Chippinghurst Manor in Oxfordshire. To mark his architectural achievements, there is now a Fielding Dodd Prize for “Outstanding Work” involving architecture at Oxford Brookes University. These particular plans date from 1928 and map out detailed plans of existing buildings in St Edmund Hall, Oxford Condition: Very good, on linen-backed paper. For other views of St Edmund Hall, click here. -
Ronald Fielding Dodd (1890-1958)
St Edmund Hall - 1928 Existing Buildings - Third Floor Plans
Pen ink and hand colouring 46 x 77 cm Ronald Fielding Dodd ARIBA was a Scottish architect and Associate of the Royal Institute of British Architects. After serving as a Second Lieutenant in the British Army’s Machine Gun Corps during the First World War, Dodd was most active as an architect in the 1930s. Over the course of the decade, he contributed designs for St Peter’s College, Oxford; St Edmund Hall, Oxford; Stowe School; the Acland Hospital in North Oxford, where he added a Neo-Georgian frontage; and the 16th-century Chippinghurst Manor in Oxfordshire. To mark his architectural achievements, there is now a Fielding Dodd Prize for “Outstanding Work” involving architecture at Oxford Brookes University. These particular plans date from 1928 and map out detailed plans of existing buildings in St Edmund Hall, Oxford Condition: Very good, on linen-backed paper, loss to bottom right-hand corner For other views of St Edmund Hall, click here. -
H S Rogers
St Edmund Hall - 1926 Proposed Alterations No 2
Pen ink and hand colouring 49 x 38 cm Architectural plans for St Edmund Hall, Oxford by esteemed architect H S Rogers. Condition: Very good, on linen-backed paper -
H S Rogers
St Edmund Hall - 1926 Proposed Alterations No 2
Pen ink and hand colouring 49 x 38 cm Architectural plans for St Edmund Hall, Oxford by esteemed architect H S Rogers. Condition: Very good, on linen-backed paper -
Braun & Hogenberg
Map of Cambridge
Engraving with later hand colouring 34 x 45 cm This map is taken from the Civitates Orbit Terrarium, also known as the ‘Braun & Hogenberg.’ This work is the culmination of a fifty year collaboration between Braun and Hogenberg, containing 546 prospects, bird’s-eye views and maps of cities from all around the world. Of these 546 works, 363 were engravings and this particular edition stands out as one of the beautiful and vibrant maps treated to meticulous hand-colouring. Georg Braun was born in Cologne in 1541 and worked as a topo-geographer. As principal editor of the work, he acquired the tables, hired the artists and cartographers and wrote the texts, including the Latin article on ‘Cantabrigia’ found on the reverse of this engraving. He died as an octogenarian in 1622, the only survivor of the original team to witness the publication of volume VI. Frans Hogenberg was born in 1535 in Mechelen in Flanders and worked as a painter, engraver and mapmaker. He was notably exiled from Antwerp in 1568 by the Duke of Alva because he was Protestant and had printed engravings sympathising with the Beeldenstorm (the Great Iconoclasm, a historical event in which many forms of church fittings and decoration were destroyed as part of the Protestant Reformation). He then moved to London for a brief period before settling in Cologne, where he worked with Braun on the Civitates. Condition: Generally very good. For other general views of Cambridge, click here. -
David Loggan (1634-1692)
Clare College, Cambridge (aerial view)
Engraving 36 x 42 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (c. 1708). The contemporary artist Andrew Ingamells (b.1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. This particular edition represents a unique aerial view of Clare College, Cambridge. Condition: Generally very good, trimmed close to plate mark, in vintage frame. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other views of Clare College, Cambridge. -
Richard Bankes Harraden (1778 - 1862)
St John's College, Cambridge (Great Gate)
