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Presentation: Framed
Oil and pencil on Windsor and Newton canvas
24 1/4 x 18 in. (61.5 x 45.8)
Horner 04091
Biography
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Presentation: Framed
Signed and inscribed with title in pencil
Red chalk over pencil
21 x 21 cm
Foxed
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Presentation: Framed
Inscribed with title
Red chalk on buff paper
18 x 25 cm.
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Presentation: Framed
Black wash, pen and ink with white highlights
20 x 15 cm.
In a gilded oak flat section frame
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Presentation: Framed
The original Lawrence's woodblock framed with print on verso side
Block: 15.2 x 10.5 cm
Print: 27.5 x 23 cm
Biography
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Presentation: Framed
Tbe original woodblock cleaned, restored and framed with posthumous print on the verso .
Block: 4 x 4 3/8 in. (10.3 x 11 cm)
Print: 8 1/4 x 7 5/8 in. (21 x 19.5 cm) on Hahnemühle Natural Line Vergé paper (100 g/m²)
Wood-cut as illustration for a book and a volume of poems.
A rare survival, (blocks are frequently discarded, or shaved down for re-use), these blocks offer an insight into the artist's working methods. From a design point of view they are amongst Brangwyn's most direct and successful compositions and a perfect expression of the extraordinary graphic vigour with which he created work. The blocks were cut by Brangwyn himself. We are grateful to Dr. Libby Horner for assistance.
Biography
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Presentation: Framed
Signed
Pen, pencil and watercolour on paper
20 x 30 ins. (50.5 x 76 cm)
Provenance: Edgar Peakcock
Exhibited: Liss/The Fine Art Society, 2006, Frank Brangwyn, no. 154
Literature: Horner, Brangwyn a Mission to Decorate Life, 2006, p. 150
In a flat D-section polished wood frame with acid free mount
This is a scale drawing for a proposed biliard room for Thurston & Co, similar to one illustrated in Herbert Furst's book, the Decorative Art of Brangwyn, London 1924, facing p.210.
The world famous Thurston Match Hall was in London's Leicester Square (nos. 45-46, from 1902-3), where all major competitions and exhibitions were held and many famous players competed until the premises were bombed in 1940, and finally demolished in 1956.
We are grateful to Jeremy Maas for assistance
Biography
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Presentation: Unmounted
Posthumously printed by David Maes from the original wood-block
5 1/8 × 7 5/8 in. (13.2 × 19.4 cm.)
Provenance: William de Belleroche; Gordon Anderson
Exhibited: Brangwyn In His Studio: The Jointure Studios, Ditchling, East Sussex, October 2006 (no. PR03)
Literature: Dominique Marechal, Collectie Frank Brangwyn, Bruges Stedelijke Musea, 1987, p. 128; print repr. in Modern Woodcutters, No. 2, London 1920; N.M. Lazareva, Frenk Brengvin, Izobrazit, 1978, plate 95; repr. back cover of Frank Brangwyn: Exposition de Gravures, Festival de Melle, 1988.
The wood-block is based on Brangwyn’s earlier lithograph, Mowers 1890.
We are grateful to Dr Libby Horner for her assistance (Mowers is no. v 1485 in her forthcoming catalogue raisonné).
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Presentation: Framed
The wood-block is mounted with a wood-cut to the reverse, posthumously printed from the block by David Maes
Original wood-block supplied by Lawrence’s, end-grain boxwood
4 1/2 × 11 1/8 in. (11.4 × 28.2 cm.)
Provenance: William de Belleroche; Gordon Anderson
Exhibited: Brangwyn in his Studio, Jointure Studios, Ditchling, East Sussex, 2006 (no. PR18)
Literature: Dominique Marechal, Collectie Frank Brangwyn, Bruges Stedelijke Musea, 1987, p. 139; print repr. title page of Zwanzig Graphische Arbeiten,Vienna 1921; Jeremy Yates,
Biography
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Presentation: Framed
Signed with monogram
Original lithographic zinc plate 30 × 31 1/2 in. (76.2 × 80 cm.)
Provenance: Kenneth Center; Hilary Gerrish; private collection, South of France
Literature: Dominique Marechal, Collectie Frank Brangwyn, Stedelijke Musea, Bruges, 1987, p. 178
In his commentary on Brangwyn’s Stations, G.K. Chesterton felt that the design of this Station was pivotal:‘Christ lifts His head, looks sharply over His shoulder, and His eyes shine with defiance and almost with fury. And that one flash of fierceness is shot back at the Women of Jerusalem weeping over Him.’
We are grateful to Dr Libby Horner for her assistance (Eighth Station is no.
S1903 in her forthcoming catalogue raisonné).
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Presentation: Framed
Signed with monogram
Original zinc lithographic plate, 30 × 32 in. (76.2 × 81.3 cm.)
Provenance: Kenneth Center; Michael Campbell; private collection, London
Literature: Frank Brangwyn, A Mission to Decorate Life, exh. cat.,The Fine Art Society, London, 2006 (no. 150); The Way of the Cross: An Interpretation by Frank Brangwyn, London 1935
In 1934 Brangwyn completed a set of Stations of the Cross, the original designs drawn in outline on tracing paper and transferred to zinc plates from which the lithographs were printed. The tracing-paper design was transferred to the plate by rubbing the back of the paper with chalk and then retracing the outline of the image. Following this, Brangwyn would have added the detail to the plate, including shading and the folds of the costumes, using lithographic crayon.
Sixteen sets of the Stations were printed on paper and a further three sets on sycamore (an experiment intended to produce a lithograph that would be
more durable in a damp church interior). The images were additionally
published in a reduced format by Hodder and Stoughton as a book entitled
The Way of the Cross: An Interpretation by Frank Brangwyn (London 1935), with a commentary by G.K. Chesterton, who enthused that Brangwyn was surely ‘one of the most masculine of modern men of genius’ (p. 11).
The original pencil on tracing paper design for this Station is also available; sight size 29 × 32 1/2 in. (73.7 × 82.6 cm.)
We are grateful to Dr Libby Horner for her assistance (Ninth Station on
tracing paper is no. S1904, and the zinc plate is no. S1897, in her orthcoming catalogue raisonné).
Biography
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Presentation: Framed
Black,white and yellow chalk, lightly squared, 17 × 13 in. (44.5 × 33cm.)
Provenance: The Fine Art Society; private collection, Canada
This is a study for the pendentive panel, The Home Makers, in the State Capitol, Jefferson City, Missouri.
The previous state capitol having burnt down,a new one was constructed between 1911 and 1917, based on the design of the Capitol, Washington D.C. Brangwyn was asked to devise a colour scheme and thirteen murals for the new building,including a canvas for the eye of the dome (36 ft in diameter), four pendentives (each 24 ft high, 48 ft wide at the top and 15 ft wide at the base), and eight lower dome panels (approximately 16 ft high and 28 ft wide). The four large pendentives represented 'Missouri in Four Great Historical Periods' and were titled Historic Landing (Laclede Parleying with the Indians), Pioneers, The Home Makers and Builders.
The scale of the works was immense, each figure being about 14 ft high. The initial sketches were of tremendous importance, Brangwyn telling his friend Joseph Simpson that,once he had his sketch and cartoon ready, he could complete the painting of a figure of that size in one day.
We are grateful to Dr Libby Horner for her assistance (Brangwyn's work for the State Capitol,Jefferson City, is no.M1135 in her forthcoming catalogue raisonne).
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Presentation: Framed
Signed with monogram and inscribed b.r.: ‘WdeB Coll’
Watercolour, 7 ½ x 9 1/8in. (19 x 23.2cm.)
Provenance: William de Belleroche (No 30); private collection
In a gilded oak square section frame with gilded inner slip, glazed
His Richness of Bal was one of 20 sketches produced to illustrate for King of the Sea in 1924. The proposed book was never published though a letter dated 1927 from Brangwyn to Martin Hardie refers to the project with the suggestion that a publication was imminent: ‘By the way you remember I lent you one or two rough heads of Pirates etc for that Turpin[?] book, can you lay your hand on them as they were part of a collection which belongs to a publisher who wishes to publish the lot.’ (Letter from Brangwyn to Martin Hardie, Victoria and Albert Museum, 16 February 1927, V&A. MA/1/B2328).
We are grateful to Libby Horner for her assistance. His Richness of Bal is number D1959 in her forthcoming catalogue raisonne
Biography
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Presentation: Framed
Pencil on tracing paper 29 x 33 ½ in. (74 x 85 cm). sight size
Literature: Catalogue, Exhibition of Etching & Lithographs, Brighton 1935; other sources
In a flat section gilded oak frame with blue wash mount.
In 1934 Brangwyn completed a set of Stations of the Cross, drawn on tracing paper and transferred to zinc plates prior to printing. This design is one of the original drawings for the Stations published as a set of lithographs in 1936. The tracing paper design was probably transferred to the zinc by rubbing the back of the drawing with red conte' and tracing the outline of the image. Brangwyn would have then added detail, shading and the folds of the costumes, using lithographic crayon. 16 sets of the Stations were printed on paper and a further 3 sets on sycamore, (an experiment intended to produce a lithograph which would be more durable in a dampl church interior). The images were additionally published in a reduced format by Hodder and Stoughton, as a book entitled "The Way of the Cross, (1935), an Iterpretation by Frank Brangwyn, with a commentary by G.K.Chesterton. " In this Chesterton enthused that Brangwyn was surely "one of the most masculine of modern men of genius", (p.11) We are grateful to Dr Libby Horner for her assistance.
Biography
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Presentation: Framed
Signed with monogram
Pencil on tracing paper 29 x 33 ½ in. (74 x 85 cm). sight size
Literature:Catalogue, Exhibition of Etching & Lithographs, Brighton 1935; other sources
In a flat section gilded oak frame with blue wash mount
In 1934 Brangwyn completed a set of Stations of the Cross, drawn on tracing paper and transferred to zinc plates prior to printing. This design is one of the original drawings for the Stations published as a set of lithographs in 1936. The tracing paper design was probably transferred to the zinc by rubbing the back of the drawing with red conte' and tracing the outline of the image. Brangwyn would have then added detail, shading and the folds of the costumes, using lithographic crayon. 16 sets of the Stations were printed on paper and a further 3 sets on sycamore, (an experiment intended to produce a lithograph which would be more durable in a dampl church interior). The images were additionally published in a reduced format by Hodder and Stoughton, as a book entitled "The Way of the Cross, (1935), an Iterpretation by Frank Brangwyn, with a commentary by G.K.Chesterton. " In this Chesterton enthused that Brangwyn was surely "one of the most masculine of modern men of genius", (p.11) We are grateful to Dr Libby Horner for her assistance.
Biography
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Presentation: Framed
Signed with monogram
Pencil on tracing paper 29 x 32 1/2 ins (sight size), (73.7 x 82.6 cms.)
Provenance: Kenneth Center; Michael Campbell; Private Collection, London
Exhibited: Frank Brangwyn, A Mission to Decorate Life, The Fine Art Soceity, London.
In a flat section gilded oak frame with blue wash mount.
