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Like \u003c\/span\u003e\u003cspan\u003ethe better known ‘Britain in Pictures’ books, \u003c\/span\u003e\u003cspan\u003ethe collection was conceived alongside a\u003c\/span\u003e\u003cspan\u003e programme of morale-boosting publications that aimed to celebrate and preserve British culture at a time when the threat of German invasion was still very real. \u003c\/span\u003e\u003cspan\u003eThese wartime books emerged at a time of much broader cultural and geographical mapping of the country – from the beloved Shell Guides to the New Naturalist Library.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv dir=\"ltr\"\u003e\n\u003cspan\u003eAnnouncing itself as ‘something of a new experiment’, New Excursions gave free rein to both illustrators (a roll-call of notable Neo-Romantics) and anthologers, bringing high-quality lithographic images directly alongside text. Seven volumes were produced in total: '\u003c\/span\u003e\u003cspan\u003eEnglish, Scottish and Welsh Landscape 1700-c.1860' (John Piper, John Betjeman, Geoffrey Taylor, \u003c\/span\u003e\u003cspan\u003e1944); '\u003c\/span\u003e\u003cspan\u003eThe Poet’s Eye\u003c\/span\u003e’\u003cspan\u003e (John Craxton and Geoffrey Grigson, \u003c\/span\u003e\u003cspan\u003e1944); '\u003c\/span\u003e\u003cspan\u003eSea Poems' (Mona Moore and Myfanwy Piper, \u003c\/span\u003e\u003cspan\u003e1944); '\u003c\/span\u003e\u003cspan\u003eSoldiers’ Verse' (William Scott and Patric Dickinson, \u003c\/span\u003e\u003cspan\u003e1945); '\u003c\/span\u003e\u003cspan\u003ePoems of Death' (Michael Ayrton and Phoebe Pool, \u003c\/span\u003e\u003cspan\u003e1945); '\u003c\/span\u003e\u003cspan\u003eTravellers’ Verse' (Edward Bawden and Mary Gwyneth Lloyd Thomas, \u003c\/span\u003e\u003cspan\u003e1946); and '\u003c\/span\u003e\u003cspan\u003ePoems of Sleep and Dream\u003c\/span\u003e’\u003cspan\u003e (Robert 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