Engraving 19 x 25 cm A nineteenth-century view of the Great Gate at St John's College Cambridge. Richard Bankes Harraden was a printmaker, painter, and drawing master. He was active in Cambridge, producing many views of the colleges, and subsequently several Oxford colleges. Harraden was an early and exhibiting member of the Society of British Artists in London, which was established in 1823, and remained a member until 1849. He specialised in depictions of landscape, topography and architecture, and was the son of Richard Harraden (1756 - 1838) with whom he published plates as 'Harraden & Son'. Condition: Generally very good, slight age toning to paper, in Victorian rosewood frame. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Magdalene College, Cambridge. -
Mabel Oliver Rae (1868-1956) Oriel College, Oxford 20 x 12 cm Etching Mabel Oliver Rae was born in Cambridge and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works as ‘M. Oliver Rae’, a ruse to conceal the fact she was a female artist, so as not to reduce her chances with commercial dealers and agents. This particular etching depicts the front quad at Oriel College, Oxford, featuring lovely detailing of the ivy and greenery encasing this gothic architecture. Condition: Generally very good, slight age toning to paper, in original frame. For other views of Oriel College, click here. -
David Loggan (1634-1692)
Christ's College, Cambridge
Engraving 40 x 46 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (c. 1708). The contemporary artist Andrew Ingamells (b.1956) has produced a highly-acclaimed series of etchings which bring Loggan’s original vision up to date. This particular edition represents an aerial view of Christ's College Cambridge. It was re-engraved by Edinburgh printmakers workshop, published by Christ's College Cambridge in 1997, and features an EPW blindstamp. Condition: Generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. For other views of Christ's College, Cambridge. -
Tom Carr (1909-1999)
Braes of Derwent Hunt
Pencil drawing 25 x 22 cm Thomas Carr OBE was an Irish artist. He was associated with the Euston Road School in the 1930s and had a long career as a painter of domestic scenes and landscapes. He studied at the Slade School of Art before moving to Italy to spend a year in Settignano, near Florence. Upon his return to London, Carr established himself as a painter and was exhibited at various well-known galleries of the time, including Zwemmer Gallery and Storran Gallery. Carr enjoyed success throughout his career and despite having settled in Newcastle, County Down in 1939, he regularly exhibited at the Royal Academy and was a member of the Royal Ulster Academy, the New English Art Club, the Royal Watercolour Society. Carr was awarded the MBE in 1974 and received an OBE in 1993 for his services to art in Northern Ireland. This pencil drawing is likely a study for one of his paintings of the Braes of Derwent Hunt, and therefore occupies a unique place in his oeuvre, showing the artistic processes behind his work. -
George Pyne
A Cricket Match at Jesus College, Cambridge
Watercolour 21 x 32 cm A well-executed watercolour of a cricket match at Jesus College Cambridge, featuring a view over the college grounds and Cambridge in the background. George Pyne was related to two founders of the Society of Painters in Watercolours – William Henry Pyne was his father, and John Varley his father-in-law. Pyne trained as an architectural draughtsman and lived in Oxford from the 1850s until his death in 1884, specialising in views of the city and its colleges. His Oxford pictures are both architecturally-minded and romantically creative, often combining intensely detailed depictions of college buildings with imagined pedestrian scenes. Pyne was also noted for his views of Cambridge and Eton, and for his drawing manuals ‘A Rudimentary and Practical Treatise on Perspective for Beginners’ (1848) and ‘Practical Rules on Drawing for the Operative Builder, and Young Student in Architecture’ (1854); the latter texts offer an insight into his method of depicting architecture and its surroundings. Condition: generally very good, available in a nice gilt frame. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. For other views of Jesus College, click here. -
Julian Trevelyan (1910 - 1988)
Tower Bridge