In 1934 Brangwyn completed a set of Stations of the Cross, drawn on tracing paper and transferred to zinc plates prior to printing. It is rare to find both the original design and the zinc plate. The tracing paper design was probably transferred to the zinc by rubbing the back of the drawing with red conte' and tracing the outline of the image. Brangwyn would have then added detail, shading and the folds of the costumes, using lithographic crayon. 16 sets of the Stations were printed on paper and a further 3 sets on sycamore, (an experiment intended to produce a lithograph which would be more durable in a dampl church interior). The images were additionally published in a reduced format by Hodder and Stoughton, as a book entitled "The Way of the Cross, (1935), an Iterpretation by Frank Brangwyn, with a commentary by G.K.Chesterton. " In this Chesterton enthused that Brangwyn was surely "one of the most masculine of modern men of genius", (p.11) We are grateful to Dr Libby Horner for her assistance. 9th Station (on tracing paper) is number S1904 in her forthcoming catalogue raisonné.
Biography
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Presentation: Framed
Signed with monogram & inscribed 'Small tail'
Pen, ink and pencil on paper 5 1/8 x 8 1/16 in. (13 x 20.5cm).
Provenance: Count William de Belleroche
Literature: Lit: Brangwyn's Pilgrimage,W. de Belleroche, Chapman & Hall, 1948, ill. P85
Biography
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Presentation: Framed
Signed with monogram and extensively inscribed with title and notes
Pen, ink and pencil on paper 4 1/8 x 10 11/16 in. (10.5 x 17 cm).
Provenance: Count William de Belleroche
Literature: Lit: Brangwyn's Pilgrimage,W. de Belleroche, Chapman & Hall, 1948, ill. P130
Biography
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Presentation: Framed
Signed with monogram and inscribed with title
Pen & ink on paper 7 1/2 x 7 1/2 in. (19 x 19 cm).
Provenance: Count William de Belleroche
Literature: Lit: Brangwyn's Pilgrimage,W. de Belleroche, Chapman & Hall, 1948, ill. P238
In a gilded oak square section frame with wooden inner slip, glazed
Biography
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Presentation: Framed
Signed with monogram
Pen & ink on paper 5 1/2 x 4 1/8 in. (14 x 10.5 cm).
Provenance: Count William de Belleroche
Literature: Lit: Brangwyn Talks, W. de Belleroche, Chapman & Hall, 1944, p109
In a gilded oak flat section frame
Biography
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Presentation: Framed
Signed with monogram & inscribed
Pen & ink on paper stuck to card 1 3/4 x 7 1/8 in. (4.5 x 18 cm).
Provenance: Count William de Belleroche
Literature: Lit: Brangwyn's Pilgrimage,W. de Belleroche, Chapman & Hall, 1948, ill. P105
Biography
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Presentation: Framed
Signed with monogram & inscribed with title
Crayon and watercolour on paper 7 3/4 x 10 1/4 in. (19.5 x 26 cm).
Provenance: Provenance:
This is probably a sketch for 'Midnight Revels' in the Pageant of Ludlow, published 1934
Biography
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Presentation: Framed
Signed with monogram
Sepia wash over engraving, unique proof, 7 1/8 x 6 1/8 in. (18 x 15.5 cm).
Provenance: from the collection of William de Belleroche.
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931
In a gilded flat section frame with square outer moulding, glazed
The text for L'Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn's illustrations appear to depict the town of Belz in Poland, which was a centre of pilgrimage. Brangwyn is not known to have visited Poland and current research suggests that a large proportion of the etchings were based on photographs.
We are grateful to Dr. Libby Horner for her assistance.
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Presentation: Framed
Inscribed 'Tobe 1917'
Sanguine on Temple Lodge notepaper 8 x 10 7/16 in. (20.4 x 26.5cm).
Provenance: Count William de Belleroche
Biography
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Presentation: Framed
Signed with monogram & inscribed with notes
Sanguine on paper 10 x 7 1/2 in. (25.2 x 19cm) & 4 3/4 x 8 in. (12 x 20cm).
Provenance: Count William de Belleroche
Biography
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Presentation: Passe-partout
Original 's woodcut, 2 1/4 x 2 3/8 ins. (5.5 x 6.2 cms.)
Provenance: Count William de Belleroche; private collecti
Biography
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Presentation: Framed
Original Lawrence's woodblock, end grain box wood
3 x 1 1/2 in. (7.6 x 3.7 cm).
Provenance: Count William de Belleroche; private collection since 1968
Literature: Horner, ref v3607
Biography
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Presentation: Framed
Inscribed
Pencil, pen and wash 16 x 20 in. (40.6 x 50.8 cm).
Provenance: Edgar Peacock
Exhibited: A Mission to Decorate Life, The Fine Art Society, London, April 2006, no. 185
Literature: Literature: Horner, A Mission to Decorate Life, p. 184
One of the original drawings for the Stations published as a set of lithographs in 1936.
Biography
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Presentation: Framed
Signed with monogram & inscribed 'Small tail'
Watercolour and pastel 28 x 20 in. (71.1 x 50.8 cm).
Provenance: Tom Luzny
In a handsome flat section gilded oak frame with peg joints
Biography
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Presentation: Framed
Photograph with pen and ink additions 25 5/8 x 35 7/16 in. (65 x 90 cms).
Literature: Lit:Catalogue, Exhibition of Etching & Lithographs, Brighton 1935; other sources
This is a study for both the paintings entitled ANCONA in the Brighton (circa 1937 ref O238) and Wolverhampton Art Galleries (1843)
Biography
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Presentation: Framed
Signed with monogram
Pen & ink on paper 5 1/2 x 4 1/8 in. (14 x 10.5 cm).
Provenance: Count William de Belleroche
Literature: Lit: Brangwyn Talks, W. de Belleroche, Chapman & Hall, 1944
In a gilded oak flat section frame
Biography
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Presentation: Framed
Watercolour
19x15 cm (7½×5⅞in).
Provenance: Count William de Belleroche
Literature: Lit: W.de Belleroche, Branwyn's Pilgrimage, Chapman & Hall, London 1948, ill.p 197
In a gilded oak flat section frame
William de Belleroche noted in his personal catalogue that Brangwyn painted nineteen watercolours and pen and ink sketches in a: ˜precious little volume which was originally an exercise book and Sir Frank filled up this little volume with water-colours painted in his garden to remain as a souvenir for Count de Belleroche and remind him of the places where most of the discussions they had together - where the artist and Belleroche ˜talked of Art'.
Biography
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Presentation: Framed
lithographic proof
Pen & ink 3 1/2 x 2 5/16 in. (14 x 11 cm).
Provenance: William de Belleroche
EP95
Biography
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Presentation: Framed
Pen and ink on paper
5 7/8 x 4 3/4 in. (15 x 12 cm).
Provenance: William de Belleroche
Biography
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Presentation: Unmounted
Etching, unique proof, inscribed first state, kes rave, 34
7 x 6 1/8 in. (18 x 15.5 cm.) (platesize)
Provenance: from the collection of William de Belleroche.
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931, p 115, Book 1
The text for L'Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn's illustrations appear to depict the town of Belz in Poland, which was a centre of pilgrimage. Brangwyn is not known to have visited Poland and current research suggests that a large proportion of the etchings were based on photographs.
We are grateful to Dr. Libby Horner for her assistance.
Biography
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Presentation: Framed
Watercolour and crayon over pencil 5 x 5 in. (13 x 13 cm.)
Provenance: Belleroche, no 226B (titled Bookplate for a cat); Christies 18 July 1961, part lot 13
Literature: Lit: Brangwyn's Pilgrimage,W. de Belleroche, Chapman & Hall, 1948, ill. P85
Biography
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Presentation: Framed
According V. De Bijser there are only a few copies of this colour wood-cut which portrays the meat-market in Hammersmith (London) on Saturday evening.
10 1/2 x 9 1/2 in. (26.8 x 24 cm).
Biography
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Presentation: Framed
Wood-cut intended as a book illustration, cut by H.G. Webb, after a design by Brangwyn
10 3/4 x 8 7/8 in. (27.2 x 22.5 cm).
Biography
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Presentation: Framed
The original Lawrence's woodblock,
18.5 x 23 cm.
This woodcut was used as a book illustration for H.Furst, Modern Woodcutters, no 2, London 1920
Biography
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Presentation: Framed
Wood-cut as an illustration for the introduction of the Brangwyn Portfolio which was published in 1923.
8 1/4 x 13 in. (21 x 33.1 cm).
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Presentation: Framed
The original Lawrences end grain box wood block, cleaned, restored and framed with a period print on the verso side, signed in pencil and inscribed to Albert Belleroche.
8 x 6 in. (20 x 15.1 cm.)
Provenance: Count William de Belleroche
Brangwyn had a particular fondness for Dixmude, near Ostend. Brangwyn donated a collection of his work to the town in 1921 and was the Chairman of the English Committee for Dixmude, an organisation which sought to restore the town after the carnage of World War One.
A rare survival, (blocks are frequently discarded, or shaved down for re-use), these blocks offer an insight into the artist's working methods. From a design point of view they are amongst Brangwyn's most direct and successful compositions and a perfect expression of the extraordinary graphic vigour with which he created work. The blocks were cut by Brangwyn himself. We are grateful to Dr. Libby Horner for assistance.
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Presentation: Framed
The original Lawrences woodblock
21.3 x 32.5 cm
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Presentation: Mounted
Signed with monogram
Red chalk
16 x 11 in. (40.6 x 27.9 cm.)
Provenance: Tom Lunzy
To be included in Dr Horner's forthcoming catalogue raisonne (erf no. D4750)
We are grateful to Dr. Horner for assistance.
Biography
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Presentation: Mounted
inscribed with title under mount
pen and ink with white hights
16 x 14 in. (40.6 x 35.6 cm.)
Horner ref D2487
Study for St. Martin's Bridge, Toledo, etching, (Gaunt no. 298)
Biography
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Presentation: Framed
Signed with monogram
Pen and brush
3 3/4 x 5 1/8 in. (9.6 x 13 cm.)
Provenance: William de Belleroche, sale of his collection of works by Brangwyn, Christies 18th July 1961, lot 9
Literature: N Gillow, Catalogue of Works by Sir Frank Brangwyn, RA, William Morris Gallery, 1974, p. 73
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Presentation: Framed
signed with monogram
pencil and watercolour 22 1/4 x 14 1/2 in. (56.5 x 37 cm.)
Provenance: Edgar Peacock
Exhibited: The Fine Art Society 2006; Leeds City Art Gallery; Brugge, Swansea
Litereature: Brangwyn, A Mission to Decorate Life, p. 176, ill
Biography
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Presentation: Mounted
Wash
14 x 16 1/2 in. (35.5 x 41.9 cm.)
Biography
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Presentation: Framed
Signed in pencil
Hand coloured lithograpg
12 x 9 1/2 in. (30.3 x 24 cm.)
Biography
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Presentation: Mounted
Signed, twice, with initials,
inscribed on the reverse, given to me by Frank Brangwyn RA when at Ditchling 1934
Watercolour on paper
10 x 13 in.; 20 x 28 cm
Provenance: Lyndon Goodwin Harris
In a period gilded frame
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Presentation: Framed
Oil on canvas, 120.1 × 157.5cm (47¼ × 62in)
Reference: Galloway 673
Provenance: Carpenter Collection, Iowa, USA; Des Moines Art Center; Salender-O’Reilly
Galleries; Liss Fine Art; private collection
Exh: Robert Vose, Boston, USA, 1925; Exhibition of Paintings Drawings & Etchings by Frank Brangwyn, 184 Queen’s Gate, London, 1924 (No 50)
Ill: La Flamma, Rome, June 1924
The oil is based on the Old Testament story where Susanna was surprised by two elders when bathing.She repelled their advances and they retaliated by denouncing her for adultery. Daniel, however, exposed their deceit and they were subsequently stoned to death. The subject was popular amongst 17th-century painters, in particular Rubens and Jordaens, whose work Brangwyn admired.