Etching & Aquatint 47 x 34 cm Numbered 47/75 lower left and signed lower right, both in pencil. Nephew of the historian G M Trevelyan, Julian Trevelyan was educated at Bedales and then at Trinity College, Cambridge, where he read English. After moving to Paris, Trevelyan studied engraving at Stanley William Hayter’s school, working alongside artists such as Max Ernst, Joan Miro and Pablo Picasso. He married the potter Ursula Darwin in 1934, and in 1935 they moved to Hammersmith, buying Durham Wharf beside the River Thames which was Trevelyan’s studio – and home – for the rest of his life. His wartime service was – like so many artists – as a camoufleur. A Royal Engineer from 1940-43, he served in North Africa and Palestine, forcing the German Afrika Korps to use resources against a dummy army whilst real tanks were disguised as more harmless equipment. In the desert, nothing could be hidden - but it could be disguised. Following the dissolution of his marriage in 1950, he married the painter Mary Fedden. Teaching at Chelsea School of Art, Trevelyan eventually became head of the Etching Department and his pupils included David Hockney and Peter Ackroyd. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by Julian Trevelyan. -
Julian Trevelyan (1910 - 1988)
Trafalgar Square
Etching & Aquatint 35 x 48 cm Numbered 27/75 lower left and signed lower right, both in pencil. Nephew of the historian G M Trevelyan, Julian Trevelyan was educated at Bedales and then at Trinity College, Cambridge, where he read English. After moving to Paris, Trevelyan studied engraving at Stanley William Hayter’s school, working alongside artists such as Max Ernst, Joan Miro and Pablo Picasso. He married the potter Ursula Darwin in 1934, and in 1935 they moved to Hammersmith, buying Durham Wharf beside the River Thames which was Trevelyan’s studio – and home – for the rest of his life. His wartime service was – like so many artists – as a camoufleur. A Royal Engineer from 1940-43, he served in North Africa and Palestine, forcing the German Afrika Korps to use resources against a dummy army whilst real tanks were disguised as more harmless equipment. In the desert, nothing could be hidden - but it could be disguised. Following the dissolution of his marriage in 1950, he married the painter Mary Fedden. Teaching at Chelsea School of Art, Trevelyan eventually became head of the Etching Department and his pupils included David Hockney and Peter Ackroyd. This particular edition shows a vibrant print of a classic view of Trafalgar Square, notably including Nelson's Column and the iconic fountains. Condition: generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by Julian Trevelyan. -
Louis Osman
Lumley Castle - sketch I
Pen, ink, pencil and coloured wash 63 x 48 cm Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. These architectural sketches showcase Osman's ideas for the refit of Lumley Castle. Located in the North-East of England, Lumley Castle was originally built in 1389 and today is a four star hotel and wedding venue that belongs to the Earl of Scarborough. Thomas Lumley was an eighteenth century soldier and statesman, and the third Earl of Scarborough. Condition: Very good, slight toning to paper Provenance: From the artist's estate. Click here for other works by Louis Osman. -
Louis Osman
Lumley Castle - sketch II
Pen, ink, pencil and coloured wash 44 x 45 cm Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. These architectural sketches showcase Osman's ideas for the refit of Lumley Castle. Located in the North-East of England, Lumley Castle was originally built in 1389 and today is a four star hotel and wedding venue that belongs to the Earl of Scarborough. Thomas Lumley was an eighteenth century soldier and statesman, and the third Earl of Scarborough. Condition: Full sheet 68 x 48; owing to staining at top, 44 x 45 cm; generally good Provenance: From the artist's estate. Click here for other works by Louis Osman. -
Louis Osman
Lumley Castle - sketch III
Pen, ink, pencil and coloured wash 62 x 48 cm Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. These architectural sketches showcase Osman's ideas for the refit of Lumley Castle. Located in the North-East of England, Lumley Castle was originally built in 1389 and today is a four star hotel and wedding venue that belongs to the Earl of Scarborough. Thomas Lumley was an eighteenth century soldier and statesman, and the third Earl of Scarborough. Condition: Very good; on a rich dark-green paper which has not really shown up in the photographs, nor have the extensive pencil sketches Provenance: From the artist's estate. Click here for other works by Louis Osman. -
Louis Osman
Lumley Castle - sketch IV
Pen, ink, pencil and coloured wash 62 x 48 cm Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. These architectural sketches showcase Osman's ideas for the refit of Lumley Castle. Located in the North-East of England, Lumley Castle was originally built in 1389 and today is a four star hotel and wedding venue that belongs to the Earl of Scarborough. Thomas Lumley was an eighteenth century soldier and statesman, and the third Earl of Scarborough. Condition: Very good; on a rich dark-green paper which has not really shown up in the photographs, nor have the extensive pencil sketches Provenance: From the artist's estate. Click here for other works by Louis Osman. -
Louis Osman (1914 - 1996)
Proposal for St Edmund Hall, Oxford
Reproduction, plus hand colouring 58 x 78 cm Provenance: artist's studio sale Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. These architectural sketches show Osman's plans for St Edmund Hall, Oxford. Condition: good, with occasional handling marks. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
Louis Osman (1914 - 1996)
Proposal for Roborough Village, Devon
One pencil on tracing paper, other two reproductions with hand colouring 50 x 88 cm Provenance: artist's studio sale Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. These architectural sketches show Osman's ambitious plans for Roborough Village in Devon, dating from 1965. Cited as 'a huge, visionary scheme for Lord Roborough's model village striding across Dartmoor', in Osman's obituary, this series of drawings highlights different facets of Osman's vision. The first, with its neat colours, focusses on the placement of businesses and estate offices, while the third focusses on the geographical contours of the landscape and the logistics of his idea. Condition: Generally very good; the odd handling marks etc. and a tiny tear to pencil drawing approx 3mm long If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
Louis Osman (1914 - 1996)
Proposal for Aubrey Walk
Pencil on tracing paper 71 x 200 cm Provenance: artist's studio sale Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. These architectural sketches show Osman's proposal for Aubrey Walk, including a striking brutalist column and tower. Condition: Generally very good, some old tape stains and handling wear to edges If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
Louis Osman (1914 - 1996)
Proposal for 2 Hungershall Park, Tunbridge Wells
Pencil on tracing paper 59 x 102 cm Provenance: artist's studio sale Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. These architectural sketches show Osman's proposal for No.2 Hungershall Park, Tunbridge Wells. Condition: Generally very good, some old tape stains and handling wear to edges If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
Louis Osman (1914 - 1996)
Oxford Skyline
Pencil on tracing paper 31 x 98 cm Provenance: artist's studio sale Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. This architectural sketch depicts the Oxford skyline with his proposed brutalist tower at St Edmund Hall. Condition: Generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
Louis Osman (1914 - 1996)
Oxford skyline with proposed tower for St Edmund Hall