In 1907 Brangwyn painted a larger version measuring 149 × 162cm (587 × 63¾in) which is in the collection of the National Museum of Wales, Cardiff. In this work the position of the figures is reversed.
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Presentation: Mounted
Pen and ink on paper
13 1/2 x 19 11/16 in. (34,3 x 50 cm.)
Biography
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Presentation: Framed
Unique lithographic proof without lettering, hand coloured by Brangwyn
25-3/4 × 22-5/8 in. (65.5 × 57.5 cm)
Provenance: Gordon Anderson; Hilary Gerrish; private collection.
Exhibited: Frank Brangwyn, A Mission To Decorate Life,The Fine Art Society, 2006 (no. 144).
Literature: Libby Horner, Frank Brangwyn,A Mission to Decorate Life, exh. cat., The Fine Art Society/Liss Fine Art, London, 2006, p. 140.
War: To Arms Citizens of the Empire, 19 15,was commissioned by Frank Pick of the London Underground. It was a modified version of a poster entitled Britain’s Call to Arms, 1914, which Brangwyn had offered free of charge to the Parliamentary Recruiting Committee (PRC), but had been rejected as being too stark in its portrayal of death and destruction. In 1915, Alfred Yockney praised the original poster:‘This fine design makes a powerful appeal and it forms an epitome of war. It is a subject-picture if ever there was one and gives us a story of broken ties, patriotism, heroism,vandalism and tragedy’ (‘Some Recent London Posters’, The Studio, anuary 19 15).
Although Brangwyn produced more than eighty poster designs during the First World War, he was not an Official War Artist.The inspiration for the compositions and details of the posters came from his memories of the
Messina earthquake, news agency photographs and the daily illustrations of
destruction that appeared in The Times, together with loans of German and
British uniforms and guns from the ImperialWar Museum and the United
States Naval authorities. In 1948, Brangwyn reminisced that he had ‘always
questioned the value of these propaganda posters. And yet I heard that, at the
time of my U.S.A. one, a nephew of mine living in America joined the navy
after seeing my poster – and, poor chap, he was the first American naval
casualty of the war’ (Brangwyn inWilliam de Belleroche, Brangwyn’s Pilgrimage, Chapman and Hall, London, 1948, p. 196).
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Presentation: Framed
Original Lawrence’s woodblock, end-grain boxwood, mounted with a woodcut to the reverse, printed posthumously from the block by David Maes, together with original design in black wash.
3-1/2 × 3 in. (9 × 7.6 cm)
Provenance: Ct.William de Belleroche; private collection since 1968.
Literature: Walter Shaw Sparrow, Prints and Drawings by Frank Brangwyn, John Lane, London, 1919, illus. p. 57; Dominique Marechal, Collectie Frank Brangwyn, Bruges 1987, illus. p. 266 (inv. 0.2/90(1).III).
‘Horresco’ is a reference to the latin phrase horresco referens: I shudder as I tell
the story.
Horresco isV2125 in Libby Horner’s forthcoming catalogue raisonné.
Biography
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Presentation: Framed
Black wash; 3 × 2-1/2 in. (7.5 × 6.4 cm)
Provenance: Ct.William de Belleroche; private collection since 1968.
Literature: Walter Shaw Sparrow, Prints and Drawings by Frank Brangwyn, John Lane, London, 1919, illus. p. 97; Dominique Marechal, Collectie Frank Brangwyn, Bruges 1987, illus. p. 266 (inv. 0.2/91.III).
The dramatic gesture of the principal figure echoes the stance of the innocent
victim in Francisco de Goya’s The Third of May 1808 (1814).
Damn theWar isV1484 in Libby Horner’s forthcoming catalogue raisonné.
Biography
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Presentation: Framed
Black wash; 3 × 2-1/2 in. (7.5 × 6.4 cm)
Provenance: Ct.William de Belleroche; private collection since 1968.
Literature:Walter Shaw Sparrow, Prints and Drawings by Frank Brangwyn, John Lane, London, 1919, illus. p. 97; Crossley Davies, Tragedy of Dixmude, Moorland Press, Derbyshire, 1921, cover design; Dominique Marechal, Collectie Frank Brangwyn, Bruges 1987, illus. p. 266 (inv. 0.2/92.III).
The Fire was used as the cover design for the Tragedy of Dixmude (1921), a catalogue of paintings and drawings of Dixmude, near Ostend, donated to the town in commemoration of the FirstWorldWar .The Dixmude trenches, otherwise known as theTrenches of Death, were held by the Belgians for more than four years during the Battles of theYser against German forces often ranged just a hundred yards away.
Brangwyn was the Chairman of the English Committee for Dixmude.
The Fire is V1482 in Libby Horner’s forthcoming catalogue raisonné.
Biography
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Presentation: Framed
Pen and ink
11 x 14 1/2 in. (28 x 37cm.)
Biography
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Presentation: Framed
Pen and ink on paper
19 7/8 x 29 1/2 in. (50.5 x 75 cm.)
Biography
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Presentation: Framed
Signed in full b.l.: 'Frank Brangwyn'; also inscribed: 'glass'
Pencil, pen and wash on thin paper, 76 x 50 cm (29⅞×19⅝in)
Provenance: Edgar Peacock;
Edgar Horns, Eastbourne, 20 September 2000
Biography
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Presentation: Unmounted
A collection of over 20 original designs, various sizes
The SS Empress of Britain sank after enemy action in 1940.
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Presentation: Framed
Watercolour and pencil on paper
17 1/2 x 21 7/8 in. (44,5 x 55,5 cm.)
Biography
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Presentation: Framed
Signed and inscribed: All good wishes to Willy Belleroche
3-colour woodcut by Urushibara after a design by Brangwyn
5 1/2 x 9 in. (13.9 x 22.8 cm.)
Wood-cut by the japanese artist Y. Urushibara after a design by Brangwyn. The artist used a similar wood-cut as a greetings card.
Biography
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Presentation: Framed
Signed with monogram
Watercolour
21 3/4 x 27 1/4 ins.
Provanance:Pauline and Irvin May
Exhibited: Barbizon House, Summer Exhibition, 1936, (no 16)
Literature: Bunt 541; Horner E955
We are grateful to Dr. Horner for assistance
Biography
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Presentation: Mounted
Signed with monogram
Sanguine on cream paper, 12 1/2 x 8 1/8 in. (31.7 x 20.5 cm)
Provenance: William de Belleroche, (no 187 A); Christies, 18 July 1961, part lot 29
Exhibitied: Mission to Decorate Life, The Fine Art Soceity, 2006, (cat 104).
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931,
This drawing was probably drawn as a study for L'Ombre de la Croix but not used in the final version.
The text for L'Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn's illustrations appear to depict the town of Belz in Poland, which was a centre of pilgrimage. Brangwyn is not known to have visited Poland and current research suggests that a large proportion of the etchings were based on photographs.
We are grateful to Dr. Libby Horner for her assistance.
Biography
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Presentation: Framed
Woodblock cleaned, restored and framed with posthumous print on verso side
Woodblock 4 1/2 x 5 3/8 in. (11.5 x 13.6 cm.)
Print 8 x 8 3/4 in. (20.5 x 22 cm.)
Hahnemahle Natural Line Verge paper (100 g/m)
A rare survival, (blocks are frequently discarded, or shaved down for re-use), these blocks offer an insight into the artist's working methods. From a design point of view they are amongst Brangwyn's most direct and successful compositions and a perfect expression of the extraordinary graphic vigor with which he created work. The blocks were cut by Brangwyn himself.
We are grateful to Dr. Libby Horner for assistance. This image will appear as no. V 3601 in her forthcoming catalogue raisonne
Biography
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Presentation: Unmounted
Etching, unique working proof,
inscribed 1st state Kes Row (?) 51
7 x 6 in. (18 x 15 cm.) plate size.
Provenance: from the collection of William de Belleroche.
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931
An example of the etching in its final state is in the collection of the Ashmolean Museum (1964.75.40)
The text for L'Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn's illustrations appear to depict the town of Belz in Poland, which was a centre of pilgrimage. Brangwyn is not known to have visited Poland and current research suggests that a large proportion of the etchings were based on photographs.
We are grateful to Dr. Libby Horner for her assistance. Provenance: from the collection of William de Belleroche.
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931
The text for L'Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn's illustrations appear to depict the town of Belz in Poland, which was a centre of pilgrimage. Brangwyn is not known to have visited Poland and current research suggests that a large proportion of the etchings were based on photographs.
We are grateful to Dr. Libby Horner for her assistance. This image will appear as no. E2893 in her forthcoming catalogue raisonne
Biography
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Presentation: Unmounted
Etching, unique working proof,
inscribed 1st state Kes Row (?) 55
7 x 6 in. (18 x 15 cm.) plate size.
Provenance: from the collection of William de Belleroche.
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931
An example of the etching in its final state is in the collection of the Ashmolean Museum (1964.75.33)
The text for L'Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn's illustrations appear to depict the town of Belz in Poland, which was a centre of pilgrimage. Brangwyn is not known to have visited Poland and current research suggests that a large proportion of the etchings were based on photographs.
We are grateful to Dr. Libby Horner for her assistance.
Provenance: from the collection of William de Belleroche.
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931
The text for L'Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn's illustrations appear to depict the town of Belz in Poland, which was a centre of pilgrimage. Brangwyn is not known to have visited Poland and current research suggests that a large proportion of the etchings were based on photographs.
We are grateful to Dr. Libby Horner for her assistance. This image will appear as no. E3091 in her forthcoming catalogue raisonne
Biography
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Presentation: Unmounted
Etching, proof.
inscribed in pencil no 34
Provenance: from the collection of William de Belleroche.
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931, p 174
A version of the etching in its final state is in the collection of the William Morris Gallery (p532) and the British Museum (BM1943-12-11-345)
The text for L'Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn's illustrations appear to depict the town of Belz in Poland, which was a centre of pilgrimage. Brangwyn is not known to have visited Poland and current research suggests that a large proportion of the etchings were based on photographs.
We are grateful to Dr. Libby Horner for her assistance. This image will appear as ref E 3087 in her forthcoming catalogue raisonne
Biography
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Presentation: Unmounted
Etching, unique working proof,
inscribed 1st state Kes Row (?) 47
2 x 1 3/4 in. (5 x 4.5 cm) plate size
Provenance: from the collection of William de Belleroche.
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931
The text for L'Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn's illustrations appear to depict the town of Belz in Poland, which was a centre of pilgrimage. Brangwyn is not known to have visited Poland and current research suggests that a large proportion of the etchings were based on photographs.
We are grateful to Dr. Libby Horner for her assistance. This image will appear as no 2869 in her forthcoming catalogue raisonne.