Reproduction plus hand colouring, signed and dated. 31 x 98 cm Provenance: artist's studio sale Louis Osman (30 January 1914 – 11 April 1996) was an architect, artist, goldsmith, silversmith and medallist. Few people matched his creations as a goldsmith, and consequently he was chosen to make the crown for the Investiture of the Prince of Wales in 1968. Many of his other works are in public collections in the UK and worldwide. After Hele’s school in Exeter he studied at the Bartlett School of Architecture – part of University College London – from 1931. Also attending the Slade, he left the Bartlett being awarded the top first, which brings with it the Donaldson Medal of the RIBA. Following the war he was busy as an architect, works including for Westminster Abbey, and Lincoln, Exeterm, Ely and Lichfield Cathedrals. Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his own folly, the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire – which was given to the National Trust in 1981 when Osman was not able to keep the tenancy any longer. This architectural sketch depicts the Oxford skyline with his proposed brutalist tower at St Edmund Hall. Condition: Generally very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
Out of stock
Hugh Casson (1910 - 1999) The Gatehouse, Girton College
Lithograph 31 x 26 cm Signed and numbered 263/500, both in pencil. Casson's warm-hued view of Girton, with students strolling under the the neo-Tudor gatehouse. Sir Hugh Casson was educated at Eastbourne College; St John’s College, Cambridge; and the Bartlett School of Architecture. Trained in the 1930s in the early modernist style, he taught at the Cambridge School of Architecture. After employment as a camoufleur during World War 2 by the Air Ministry, in 1948 he was appointed as director of architecture for the Festival of Britain. A close friend of the Royal Family, he undertook designs for the 1953 coronation, designed the interior of the Royal Yacht Britannia (“The overall idea was to give the impression of a country house at sea”), and taught the young Charles III to paint in watercolours. Amongst his architectural achievements are the Elephant House at London Zoo, the 1978 redevelopment of Bristol Docks, the Raised Faculty Building for The University of Cambridge, and a building for the Royal College of Art. He published a number of illustrated books, of which Casson’s Oxford and Casson’s Cambridge are probably the best known. A limited edition series of prints was produced from the paintings. For other views of Girton College, click here. -
Hubert Finney (1905 – 1991) Blitz Site with St Paul's Cathedral
Charcoal, coloured pencil and pastel 35 x 52 cm A reclusive figure whose work has remained largely unseen, Finney studied under Eric Gill before winning a scholarship to the Royal College of Art in the early 1920’s. Finney had the good fortune to attend the RCA as part of a golden generation, many of whom went on to become some of Britain’s best loved artists (amongst them Ravilious, Bawden, Hepworth, Moore, Dunbar, Sorrell, and Piper). After a travelling scholarship to Rome, in 1929, Finney returned to become a teacher at Chelsea School of Art – working alongside Henry Moore who was in charge of the Sculpture Department and Graham Sutherland, the Department of Design. It was during the Second World War, when Finney was working for the Light Rescue Service of the Civil Defence that this charcoal piece was created. Depicting a bomb site during the blitz, Finney's skilful blend of charcoal, coloured pencil and pastel creates pops of colour and conveys the smoky atmosphere of London in the 1940s. -
Hubert Finney (1905 – 1991) Soldiers Waiting
Charcoal 37 x 55 cm A reclusive figure whose work has remained largely unseen, Finney studied under Eric Gill before winning a scholarship to the Royal College of Art in the early 1920’s. Finney had the good fortune to attend the RCA as part of a golden generation, many of whom went on to become some of Britain’s best loved artists (amongst them Ravilious, Bawden, Hepworth, Moore, Dunbar, Sorrell, and Piper). After a travelling scholarship to Rome, in 1929, Finney returned to become a teacher at Chelsea School of Art – working alongside Henry Moore who was in charge of the Sculpture Department and Graham Sutherland, the Department of Design. It was during the Second World War, when Finney was working for the Light Rescue Service of the Civil Defence that this charcoal piece was created. Depicting a bomb site during the blitz, Finney's skilful blend of charcoal, coloured pencil and pastel creates pops of colour and conveys the smoky atmosphere of London in the 1940s. -
Winston Churchill 'I avow my hope and faith...'