Biography
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Presentation: Unmounted
Etching, unique working proof,
inscribed 1st state Kes Row (?) 31
7 x 6 in. (18 x 15 cm.) plate size.
Provenance: from the collection of William de Belleroche.
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931
The text for L'Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn's illustrations appear to depict the town of Belz in Poland, which was a centre of pilgrimage. Brangwyn is not known to have visited Poland and current research suggests that a large proportion of the etchings were based on photographs.
We are grateful to Dr. Libby Horner for her assistance. This image will appear as no. E 2502 in her forthcoming catalogue raisonne
Biography
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Presentation: Unmounted
Signed with initials
Pen and ink on buff coloured paper
9 x 8 in. (23 x 20 cm)
Provenance: Count William de Belleroche; Christies 18th July 1961, lot 34
Exhibited, Royal Academy 1952
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Presentation: Unmounted
Ink on pink paper, signed in pencil with initials
3 x 3 1/2 in. (7 x 9 cm)
Provenance: Count William de Belleroche; Christies 18th July 1961, part lot 11
Biography
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Presentation: Unmounted
Etching, unique working proof,
inscribed 1st state Kes Row (?) 33 in the margin and Beaeabans in the plate
7 x 6 in. (18 x 15 cm.) plate size.
Provenance: from the collection of William de Belleroche.
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931
The text for L'Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn's illustrations appear to depict the town of Belz in Poland, which was a centre of pilgrimage. Brangwyn is not known to have visited Poland and current research suggests that a large proportion of the etchings were based on photographs.
We are grateful to Dr. Libby Horner for her assistance. This image will appear as ref E 3086 in her forthcoming catalogue raisonne
Biography
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Presentation: Framed
Signed with monogram t.l.: ‘FB’
Oil on canvas, 200.7×200.7cm (79×79in)
Reference: Galloway 81
Provenance: Sir James Roberts, and by descent; Cyril Leeper; private collection
Exh: Berlin Academy, Berlin, 1912 (No 2773); Twentieth Spring Exhibition, Bradford, 1913 (No 157); Venice Biennale, 1914 (No 1334) ; Exhibition of Paintings Drawings and Etchings by Frank Brangwyn, 184
Queen’s Gate, London, 1924 (No 55); Frank Brangwyn, Leeds, Bruges, Swansea, 2006
Lit: Walter Shaw Sparrow, Frank Brangwyn and his Work, London: Kegan Paul, Trench, Trübner, 1915, p95, 234
Ill: Walter Shaw Sparrow, Frank Brangwyn and his Work, London, 1915, facing p88;
NM Lazareva, Frenk Brengvin, Izobrazit, 1978, plate 28
The painting was awarded a gold medal at the Berlin Academy in 1912, and is one of Brangwyn’s seminal works.Brangwyn obviously had problems perfecting the sparkling brass pots and pans,writing to his friend RHKitson that he had ‘been trying to paint the brass pots and I feel wretched’, (37) but his efforts were not wasted,Shaw Sparrow noting that ‘their handling could not well be bettered’. (38)
The painting was purchased by Sir James Roberts (1848–1935). Born into
a poor farming family in Haworth,Yorkshire,Roberts started work at Saltaire Mill at the age of twelve and eventually succeeded Sir Titus Salt as owner of the mill. He established the chair of Russian at Leeds University in 1916, and in 1928 purchased and bequeathed to the nation the home of the Brontë family, Haworth parsonage. He probably purchased this particular work because his wife, Elizabeth Foster, had been brought up in Brass Castle, New Jersey.
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Presentation: Framed
Oil on canvas, 274.3×182.9cm (108×72in)
Provenance: E Kenneth Center; William de Belleroche (No 83); Gordon Anderson
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Presentation: Unframed
Oil on canvas, 274.3×182.9cm (108×72in)
Provenance: E Kenneth Center; 28William de Belleroche (No 84); Gordon Anderson
This remarkable life size canvas was produced by Brangwyn as a preparatory study for the enterance of the Rockerfeller Plaza, (RCA Building).
Brangwyn, the Spanish artist José Maria Sert and the Mexican, Diego Rivera were chosen to produce murals after Picasso and Matisse had refused the commission.
The murals sparked controversy from the outset, critics complaining that American artists should have been chosen for the prestigious work. In May 1933 Rivera was prevented from finishing his mural when it was discovered that he had included a portrait of Lenin, and sympathisers of the artist clashed with police outside the building.The authorities also objected to the bright colours of the panel (Sert and Brangwyn had both agreed to paint monochrome works) and the mural was taken down and replaced by a new mural by Sert.
Brangwyn was asked to produce four large murals which are placed on the south side of the elevator corridor, RCA building.The paintings were carried out in three tones to harmonize with the black terrazzo floor, the walls which were of Champlain black marble to a height of 228.6cm (7ft 6in), and the ivory ceiling. Not more than 70–75% of the canvas was to be painted and lettering was to be included. Brangwyn was given the theme Man’s new relationship to society and his fellow men, his family relationships, his relationships as a worker, his relationships as part of a government and his ethical and religious relationships.
In September 1933, Brangwyn himself faced controversy. Officials from the Rockefeller Center objected to the figure of Christ being included in the fourth panel, representing the Sermon on the Mount. Raymond M Hood, one of the architects of the Center, explained that, ‘some people here felt that it would not be fitting to put the figure of Christ in a business building.They thought that might be too strong a representation of an individual religion’.
It was suggested that Brangwyn represented Jesus by a light shining from heaven. However the artist merely reversed his figure, so that Christ facing the populace became the back of a nameless cloaked man.
The model for the kneeling nude was Joy Sinden, sister of the actor Donald Sinden.
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Presentation: Framed
78 x 78 in. (198 x 198 cm)
Provenance: Sir Alfred East RA ; Captain Winterbottom
Exhibited: New Gallery, 1902 (lent by East?); Venice Biennale, 1903; Venice Biennale, 1914; Queen's Gate, 1924 Catalogue: 58 (lent by H W [sic] Winterbottom, titled Cyder Press); St Louis International Exhibition, St Louis, 1904 Catalogue: 43
Literature: Shaw-Sparrow, Frank Brangwyn and his Work, Kegan Paul, Trench, Trubner & Co Ltd London 1915 p231 H Furst, The Decorative Art of Frank Brangwyn, The Bodley Head London 1924 p214 Art Journal, p85-86 March 1903, F Rinder, 'The Art of Frank Brangwyn' The Studio, p38 Vol 26, June 1902, 'Some Paintings and Sculpture at the London Spring Exhibitions' P Macer-Wright, Brangwyn, A Study of Genius at Close Quarters, Hutchinson & Co London p67 Illustrated: Shaw-Sparrow, The Spirit of the Age, London, 1905 plate 8 Amelia Defries, Frank Brangwyn RA, Master Craftsman, American Magazine of Art November 1924 11 Vol. 15p562 The Studio, p37 Vol 26, June 1902, 'Some Paintings and Sculpture at the London Spring Exhibitions' St Louis International Exhibition, St Louis 1904 p63 The British Art Journal, p41 Libby Horner, 'Brangwyn and the Horton House mystery'
Notes: Described as a ‘lyrical fantasy from the conditions of modern life’* portraying ‘the half-triumphant, half-sad sentiment of October’.* The oil shows two young boys and a nude toddler right foreground, lounging over baskets of gleaming apples and a beautiful pot, whilst to the left a man plays a flute, and others work at the press, the frame of which can be seen background right. The red shirt of the central figure provides a focus point. Although the painting is quite dark in tone there is a wonderful sense of light flickering through the central window of sky. There is something of the Old Masters in this painting, although the technique is vastly different, and a romantic yearning for the glories of rural England. Marion Spielman described this painting as ‘one of (Brangwyn’s) most opulent designs, such as Titian might rejoice in could he come to life in the twentieth century’,* and The Studio critic, less ostentatiously, called it 'masterly in handling and sumptuous in colour'.* Laurence Bradshaw noted in his copy of the Queen's Gate catalogue that the technique was 'earlier' and 'tighter' and commented on the unfortunate habit of owners of varnishing paintings with the result that they ended up brown and cracked when all they required was a little soap and water to remove dust and dirt. Rinder termed the oil a 'robust idealisation of an incident charged with beauty and with significance' and considered it a 'noteworthy attempt to express the half-triumphant, half-sad sentiment of October'. The RA sketchbooks have drawings of a cider press at Weford on Avon which may be related to this painting. In 1904 (17 January) Brangwyn wrote to Kitson that he was 'very sorry that the Cider Press is not going to Leeds, East wished it to go to St Louis, anyway next year you shall have it', and on 9 November 1907 he noted that, with East's approval, it was to be sent to the Salon in 1908. According to Macer-Wright, East purchased the work for £300 to help the younger artist out of financial difficulties, but the claim cannot be substantiated. There is no concrete evidence that after the early years Brangwyn was troubled by impecuniosity. From 1891 to 1894 he was able to afford two studios, he employed an assistant as early as 1895, and by 1902 was established and greatly in demand. Brangwyn borrowed the painting from East to send to an exhibition in Munich, but apparently the packing case was destroyed when on the docks at Tilbury. East recovered the canvas and had it relined and restored. It was sold later for £1400. In 1924 Furst recalled 'the beautiful early rich and mellow Cider-press which alone would secure to its author a place amongst the great masters'*, gracing the walls of Horton House (Colonel Winterbottom's residence). In a letter to de Belleroche, 8 April 1952, Brangwyn asks if he has been able to trace 'Sir Roberts of Saltair who had the Cider Press he was the partner of Sir Titus Salt who made the Town of Saltair in Yorkshire'. Some of his other suggestions of ownership in the letter were decidedly wrong so this comment may be misleading! * Shaw Sparrow, p231 * F Rinder, p82 * The Studio, p38 * Furst, p214
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Presentation: Framed
Original Lawrence's woodblock, end grain box wood, framed with a posthumous print on the reverse.
3 x 3 1/4 in. (7.7 x 8.3 cm.)
Count William de Belleroche; private collection since 1968
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Presentation: Framed
According to V. De Bijser this wood-cut was cut after an etching and designed for a bookplate.
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Presentation: Framed
Original Lawrence's woodblock, end grain box wood, framed with a posthumous print on the reverse.
6 5/8 x 5 1/4 in. (16.9 x 13.3 cm.)
Count William de Belleroche; private collection since 1968
Biography
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Presentation: Framed
Original Lawrence's woodblock, end grain box wood, framed with a posthumous print on the reverse.
According to V. De Bijser this wood-cut was made after a drawing to decorate New Court House in Cleveland (U.S.A.).
5 1/4 x 7 5/8 in. (13.4 x 19.4 cm.)
Count William de Belleroche; private collection since 1968
Biography
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Presentation: Framed
Original Lawrence's woodblock, end grain box wood, framed with a posthumous print on the reverse.
7 x 5 in. (17.7 x 12.7 cm.)
Count William de Belleroche; private collection since 1968
Biography
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Presentation: Framed
Original Lawrence's woodblock, end grain box wood, framed with a posthumous print on the reverse.
3 x 1 1/2 in. (7.7 x 3.6 cm.)
Provenance: Count William de Belleroche; private collection since 1968
Horner, ref 3606
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Presentation: Framed
Wood engraving
Woodblock cleaned, restored and framed with posthumous print on verso side
Portrayal of the Beguinage of Diksmuide intended as a book illustration
Block: 5 1/4 x 8 in. (13,5 x 20 cm.)
Print: 10 1/2 x 13 in. (26,5 x 33 cm.)
Literature: Dominique Marechal, Frank Brangwyn, Collection Catalogue, Bruges General Bank & Stedelijke Musea 1987 p132, Catalogus 1936, Brussels 1936 No. 61, Catalogus 1937, Brussels 1937 No. 126, Valerie De Bijser, 1955 No. 185
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Presentation: Framed
The original woodblock, mounted onto a patterned woodcut
13.3 x 13.9 cm; 38 x 22 overall
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Presentation: Mounted
Watercolour on pencil
7 x 19 1/2 in. (7.5 x 50 cm)
Biography
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Presentation: Unmounted
etching
5.7 x 5.9 in. (14.5 x 15 cm)
Provenance: William de Belleroche
Literature: Jerome & Jean Tharaud, L'Ombre de la Croix, Paris 1931 p103 Book 1
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Presentation: Unmounted
etching
7.1 x 5.9 in. (18 x 15 cm)
Provenance: William de Belleroche
Literature: Jerome & Jean Tharaud, L'Ombre de la Croix, Paris 1931 p135 Book 1
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Presentation: Framed
Black ink over etching
3.8 x 3.7 in. (9.7 x 9.5 cm)
Provenance: William de Belleroche
Literature: Jerome & Jean Tharaud, L'Ombre de la Croix, Paris 1931 p15 Book 1
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Presentation: Unmounted
etching
1.6 x 2.5 in. (4 x 6.3 cm)
Provenance: William de Belleroche
Literature: Jerome & Jean Tharaud, L'Ombre de la Croix, Paris 1931 p202 Book 2
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Presentation: Unmounted
etching
2.1 x 1.1 in. (5.3 x 2.8 cm)
Provenance: William de Belleroche
Literature: Jerome & Jean Tharaud, L'Ombre de la Croix, Paris 1931 p314 Book 2
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Presentation: Unmounted
etching
1.8 x 1.7 in. (4.6 x 4.2cm)
Provenance: William de Belleroche
Literature: Jerome & Jean Tharaud, L'Ombre de la Croix, Paris 1931 p108 Book 1
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Presentation: Unmounted
etching
0.9 x 1 in. (2.2 x 2.6 cm)
Provenance: William de Belleroche
Literature: Jerome & Jean Tharaud, L'Ombre de la Croix, Paris 1931 p213 Book 2
Biography
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Presentation: Unmounted
etching
2.7 x 2.4 in. (6.8 x 6 cm)
Provenance: William de Belleroche
Literature: Jerome & Jean Tharaud, L'Ombre de la Croix, Paris 1931 p27 Book 1
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Presentation: Unmounted
etching
1.8 x 1.6 in. (4.5 x 4 cm)
Provenance: William de Belleroche
Literature: Jerome & Jean Tharaud, L'Ombre de la Croix, Paris 1931 p285 Book 2
Biography
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Presentation: Unmounted
etching
2 x 3 in. (5 x 7.5 cm)
Provenance: William de Belleroche
Literature: Jerome & Jean Tharaud, L'Ombre de la Croix, Paris 1931 p180 Book 2
Biography
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Presentation: Unmounted
etching
2 x 2.1 in. (5 x 5.3 cm)
Provenance: William de Belleroche
Literature: Jerome & Jean Tharaud, L'Ombre de la Croix, Paris 1931 p55 Book 1
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Presentation: Unmounted
etching
1 x 2 in. (2.6 x 5 cm)
Provenance: William de Belleroche
Literature: Jerome & Jean Tharaud, L'Ombre de la Croix, Paris 1931 p46 Book 1
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Presentation: Unmounted
etching
1 x 3.1 in. (2.5 x 8 cm)
Provenance: William de Belleroche
Literature: Jerome & Jean Tharaud, L'Ombre de la Croix, Paris 1931 p129 Book 1
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Presentation: Unmounted
etching
1.8 x 1.4 in. (4.5 x 3.5 cm)
Provenance: William de Belleroche
Literature: Jerome & Jean Tharaud, L'Ombre de la Croix, Paris 1931 p336 Book 2
Biography
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Presentation: Unmounted
etching
3 x 2.4 in. (7.5 x 6 cm)
Provenance: William de Belleroche
Literature: Jerome & Jean Tharaud, L'Ombre de la Croix, Paris 1931 p145 Book 1
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Presentation: Unmounted
etching
1.7 x 1.6 in. (4.4 x 4 cm)
Provenance: William de Belleroche
Literature: Jerome & Jean Tharaud, L'Ombre de la Croix, Paris 1931 p141 Book 1
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Presentation: Unmounted
etching
1.3 x 3.9 in. (3.2 x 10 cm)
Provenance: William de Belleroche
Literature: Jerome & Jean Tharaud, L'Ombre de la Croix, Paris 1931 p169 Book 2
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Presentation: Unmounted
etching
1.7 x 4.1 in. (4.2 x 10.5 cm)
Provenance: William de Belleroche
Literature: Jerome & Jean Tharaud, L'Ombre de la Croix, Paris 1931 p98 Book 1
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Presentation: Unmounted
etching
1.3 x 2 in. (3.2 x 5 cm)
Provenance: William de Belleroche
Literature: Jerome & Jean Tharaud, L'Ombre de la Croix, Paris 1931 p85 Book 1
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Presentation: Passe-partout
Signed with initials
Etching, 4.5 x 6cm (13.5 x 15cm framed)
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Presentation: Passe-partout
Signed with initials
Etching, 8.5 x 14.5cm (17.5 x 23.5cm framed)
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Presentation: Passe-partout
Signed with initials
Etching, 8 x 15.2cm (17 x 24.5cm framed)
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Presentation: Passe-partout
Signed with initials
Etching, 11 x 16cm (20 x 25cm framed)
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Presentation: Passe-partout
Pencil and ink on paper, 8.8 x 14cm (19 x 24cm framed)
Initials bottom right.
Inscribed on the back : Drawing of a cat by Brangwyn, to Andy from Willie.
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Presentation: Unmounted
etching
3 3/4 x 5 3/4 in. (9.3 x 14.5 cm.)
Provenance: William de Belleroche
Literature: Jerome & Jean Tharaud, L'Ombre de la Croix, Paris 1931 p86 Book 1
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Presentation: Unmounted
etching
2 3/4 x 4 7/8 in. (7 x 12.5 cm.)
Provenance: William de Belleroche
Literature: Jerome & Jean Tharaud, L'Ombre de la Croix, Paris 1931 p12 Book 1
Biography
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Presentation: Unmounted
etching
7/8 x 4 5/8 in. (2.2 x 11.7 cm.)
Provenance: William de Belleroche
Literature: Jerome & Jean Tharaud, L'Ombre de la Croix, Paris 1931 p158 Book 1
Biography
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Presentation: Unmounted
etching
1 5/8 x 6 in. (4.2 x 15 cm.)
Provenance: William de Belleroche
Literature: Jerome & Jean Tharaud, L'Ombre de la Croix, Paris 1931 p79 Book 1
Biography
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Presentation: Unmounted
etching
1 x 5 1/4 in. (2.6 x 13.5 cm.)
Provenance: William de Belleroche
Literature: Jerome & Jean Tharaud, L'Ombre de la Croix, Paris 1931 p64 Book 1
Biography
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Presentation: Mounted
Plate photomechanical lithograph from the Steinlen Portfolio.
12 1/2 x 10 1/8 in. (31.7 x 25.7 cm.)
In 1927 the Brangwyn Portfolio was published by E F d'Alignan and Paul Turpin. Responding to a demand for high quality reproductions of his work Brangwyn himself chose 100 items which he felt were representative of his range of disciplines, including 12 original etchings and 3 original lithographs. The remaining 85 works were lithographic reproductions of watercolours, pastels and drawings produced by photomechanical means to which Brangwyn and his assistants added chalk or watercolour through stencils, giving the impression of original works. In fact such is the quality of these reproductions that they are frequently mistaken for the real thing - even by the top auction houses.
The folios, presented in a folder measuring 45x64cm, were produced in a limited edition of 120, costing 100 guineas each. Most were sold to Japan, America and Europe. Works produced before 1922 were numbered 1-50, before 1927 were numbered 51-100.
Biography
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Presentation: Mounted
Plate photomechanical lithograph from the Steilen Portfolio.
10 7/16 x 14 5/8 in. (26.5 x 35.2 cm.)
Biography
Enquire about this picture£130
Presentation: Passe-partout
Signed with initial
Etching 4.5 x 15cm (13.5 x 24cm framed)
Biography
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Presentation: Passe-partout
Red chalk and pencil on paper, 19 x 23cm (29 x 33cm framed)
Provenance: from the collection of Count William de Belleroche
Biography
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Presentation: Framed
framed
Signed with monogram
Original zinc lithographic plate, 30 × 32 in. (76.2 × 81.3 cm.)
Provenance: Kenneth Center; Michael Campbell; private collection, London
Literature: Frank Brangwyn, A Mission to Decorate Life, exh. cat.,The Fine Art Society, London, 2006 (no. 150); The Way of the Cross: An Interpretation by Frank Brangwyn, London 1935
Biography
Enquire about this picturePrice on request
Presentation: Framed
framed
Signed with monogram
Original zinc lithographic plate, 30 × 32 in. (76.2 × 81.3 cm.)
Provenance: Kenneth Center; Michael Campbell; private collection, London
Literature: Frank Brangwyn, A Mission to Decorate Life, exh. cat.,The Fine Art Society, London, 2006 (no. 150); The Way of the Cross: An Interpretation by Frank Brangwyn, London 1935
Biography
Enquire about this picture£220
Presentation: Passe-partout
Signed with initials
Etching, unique proof. 8.5 x 7cm (17.5 x 16cm framed)Provenance: from the collection of William de Belleroche.
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931
The text for L'Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn's illustrations appear to depict the town of
We are grateful to Dr. Libby Horner for her assistance.
Biography
Enquire about this picture£240
Presentation: Passe-partout
Signed with initials
Etching, unique proof. 9.5 x 7.5cm (18.5 x 16.5cm framed)Provenance: from the collection of William de Belleroche.
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931
The text for L'Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn's illustrations appear to depict the town of
We are grateful to Dr. Libby Horner for her assistance.
Biography
Enquire about this picture£215
Presentation: Passe-partout
Signed with initials
Etching, unique proof. 9.5 x 7.7cm (18.5 x 16.7cm framed)Provenance: from the collection of William de Belleroche.
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931
The text for L'Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn's illustrations appear to depict the town of
We are grateful to Dr. Libby Horner for her assistance.
Biography
Enquire about this picture£220
Presentation: Passe-partout
Signed with initials
Etching,unique proof. 4.5 x 8cm (13.5 x 17cm framed)Provenance: from the collection of William de Belleroche.
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931
The text for L'Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn's illustrations appear to depict the town of
We are grateful to Dr. Libby Horner for her assistance.
Biography
Enquire about this picture£200
Presentation: Passe-partout
Signed with initials
Etching, unique proof. 7 x 5.5cm (16 x 14.5cm framed)Provenance: from the collection of William de Belleroche.