Lithograph 61 x 46 cm 'I avow my hope and faith, sure and inviolate, that in the days to come the British and American peoples will, for their own safety and the good of all, walk together in majesty, in justice and in peace.' Winston Churchill uttered these words during an address, 'before a Joint Session of Congress,' on the 26th of December, 1941. To put this piece into context, in the days after the Japanese attack on Pearl Harbour, the United States formally entered the Second World War, marking the end of Britain's solitary stand against Hitler's Germany, which it had sustained since the fall of France. Churchill immediately decided to travel to the United States, and on December 12, 1941 began the 10-day trip across the Atlantic. Churchill then addressed the U.S. Congress on the 26th and the Canadian Parliament on the 30th. Churchill's speech to Congress was sober, resolved, and eloquently defiant, but of course also featured the sparkle of Churchillian wit, irrepressible even in the dark hours of the war and the speech went down in history. -
Mackinley
Back up the Fighting Forces
Lithograph 38 x 26 cm Propaganda poster produced for H.M. Stationery Office by J. Weiner LTD. STATIONERY OFFICE BY J. WEINER LTD. This poster dates to 1940, the early days of engagement by the United States in the Second World War. It played a part in a larger effort to encourage support for the war effort, particularly focusing on providing aid, resources, and supplies to the military forces. Propaganda posters like this were used to rally citizens to contribute to the war in various ways, including buying war bonds, working in factories, and volunteering for service. This particular poster depicts three servicemen: one member of the airforce, one marine and one naval soldier, together representing the different branches of the US military effort. Condition: Generally very good, small pinholes to each corner. For other examples of propaganda posters, click here. -
Anonymous 79th Armoured Division, D-Day to the Rhine
Lithograph c. 1945 20 x 62 cm This World War II pictorial map chronicles the 79th Armoured Division, a division of the British Army that was created in the lead-up to the Normandy invasion and commanded by Major General Percy Hobart (1885-1957). The map stretches along the coast of Western Europe, from Brest to Dusseldorf, extending north across the English Channel to show the southern coast of England. Various battles are loactaed with the badge of the division, including D-Day. The title cartouche includes information about some of the equipment used by the division, such as the so-called Crocodiles (a tank with a flamethrower), Kangaroos (an armoured personnel carrier with a self-propelled gun), and Buffaloes (a tracked amphibious landing vehicle). Beneath the cartouche are illustrations of British soldiers throughout history and a table at the bottom right indicates the strength of the division before crossing the Rhine. Other examples of this map were originally published in 'The Story of the 79th Division', a history of the unit published after the war. -
Gloria Jarvis A Fateful Debate in the House of Commons, led by Winston Churchill (1940)
Lithograph 42 x 54 cm Gloria Jarvis (1925-2014) was a painter born in Acton, West London. She studied at St. Martin's School of Art, 1942-50 where her tutors included James Bateman and James Guthrie. She also attended the University of Florence, 1960-61 for a course of the History of Art and during the period 1950-63 she taught history of costume design at London’s Regent Street Polytechnic. She has also exhibited at the RA, NEAC, NS and at Leicester Galleries. This particular design features Winston Churchill standing up and giving a speech to the other politicians in the Houses of Parliament. Papers are scattered around the room and the atmosphere seems dark and heavy, alluding to the tense political situation during the Second World War. -
Anonymous St Paul's Survives, Night Blitz in London - 1940
Lithograph For Macmillan's History Pictures, c. 1960 42 x 54 cm This striking lithograph depicts St Paul's Cathedral in London peaking through the swathes of smoke engulfing the city after a night of bombing during the blitz. The sky is illuminated by floodlights and flames, but the cathedral itself seems to provide its own light source, standing out against the destruction surrounding it. Although the source of this lithograph is unknown, it was likely produced after Herbert Mason's photograph 'St Paul's Survives', taken during the night air raid of the 29th-30th of December 1940, the night of the 'Second Great Fire of London.' The photograph has become a symbol of British resilience and courage, and is considered one of the iconic images of the Blitz. It became "instantly famous", and turned the Cathedral into "a symbol of togetherness, survival and suffering". During the Second World War, Winston Churchill declared that St Paul's must be protected at all costs to preserve morale. As a result, a team of 300 volunteers came together under the name of 'the St Paul's Watch' and, armed with sandbags and hoses, worked to extinguish the incendiaries raining down on the cathedral. -
George Leech Victory Procession Down The Mall, 1946
Lithograph For Macmillan's History Pictures, c. 1960 43 x 54 cm This colourful lithograph depicts a momentous parade down the mall, held as part of the London Victory Celebrations of 1946 following the defeat of Nazi Germany and Japan in the Second World War. The celebrations took place in London on the 8th of June 1946, and consisted mainly of a military parade through the city and a night time fireworks display. The parade itself assembled the Chiefs of Staff, a mechanised column stretching 4 miles long and containing more than 500 military vehicles, and a marching column headed by the flags of the Allied nations which took part in the parade, as shown in this lithograph. In this depiction, King George VI can be seen saluting, alongside his wife, Elizabeth, and their two daughters, the queen-to-be Elizabeth and Margaret. Born in 1894, George Leech was a British painter and etcher. He studied both at the Lambeth and Putney Schools of Art and worked for some years as a magazine editor. Alongside this, he also exhibited widely, including at the Royal Academy of Art. -
Original vintage poster Calling Out of the Whole Army Reserve
Letterpress poster 1939 51 x 48 cm A Royal call to arms... 'His Majesty the King has been graciously pleased to direct by proclamation that the army reserve and the militia (which includes the supplementary reserve) be called out on permanent service.' This poster was originally designed in 1921 following the Treaty Talks between Ireland, seeking independence, and the United Kingdom, led by Winston Churchill. Relations at this time were fraught and it is thought that this poster was shown to delegates as part of the pressure exerted on them to accept Britain's offer of partial independence. Churchill had previously threatened to swamp Ireland with troops and hold a bloody war against the Republicans and this poster was produced to show he was serious. This particular edition was reprinted from the 1921 original in 1939 in preparation for the beginning of the Second World War. -
Howard Scott Closed for the Duration, Loose Talk Can Cost Lives
Lithograph 51 x 36 cm 'Closed for the duration...Loose talk can cost lives.' In both the United Kingdom and the United States, there was a constant fear of insider information being overheard by the enemy. As a result, there were several propaganda drives to encourage discretion among the citizens of the countries. This particular poster belongs to an American collection centring around the slogan 'loose talk can cost lives.' Depicting a man with his mouth taped together, his lips shut tight and sealed shut, this poster represents an aspirational antithesis of 'loose talk'. Howard Scott (1902-1983) was a billboard designer for many American companies in the mid-twentieth century. He was known for designing billboards with clever one liners and large pictures of friendly, everyday people on them. He was famous for his designs for companies including Heinz Ketchup, Nash Automotive, and Campbell’s Soup. During the Second World War, he joined the navy where he illustrated posters for the U.S. War Information Center, including the poster pictured here. For other propaganda posters, click here. -
C.C. Beall Don't be a dope and spread inside dope, loose talk can cost lives
Lithograph 51 x 36 cm 'Closed for the duration...Loose talk can cost lives.' In both the United Kingdom and the United States, there was a constant fear of insider information being overheard by the enemy. As a result, there were several propaganda drives to encourage discretion among the citizens of the countries. This particular poster belongs to an American collection centring around the slogan 'loose talk can cost lives.' Depicting two men conversing over a couple of pints of beer with Hitler hanging over their heads. In this depiction, Hitler has an abnormally large ear, suggesting he hears all, highlighting the dangers of loose talk. C.C. Beall (1892-1970) was an American commercial illustrator and portrait painter. He specialised in watercolour and drawings for magazines and comic books. Too old to be conscripted, Beall contributed to the war effort through his poster designs, in particular for war loan drives. For other propaganda posters, click here. -
Jack Coggins Aircraft Insignia
Original vintage poster, lithograph 60 x 45 cm Signed in image to bottom right This original vintage World War Two propaganda poster was initially commissioned by the army as an aircraft recognition chart for use in basic army training. It showcases different aircraft insignia identification markings with various types of military planes flying over an ominous grey sky. Among others, this poster illustrates a Fokker, B24, Stirling, Hurricane, Messerschmitt and Mitsubishi, surrounded by a colourful border of aircraft insignia including the British Empire, France, Germany, Japan, Russia and the United States. Jack Coggins (1911- 2006) was a British artist, author, and illustrator who moved to the United States in 1923 and enlisted with the army in 1943. He is known in the United States both for his oil paintings, which focused predominantly on marine subjects and for his books on space travel, which he authored and illustrated. Throughout his career he also provided illustrations for advertisements, magazine covers and articles. During the Second World War, he served as an artist and correspondent for YANK magazine, capturing and conveying wartime scenes from the front lines. For other propaganda posters, click here.