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931
The text for L'Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn's illustrations appear to depict the town of
We are grateful to Dr. Libby Horner for her assistance.
Biography
Enquire about this picture£200
Presentation: Passe-partout
Signed with initials
Etching, unique proof. 7.7 x 6.5cm (16.7 x 15.5cm framed)Provenance: from the collection of William de Belleroche.
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931
The text for L'Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn's illustrations appear to depict the town of
We are grateful to Dr. Libby Horner for her assistance.
Biography
Enquire about this picture£340
Presentation: Passe-partout
Signed with initials
Etching, unique proof 8.2 x 15.5cm (17.2 x 24.5cm framed)Provenance: from the collection of William de Belleroche.
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931
The text for L'Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn's illustrations appear to depict the town of
We are grateful to Dr. Libby Horner for her assistance.
Biography
Enquire about this picture£220
Presentation: Passe-partout
Signed with initials
Etching, unique proof 4 x 9.3cm (13 x 18.3cm framed)Provenance: from the collection of William de Belleroche.
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931
The text for L'Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn's illustrations appear to depict the town of
We are grateful to Dr. Libby Horner for her assistance.
Biography
Enquire about this picture£400
Presentation: Passe-partout
Signed with initials
Etching, unique proof 13.5 x 15cm ( 22.5 x 24cm framed)
Provenance: from the collection of William de Belleroche.
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931
The text for L'Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn's illustrations appear to depict the town of
We are grateful to Dr. Libby Horner for her assistance.
Biography
Enquire about this picture£950
Presentation: Mounted
Signed and inscribed with notes
Watercoour and pencil on green paper
Biography
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Presentation: Mounted
Indian ink over pencil with highlight in white
29.5 x 19.5 cm
Biography
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Presentation: Framed
Signed with monogram
Watercolour
23.8 x 18 cmWe are grateful to Dr. Horner for assistance
Biography
Enquire about this picture£2,850
Presentation: Framed
Oil on canvas
26.3 x 18.5 cmProvenance: Count William de Belleroche
Biography
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Presentation: Framed
Pencil on buff coloured tracing paper, squared, with highlights in white chalk
60 x 84 ins.
Provenance: Count William de Belleroche; Gordon Anderson; The Fine Art Soceity; Donald Sinden until 2006; Private collection
Biography
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Presentation: Framed
Signed with monogram, oil on canvas,
22½ x 29½ ins (57 x 75 cms.). In its original Brangwyn Dutch black ripple pattern frame.
Provenance: Fine Art Society; W. Scott and Sons Montreal, 1927
Literature: Galloway Vincent, The Oils and Murals of Sir Frank Brangwyn, F Lewis, Leigh-on-Sea, 1962, p. 28, possibly no. 745, Canal de San Pietro.
Brangwyn designed the British Room for the Venice Biennale in 1905 and 1907 and always felt a strong association with the city and its celebrated tradition of painting. In 1922 he illustrated Edward Hutton's book The Pageant of Venice. It is rare to find a Brangwyn with its original surface so uncompromised: the texture of the brushwork has not suffered through time and nor has the palette. More usually, Brangwyn built his surface colours on top of a brown ground. Through the passage of time these colours often thinned, allowing the ground to 'burn' through, thus darkening the original palette. We are grateful to Dr Libby Horner for her assistance. The work is number O2692 in her forthcoming catalogue raisonné.
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Presentation: Framed
Signed with monogram, oil on canvas board, 13½ x 16½ ins. (34.3 x 42 cms.)
Provenance: Fine Art Society, 1952; Mrs Barton Chadwynd; private collection, Montevideo
Literature: Galloway Vincent, The Oils and Murals of Sir Frank Brangwyn, F Lewis, Leigh-on-Sea, 1962, p. 28, no. 159 Exhibited: Fine Art Society, October 1952 (31)
This painting shows a giant dahlia, a flower of South American origin. It is typical of the dense and richly coloured foliage that Brangwyn used to great effect in the murals he painted for the House of Lords in 1926. Brangwyn was a keen horticulturist: through his apprenticeship with William Morris he developed a love of traditional English flora; through his travels abroad he developed a love of the exotic. His garden at the Jointure in Ditchling, Sussex, combined the two. As a painter, Brangwyn responded to all forms of nature, making large numbers of spontaneous sketches on scraps of paper in response to the environment around him. This plein-air sketch is unusual for being in oil. We are grateful to Dr Libby Horner for her assistance. The work is number O2512 in her forthcoming catalogue raisonné. Six other still lives with dahlias are recorded.
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Presentation: Framed
Signed with monogram, watercolour, 22 x 30 ins. (56 x 76.3 cms.)
Provenance: A.T. Gledhill and by descent to Miss Lloyd-Williams; The Fine Art Society, March 1981; Judd Estate (Sotheby's Beverley Hills, California)
Exhibited: Brangwyn Queen's Gate exhibition, 1924 (129); Fine Art Society, 1981
Literature: Brangwyn, D'Alignan and Turpin, London and Paris, 1923 and 1927, reproduced as colour lithograph no. 26, 14 x 19ins. (35.5 x 48 cms.); Cyril Bunt, The Watercolours of Sir Frank Brangwyn, F Lewis, Leigh-on-Sea, 1958, p. 61, no. 674. In 1920 Brangwyn's assistant, Frank Alford, recalled Turpin and D'Alignan arriving at the studio to select works for the Portfolio: 'the studio floor and all easels and boxes (were) utilized to show drawings, etchings and water colours'. From the hundreds of works available the four men chose fifty, including this impressive, highly atmospheric work. We are grateful to Dr Libby Horner for her assistance. The work is number D1556 in her forthcoming catalogue raisonné.
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Presentation: Framed
Oil on prepared board, 24W X 20E ins. (61.5 X 53 cms.)
Provenance: William Stewart, and by descent
This spontaneous oil sketch brings to mind Paris of the 1890s, with its musicians, absinthe drinkers and bohemians, immortalised by the Impressionists and Post-Impressionists. Brangwyn was working in Paris in 1895, painting mural and stencil decorations on the exterior of the Galerie L'Art Nouveau for Siegfried Bing.
Technically the painting shows clearly how Brangwyn, at times, laid his colours over a warm pink-orange ground, thereby achieving a greater luminosity. Musicians appear frequently throughout Brangwyn's oeuvre. Writing to Arthur Heygate Mackmurdo in 1940, on the death of their mutual friend the music antiquarian and scholar Arnold Dolmetsch, Brangwyn wryly remarked: 'your old friend Dolmetsch has gone to play his viols and virginals before The master [sic]. He will no doubt see some wonderful instruments there?' Letter from Brangwyn to Mackmurdo, 21 April 1940, William Morris Gallery, London. We are grateful to Dr Libby Horner for her assistance. Musicians is number D2070 in her forthcoming catalogue raisonné.
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Presentation: Framed
Signed with monogram & inscribed with title to reverse
Oil on board, 16A X 17Q ins. (41 X 44.5 cms.)
Provenance: William Stewart, and by descent; private collection
This is a study for a proposed mural which has not, to date, been identified. Brangwyn may have gained the commission through one of his American assistants. Only one other study is known to exist, a conté drawing in the Art Gallery of South Australia, squared for enlargement, whilst a photographic study of the central mother and child gives a clue to the date. We are grateful to Dr Libby Horner for her assistance. Grant Bryn & Mays is number M2087 in her forthcoming catalogue raisonné.
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Presentation: Framed
Signed with monogram; coloured chalks on grey paper, 18Q X 12 ins. (47 X 30 cms.)
Provenance: Catto Gallery
Judging by the style of clothing, this was a preparatory but unused sketch for one of the Skinners Hall murals (probably panel 14, Lord Mayor Pilkington entertaining King and Queen, 1689). The quality of draughtsmanship would also suggest an early date. Brangwyn frequently recycled images and this particular pose, suitably modified, reappeared in the Horton House murals (circa 1916).
We are grateful to Dr Libby Horner for her assistance. The sketch has been entered as a study under Worshipful Company of Skinners, London, number M1139 in her forthcoming catalogue raisonné.
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Presentation: Framed
Signed with monogram (twice)
Black and red chalk, over pencil, 11Q X 16Q ins. (29.5 X 42.5 cms.)
Provenance: Count William de Belleroche, 1958
In 1910 Brangwyn completed a large oil entitled New Wine, 81 X 106 ins (205.7 X 269.2 cm). This was subsequently purchased by the wealthy Japanese industrialist Kojiro Matsukata, but was probably destroyed in the Pantechnicon fire in London (1939). A number of studies, of which Lazybones is one, are all that remain. An almost identical study is in the collection of the Victoria Art Gallery, Bath. We are grateful to Dr Libby Horner for her assistance. New Wine is numbered 01402 in her forthcoming catalogue raisonné.
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Presentation: Framed
Inscribed 'CHINA/JA' and 'ISOLA DI'
Chalk and bodycolour on light grey paper, 41 X 32 ins. (104 X 81.3 cms.)
Provenance: William de Belleroche (catalogue number 77); private collection
Literature: Furst, The Decorative Art of Frank Brangwyn, John Lane, 1924, p. 167, reproduced; Alford and Horner, Brangwyn in His Studio, Alford, Guildford, 2004, p. 111, reproduced
Harry Gordon Selfridge, nicknamed 'Mile a Minute Harry', brought American ideas on commerce and advertising to the British retail business. His vast emporium on Oxford Street was, when built, the largest in England and was enlarged over the following twenty years. Brangwyn was commissioned to design a decoration for the interior of a dome designed by Sir John Burnet. The huge dome, 70ft (21 metres) in diameter and 130ft (40 metres) above the ground, was to be tiled in mosaic, the subject being, appropriately enough, 'Trade of the World'. Brangwyn designed the top of the dome as an inverted globe upon which he noted various countries, together with flora and fauna of those areas, whilst the lower parts were filled with exotically dressed people and traders, each figure measuring some 16-17ft (5 metres) high. Unfortunately the mosaics were never executed because, apparently, the London County Council feared that the excessive weight might damage the underground railway.
We are grateful to Dr Libby Horner for her assistance. Selfridges is number M2157 in her forthcoming catalogue raisonné.
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Presentation: Framed
Signed with monogram and inscribed 'Messina - O'Shade of Bourdon/Forgive' Blue ink and pencil on paper, 10 X 8W ins. (25.5 X 21 cms.)
Provenance: William de Belleroche (catalogue number 145); private collection
Exhibited: London, Royal Academy, Works of Sir Frank Brangwyn RA, 1952, no. 291
Literature: Belleroche, Brangwyn's Pilgrimage, Chapman and Hall, London, 1948, facing p. 146 In the 1940s
Brangwyn produced a number of pen and ink sketches to illustrate Brangwyn's Pilgrimage, by William de Belleroche. This particular drawing records the devastation caused by the earthquake on 28 December 1908 at Messina, Sicily, when the shore sank by 16ft. 5ins. overnight and 84,000 people lost their lives. Brangwyn visited the site and made numerous sketches of the area when he visited his friend R. H. Kitson in Taormina, Sicily, in 1909.
We are grateful to Dr Libby Horner for her assistance. Messina after the earthquake is number D3192 in her forthcoming catalogue raisonné.
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Presentation: Framed
Woodblock framed with print on the verso side
Block: 4 3/4 x 6 1/2 in. (12 x 16.5 cm)
Print: 9 1/2 x 11 3/8 in. (24.3 x 29 cm)
Wood-cut designed as a book illustration
Biography
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Presentation: Framed
The original woodblock for the 1922 woodcut Societa Nationale Dante Alighieri.
Boxwood, engraved by Brangwyn
6 1/4 x 4 3/8 ins. (16 x 11 cm.)
Framed in a shadow box, with a posthumous print to the reverse, by David Maes.
A limited edition of posthumous prints, taken from this block by David Maes, printed on Hahnema 100 g paper are available.
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Presentation: Framed
Amalia Sarah Levetus was Brangwyn's agent in Vienna ans she wrote several contributions about the artist.
3 1/2 x 3 1/2 in. (9 x 8.8 cm).
Biography
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Presentation: Framed
Man's head garlanded with ivy and a crow beside him
7 1/2 x 6 in. (19.2 x 15.2 cm).
Biography
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Presentation: Framed
Signed and inscribed: ‘Bringing home the Christmas goose, all good wishes for a Peaceful Christmas from Frank Brangwyn 1944’
Watercolour and crayon over an etched base, 6 7/8 × 5 1/4 in. (17.5 × 13.4 m.)
Provenance: Raymond Sheppard
Literature: Jerome and Jean Tharaud, L’Ombre de la Croix, Paris, 1931, Book 1, p. 161The image was produced for the book L’Ombre de la Croix by Jerome and Jean Tharaud (Paris 1931), which describes the lives of Jews in Europe in the 1930s, with particular reference to the town of Belz in Poland.
We are grateful to Dr Libby Horner for her assistance.
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Presentation: Framed
Signed with monogram: ‘b.l.: FB’. Various inscriptions on verso (not in Brangwyn’s hand): ‘Go now, Friends, and/ say God speed for us’; ‘Brangwyn 20066; Sept 1902 for 353’; ‘Fisherman of Costla’; ‘Martin Cook’; ‘Frank Brangwyn’; ‘PTG 1978-9-2-pac’; ‘E9131’, together with a torn label: ‘This is an original/ painting by Frank Brangwyn/ one of the greatest artists.’ Grisaille on board, 11⅜ × 17¼ in. (29 × 44 cm.)
Literature: ‘A Fisherman of Costla’, Scribner’s Magazine, vol. XXXII.40, 1902, repr. p. 353
Of the 439 recorded oils that Brangwyn painted before 1900, more than a
quarter were small monochrome compositions produced to illustrate books
and, especially, magazines, such as Scribner’s Magazine and The Graphic. Goodbye to the Galway Fisherman was an illustration for the article ‘A Fisherman of Costla’ in Scribner’s Magazine.
We are grateful to Dr Libby Horner for her assistance (the work is no. O4752 in her forthcoming catalogue raisonné).
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Presentation: Framed
Signed with monogram, inscribed William de Belleroche
Red chalk, 14½ × 13 in. (36.8 × 33 cm.)
Provenance: Christie’s, South Kensington, March 1989 (lot 34); Rachel Moss; private collection, Canada
In 1915 George Harold Winterbottom JP, a well-known figure in Manchester’s financial world, commissioned Brangwyn to paint murals for his billiard room at Horton House near Northampton.The murals were painted as a continuous frieze, 79 in. high and 122 ft 10 in. long, but after Winterbottom’s death in 1934, the canvas was taken down and cut into ten known sections, and some areas were repainted by Brangwyn.
Surprisingly only eleven studies for this large project have, to date, been
identified. This particular study is for one of the panels, known as Venetian
Workers Resting 1916, now in the collection of Dunedin Public Art Gallery,
New Zealand.
We are grateful to Dr Horner for her assistance (Brangwyn’s mural is
no. A1178 in her forthcoming catalogue raisonné).
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Presentation: Framed
Signed with monogram and dated: 'FB1912'
Oil on canvas, lunette 26 3/4 × 78 in. (68 × 198cm.)
Provenance: John Heaton, Sunderland; Vose Galleries of Boston, USA; San Joaquin Pioneer Museum and Haggin Art Galleries, Stockton,California (de-acquisitioned 2006)
Exhibited: Laing Art Gallery, Newcastle upon Tyne, November 1914 (no.68),l ent by John Heaton; Exhibition of Paintings, Drawings and Etchings by Frank Brangwyn, Royal Academy, London,1924 (no.297); Vose Galleries of Boston,USA,1925 (no.6)
Literature: Herbert Furst, The Decorative Art of Frank Brangwyn, London 1924, pp.84-5; Art News, New York, 14 March 1925; Boston Herald, 15 March 1925
Reference: Vincent Galloway, The Oils and Murals of Sir Frank Brangwyn, Leigh-on-Sea, Essex 1962, p.303
In 1911 Brangwyn was approached by Charles F. Schweinfurth,the architect of Cuyahoga County Courthouse, Cleveland,Ohio, to paint a mural for a lunette in the building,measuring 15ft by 50ft. The chosen theme was the democratic and very English subject of King John signing the Magna Carta on Runnymede Meadows in 1215. Brangwyn signed a contract with the Cuyahoga County Building Commission for the sum of $20,000,i n which he agreed to 'visit the site and location' before embarking on the commission, and 'before and after it has been set in place [to] personally visit the site,and touch up or finish this painting in place'. In fact Brangwyn never visited the United States. He obviously hoped to bypass the process by producing such an unusually detailed cartoon.
We are grateful to Dr Libby Horner for her assistance (Brangwyn's mural for Cuyahoga County Courthouse is no.M1142 in her forthcoming catalogue raisonne).
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Presentation: Unmounted
Etching, first state. form the collection of Count William de Belleroche
Inscribed first state
Trimmed to plate mark, some slight foxing; stain to margin
7 1/2 x 6 1/4 in. (19 x 16 cm).
Literature: Jerome and Jean Tharaud, L’Ombre de la Croix, Paris, 1931, Book 1, p. 161
The image was produced for the book L’Ombre de la Croix by Jerome and Jean Tharaud (Paris 1931), which describes the lives of Jews in Europe in the 1930s, with particular reference to the town of Belz in Poland.
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Presentation: Unmounted
Black chalk and wash with red chalk highlights on paper
21 x 17 in. (53.3 x 43 cm).
We are grateful to Libby Horner and Peter Till for assistance.
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Presentation: Framed
Signed with monogram & inscribed with notes: "men in foreground fumbling for coat/or St Mary and saints
Pencil & watercolour on brown paper 7 7/8 x 11 1/2 in. (20 x 29 cm).
Provenance: Count William de Belleroche.
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Presentation: Framed
Original Lawrence's woodblocks, end grain box wood
3 x 1 1/2 in. (7.7 x 3.6 cm).
Provenance: Count William de Belleroche; private collection since 1968
Literature: Horner, ref 3606
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Presentation: Framed
Oil on canvas 2 3/4 x 2 in. (7 x 5 cms.).
Provenance: Count William de Belleroche; private collecction Brighton
In a gilded oak flat section frame
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Presentation: Framed
Pen and ink 13 1/2 x 14 in.(34.3 35.6 cm.)
Provenance: Tom Luzny
Literature: Horner ref D 4759
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Presentation: Framed
Signed with initials
Brown and blue ink over red chalk 4 5/16 x 5 1/8 in. (11 x 13 cm).
Provenance: William de Belleroche
EP95
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Presentation: Framed
Pen and ink
inscribed from the jointure garden/looking to the Village and WdeB Coll
3 1/8 x 4 1/2 in. (8.5 x 11.5 cm)
In a gilded oak flat section frame with square outer section
Provenance: collection of William de Belleroche
Literature: William de Belleroche, Brangwyn's Pilgrimage, Chapman and Hall, 1948, p. 197
Brangwyn's Pilgrimage, The Life Story of An Artist, was published by Chapman and Hall in 1948 following an earlier similar collaboration between Brangwyn and William de Belleroche, Brangwyn Talks, (1944). For both publications Brangwyn produced pen and ink sketches to accompany William de Belleroche's text. The majority of these drawings remained with William de Belleroche until the sale of his collection at Christies in July 1961.
Brangwyn purchased The Jointure in Ditchling in 1918 and lived their until his death in 1956. He was immensley fond of The Jointure:
We are grateful to Dr Libby Horner for her assistance. Looking Towards Village from the Jointure Garden will be included in her forthcoming catalogue raisonné on Brangwyn.
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Presentation: Framed
Signed with monogram,
inscribed under the mount, Some well known Jack Smiley
and FB 'Rothschild' in Belleroche's handink and wash
7 x 7 in. (17.8 x 17.8cm)
Provenance: Count William de Belleroche; Gordon Anderson
Framed in a gilded oak square section frame with broad flat oak inner slip
We are grateful to Libby Horner for her assistance
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Presentation: Unmounted
Etching, 1st state
inscribed 1st state in pencil and titled; signed with initials W de B
15 3/8 x 11 in. (39 x 28 cms.) overall; 6 7/8 x 5 1/4 in. (17.5 x 13.4 cm.) plate.
Provenance: from the collection of William de Belleroche.
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931, book 1 p. 161
A version of this etching (also from William de Belleroche's collection) was exhibited at the 1952 Brangwyn Royal Academy show, (no. 130). Another version (final state) is in the collection of the Ashmoleon Museum, Arthur Mitchell Collection, acquired in 1964).
The text for L’Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn’s illustrations appear to depict the town of Belz in Poland, which was a centre of pilgrimage. Brangwyn is not known to have visited Poland and current research suggests that a large proportion of the etchings were based on photographs.
We are grateful to Dr. Libby Horner for her assistance. This etching is no E 3089 in her forthcoming catalogue raisonne.
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Presentation: Framed
Original Lawrence’s woodblock, end-grain boxwood, mounted with a woodcut to the reverse, printed posthumously from the block by David Maes.
2 × 5-7/8 in. (5 × 14.7 cm)
Provenance: Ct. William de Belleroche; private collection since 1968.
Literature:Walter Shaw Sparrow, Prints and Drawings by Frank Brangwyn, John Lane, London, 19 19, illus. p. 50; Dominique Marechal, Collectie Frank Brangwyn, Bruges 1987, illus. p. 266 (inv. 0.824.III).
This woodblock of soldiers bearing a comrade on a stretcher is similar in
design to the series of war stamps that Brangwyn designed in aid of the
Red Cross. A woodcut from this block is in the collection of the Brangwyn
Museum in Bruges,titled The Wounded Men.
Stretcher Bearers is W4737 in Libby Horner’s forthcoming catalogue raisonné.
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Presentation: Unmounted
Etching, unique working proof,
inscribed 1st state Kes Row (?) 52
7 x 6 in. (18 x 15 cm.) plate size.
Provenance: from the collection of William de Belleroche.
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931
An example of the etching in its final state is in the collection of the Ashmolean Museum (1964.75.42)
The text for L'Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn's illustrations appear to depict the town of Belz in Poland, which was a centre of pilgrimage. Brangwyn is not known to have visited Poland and current research suggests that a large proportion of the etchings were based on photographs.
We are grateful to Dr. Libby Horner for her assistance. This image will appear as no. E3092 in her forthcoming catalogue raisonne
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Presentation: Unmounted
Etching, unique working proof,
inscribed 1st state Kes Row (?) 67 in the margin
5 1/2 x 5 in. (13.6 x 12.3 cm.) plate size.
Provenance: from the collection of William de Belleroche.
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931, illustrated as title page
A version of the etching in its final state is in the collection of the Ashmolean Museum (1964.75.34)
The text for L'Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn's illustrations appear to depict the town of Belz in Poland, which was a centre of pilgrimage. Brangwyn is not known to have visited Poland and current research suggests that a large proportion of the etchings were based on photographs.
We are grateful to Dr. Libby Horner for her assistance. This image will appear as ref E 2502 in her forthcoming catalogue raisonne
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Presentation: Framed
Signed with monogram b.l.: ‘FB’
Oil on board, 64×63cm (25¼×24¾in)
Provenance: William Stewart, and by descent
Since this is a monochrome work it was probably painted as an illustration for a book or magazine.
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Presentation: Framed
Signed with monogram b.r.: ‘FB’. Also inscribed (probably in another hand) on surface: ‘Wilfred Jewson’ and ‘xxxx/1917’
Oil on panel, 45.5×31.6cm (17⅞×12½in)
Provenance: William de Belleroche
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Presentation: Framed
Signed, dated and titled b.r.in red: ‘F Brangwyn 92 Gulur’
Oil on canvas, 52.1×59.7cm (20½×23½in)
Reference: Galloway 264
Provenance: William de Belleroche; Mr & Mrs J G Cluff; The Fine Art Society; private collection
Exh: Exhibition of Works by Frank Brangwyn RA, Ferens Art Gallery, Hull 1933 (No 29); The Fine Art Society, 2000
This scene, one of several Brangwyn painted of Spanish goatherds, was undertaken whilst travelling through Spain in 1892 in company with Arthur Melville. It is aptly described in an article Brangwyn wrote for The Studio:
‘Under the long shadows of a few poplars on the banks we could see a goatherd surrounded by flocks of black goats,looking like spots of ink on the sun-swept hills’.(33)
Brangwyn recorded that the two artists actually sketched a goatherd a few days later at Galar, as Brangwyn spelt it, Melville having persuaded the man to come down to the canal side.
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Presentation: Framed
Signed and dated b.r.: ‘F BRANGWYN.88’
oil on canvas, 55.9×40.6cm (22×16in)
The painting shows the influence of Japanese art,in that the scrub and tree
branches were probably painted with a brush in which all the hairs are
separated, creating a ‘dragged’ effect. Brangwyn may have been taught the
technique by Thomas Joseph Larkin of the Japanese Gallery, London. (32)
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Presentation: Framed
Signed with monogram and date b.l.:‘FB 1890’.
Inscribed with title verso:‘Turkish Fishermen’ Oil on board, 38×45cm (15×17¾in)
Provenance: Liss Fine Art; private collection Brangwyn travelled to Turkey in 1890, the results of his work being exhibited in his first one-man show, From the Scheldt to the Danube,at the Royal Arcade Gallery, London in March 1891. This brilliantly coloured oil is almost identical to a watercolour, Fishing Boats on the Danube, in the collection of The Fitzwilliam Museum, Cambridge. This might lead one to assume that the oil is No 169 in Vincent Galloway’s, The Oils and Murals of Frank Brangwyn, but neither the size nor inscription match.Brangwyn, inspired by the scenery,possibly painted a number of similar compositions.
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Presentation: Framed
Signed with monogram b.r.: ‘FB’
Oil on board, 41x55.5cm (16⅛×21⅞in)
Provenance: The Fine Art Society; private collection
Quay may have been painted when Brangwyn visited Morocco with Dudley Hardy, the cartoonist and poster designer.
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Presentation: Framed
Oil on canvas, 43×52cm (16⅞×20½in)
Provenance: Mrs V Abbot; Liss Fine Art; private collection
Brangwyn and his friend, the artist Dudley Hardy, visited Morocco in 1893 and probably returned the following year for another sketching trip.
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Presentation: Framed
Signed with monogram b.l.: ‘FB’
Oil on canvas, 63.5×76cm (25×29⅞in)
Provenance: The Fine Art Society; private collection
Brangwyn is thought to have visited Venice for the first time in 1896. He designed the British Room for the Venice Biennale in 1905 and 1907 and always felt a strong association with the city and its celebrated tradition of painting. In 1922 he illustrated Edward Hutton’s book The Pageant of Venice. (34)
Venetian boat-building yards, known as squero,were a favourite subject of Brangwyn’s; he produced another five oils, three etchings and two watercolours on the same theme.
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Presentation: Framed
Oil on board, 62×41.5cm (24⅜×16¼in)
Provenance: private collection
Ill: Scribner’s Magazine, cover, Vol XXXVIII, October 1905
This painting demonstrates two salient points about Brangwyn’s working practice. Firstly his ‘pattern book’working process, by which figures would be re-used, irrespective of changes in context or the passage of time. On 7 May 1921, Frank Alford wrote that he was working on one of the murals for Jefferson City: ‘FB thinks of taking out the figures on the extreme [left] being a man carrying a large basket of fruit on his head,& putting in its place a figure of a boy on a ladder pulling fruit.The same boy was used in one of FB’s series for Scribner’s magazine.’ (36)
Secondly, despite the fact that Brangwyn was financially secure by 1905, he continued to accept commercial commissions,partly because he found it difficult to refuse any challenge, but mainly because by these means he could introduce art to a wider audience. The gold painted bar across the painting relates directly to the format of the magazine cover.
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Presentation: Framed
Signed with monogram b.r.: ‘FB’
Oil on board, 63.5×76.2cm (25×30in)
Provenance: Barbizon House; unknown; Sotheby’s, London, 3 October 1975, Lot 214; private collection
There is a Barbizon House sticker verso,and Barbizon House had an apparently identical painting c 1926, described as oil on millboard, measuring 20×35in. The painting may be Galloway 732 (see fn II).
The scene is the lagoon slightly east of the Punta de Dogana, with the Dogana faintly visible background left.
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Presentation: Framed
Signed with monogram and date b.r.: ‘FB 1914’
Oil on canvas, 127×121.9cm (50×48in)
Reference: Galloway 308
Provenance: Barbizon House (1926); private collection (UK)
Exh: Barbizon House, 1926 (cat 4)
Lit and Ill: Barbizon House Record, 1926
The Barbizon House record noted that:
‘There is a fine massive confusedness in this remarkable painting. The busy scene is filled with the movement of many strong figures, some occupied with the ephemeral passing of the fish-catch of the morning, while others are equally busy with the more permanent building of a good ship of the future.
The artist has aimed at producing a grand decorative scheme showing the scaffolding reaching to the ribs of the vessel and the active movement ofthe workers in full swing, each absorbed in his own labour.’
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Presentation: Framed
Oil on canvas, 104×142cm (40⅞×55⅞in)
Provenance: Campion Hall, Oxford (presented to Father M C D’Arcy by Brangwyn);
The Fine Art Society; private collection
Ill: Herbert Furst, The Decorative Art of Frank Brangwyn, London: The Bodley Head, 1924, facing p143
After World War I, Brangwyn was commissioned to produce Stations of the Cross for Arras Cathedral through the recommendation of his friend, the artist, Theophile Steinlen (1859–1923; see p22). Reproductions of the Stations were to be distributed to other war damaged churches. Unfortunately the series was never completed.It was generally reported that this was due to the death of the model Cervi, although we know from Frank Alford’s diary that Marco Jafrato also posed as Christ. (41)The deaths of Brangwyn’s wife, Lucy, and Steinlen himself may have had more to do with the failure of the commission.
Studies or completed panels have been discovered for 10 of the 14 Stations. The work was illustrated in Herbert Furst’s book The Decorative Art of Frank Brangwyn, facing p143. Brangwyn subsequently altered the painting and inserted his self portrait on the right, offering succour to Christ, probably before presenting the work to Father D’Arcy (c1935). (42)
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Presentation: Unmounted
etching
1.2 x 3 in. (3 x 7.5 cm)
Provenance: William de Belleroche
Literature: Jerome & Jean Tharaud, L'Ombre de la Croix, Paris 1931 p165 Book 1
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Presentation: Passe-partout
Un numbered artist's proof
Woodcut, 17.6 x 22.3cm (25.5 x 30.5cm framed)
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Presentation: Passe-partout
Signed in pencil
Woodcut, 11.7 x 12.7cm (21.5 x 21.5cm framed)
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Presentation: Passe-partout
Signed with initials
Dry point, 3.5 x 13cm (12.5 x 22cm framed)
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Presentation: Passe-partout
Signed with initials
Etching, 10.5 x 16cm (19.5 x 25cm framed)
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Presentation: Passe-partout
Signed with initials
Etching, 6 x 5.2cm (16 x 15.2cm framed)
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Presentation: Passe-partout
Signed with initials
Etching, 10.8 x 9.8cm (20 x 19cm framed)
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Presentation: Mounted
A photomechanical lithograph from the Steinlen Portfolio.
11 3/8 x 14 1/2 in. (29 x 37 cm.)
In 1927 the Brangwyn Portfolio was published by E F d'Alignan and Paul Turpin. Responding to a demand for high quality reproductions of his work Brangwyn himself chose 100 items which he felt were representative of his range of disciplines, including 12 original etchings and 3 original lithographs. The remaining 85 works were lithographic reproductions of watercolours, pastels and drawings produced by photomechanical means to which Brangwyn and his assistants added chalk or watercolour through stencils, giving the impression of original works. In fact such is the quality of these reproductions that they are frequently mistaken for the real thing - even by the top auction houses.
The folios, presented in a folder measuring 45x64cm, were produced in a limited edition of 120, costing 100 guineas each. Most were sold to Japan, America and Europe. Works produced before 1922 were numbered 1-50, before 1927 were numbered 51-100.
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Presentation: Framed
Signed,
Red chalk, squared
18 x 23 ins.
Literature:Brangwyn, the Old Lion, by Count William de Belloerche, Everybody's (Magazine), October 25, 1952, reproduced p. 14
We are grateful to Dr. Horner for assistance
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Presentation: Passe-partout
Signed with initials
Etching, unique proof. 10.7 x 16cm (19.7 x 25cm framed)Provenance: from the collection of William de Belleroche.
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931
The text for L'Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn's illustrations appear to depict the town of
We are grateful to Dr. Libby Horner for her assistance.
Biography
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Presentation: Passe-partout
Signed with initials
Etching, unique proof. 6 x 12.5cm (15 x 21.5cm framed)Provenance: from the collection of William de Belleroche.
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931
The text for L'Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn's illustrations appear to depict the town of
We are grateful to Dr. Libby Horner for her assistance.
Biography
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Presentation: Passe-partout
Signed with initials
Etching, unique proof 8.5 x 13.5cm (17.5 x 22.5cm framed)Provenance: from the collection of William de Belleroche.
Literature: Jerome and Jean Tharaud, L'Ombre de la Croix, Paris, 1931
The text for L'Ombre de la Croix, written by the brothers Jerome and Jean Tharaud, was published by Editions Lapina, Paris, 1931, in two volumes, and was illustrated with 73 Brangwyn etchings. The book describes the lives of Jews in contemporary Europe and many of Brangwyn's illustrations appear to depict the town of
We are grateful to Dr. Libby Horner for her assistance.
Thumbnail panels:
