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Presentation: Framed
SN: 248
Oil and pencil on Windsor and Newton canvas
24 1/4 x 18 in. (61.5 x 45.8)
Horner 04091
This unfinished canvas, from the collection of Count William de Belleroche, combines a horizontal pencil study of figures on the shore in front of an anchored galleon, and an overpainted vertical study of a Tall Ship.
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Presentation: Framed
SN: 251
Signed and inscribed with title in pencil
Red chalk over pencil
21 x 21 cm
Foxed
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Presentation: Framed
SN: 252
Inscribed with title
Red chalk on buff paper
18 x 25 cm.
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Presentation: Framed
SN: 279Black wash, pen and ink with white highlights
20 x 15 cm.In a gilded oak flat section frame
This is probably a preparatory sketch to illustrate Emile Verhaeren's Campagnes Hallucinees in which the same scrawny cat makes a regular appearance.
We are grateful to Dr Libby Horner for assistance. Windmill Reveries will appear as D4843 in her forthcoming catalogue raisonne.
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Presentation: Framed
SN: 280
The original Lawrence's woodblock framed with print on verso side
Block: 15.2 x 10.5 cm
Print: 27.5 x 23 cm
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Presentation: Framed
SN: 283
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.
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Presentation: Framed
SN: 373
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
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Presentation: Unmounted
SN: 483
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
SN: 484
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,
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Presentation: Unframed
SN: 520
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; The Way of the Cross. An Interpretation by Frank Brangwyn RA with a Commentary by Libby Horner, Auad Publishing, San Francisco, 2008.
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. The Ninth Station will appear as S1904 in her forthcoming catalogue raisonné.
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Presentation: Framed
SN: 5351Signed,
Oil on canvas board
24 x 30 in. (61 x 76.2 cm)Provenance: The Fine Art Society (1962); private collection.
Exhibited: St Ives Society of Artists, Summer 1938
Literature: Vincent Galloway, The Oils and Murals of Sir Frank Brangwyn, Leigh on Sea, Frank Lewis, 1962, no 14.Bridges were amongst Brangwyn's favourite motifs and were the subjects of some of his most memorable images. The Bridge, by Christian Barman, published in 1926 reproduces 46 images of Bridges by Brangwyn.
Preliminary sketches for Bridge at Alcantara are in one of Brangwyn's sketchbooks. Brangwyn also owned a number of photographs of the bridge which may have aided his recollection of details, although none is identical to the viewpoint of this particular oil.
This srtiking composition - recording one of Spain's most celebrated bridges - is composed of a subtle range of brown tones animated by occasional touches of bright yellow, red and green, seen for instance in the canvas hood of the cart crossing the bridge and the clothes of the workman in the foreground who are clearly constructing the walkway below the bridge which still exists today.
In a period flat D section carved and gilded frame with pierced foliate decoration.
We are grateful to Dr Libby Horner for assistance. The Bridege at Alcantara will appear as O341 in her forthcoming catalogue raisonné.
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Presentation: Framed
SN: 5345Pencil on tracing paper 30 × 31 1/2 in. (76.2 × 80 cm.)
Provenance: Kenneth Center; Hilary Gerrish; private collection
Literature: Dominique Marechal, Collectie Frank Brangwyn, Stedelijke Musea, Bruges, 1987, p. 178; The Way of the Cross. An Interpretation by Frank Brangwyn RA with a Commentary by Libby Horner, Auad Publishing, San Francisco, 2008.
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).
In his commentary on the eighth station, which G.K. Chesterton felt was pivotal, he observed that ‘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.’The model for the little boy in the foreground - who adds a poignant contemporary touch to the composition - was possibly Donald Sinden, the famous actor, who as a boy modelled for Brangwyn.
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
SN: 1145
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.
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Presentation: Framed
SN: 1147
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.
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Presentation: Framed
SN: 1198
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
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Presentation: Framed
SN: 1199
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
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Presentation: Framed
SN: 1200
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
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Presentation: Framed
SN: 1201
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
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Presentation: Framed
SN: 1202
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
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Presentation: Framed
SN: 1203
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
SN: 1222
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
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Presentation: Framed
SN: 1315
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.
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Presentation: Framed
SN: 1423
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
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Presentation: Framed
SN: 5272Signed with monogram and dated 96
Oil on canvas
18 1/2 x 21 ins.In a fine gilded flat section oak frame with reeded knull and inner moulding.
The juxtaposition of bright primary colours in this painting demonstrates one of the qualities for which Brangwyn's work was much remarked up at this period. Writing in 1912 Kandinsky noted that Brangwyn was 'probably one of the first artists of yesterday to introduce this juxtaposition (of red and blue) into his early paintings' (Uber des geistige in Kunst, 1912).
In 1896 Brangwyn travelled to Spain with Alfred East. In the same year Brangwyn married Lucy Annie Ray.
This work will appear as O4227 in Dr. Libby Horner's forthcoming catalogue raisonne.
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Presentation: Framed
SN: 5273Watercolour, gouache and black ink over charcoal on buff coloured paper
63 x 16 1/2 ins. (160 x 42 cm.)Provenance: The Fine Art Society; Dr David Wilson FSA
Literature:Herbert Furst, The Decorative Art of Frank Brangwyn, London 1924, Ch. XXV, pp. 198-9, reproduced.
Phillip Macer-Wright, Brangwyn: A study of Genius at Close Quarters, London, 1940, p. 253.
Rodney Brangwyn, Brangwyn, London, 1978, pp. 206-7, and p.153 (on the frame)
Libby Horner, ‘Pea Pods, Banana Skins and Brangwyn’, Ecclesiology Today, Issue 25, April 2001, pp. 23-6.
Libby Horner, Frank Brangwyn: Stained Glass – A catalogue raisonné, 2010, no. G2237, reproduced, p 42.Horner, Frank Brangwyn:Stained Glass. A Catalogue raisonne, 2011, p 42.In original Dutch ripple moulding frame designed by the artist and made by Alfred Stiles of Hammersmith.
One of Brangwyn’s most important stained-glass commissions, and probably his most successful, this design for a stained-glass window was commissioned by Lady Webley-Parry-Pryse in memory of her mother, Mrs Webley-Parry, who had died on 2 September 1917. Mrs Webley-Parry had given very generously of her time and money in parish affairs. The three-light window is situated in the north aisle of the Church of St. Mary the Virgin, Bucklebury, and shows a landscape nativity scene with Mary, Joseph and the infant Jesus in the centre, shepherds to the right and left. Behind the figures a wattle fence creates a horizontal divide over which the spectators gaze and beyond this a blue-grey landscape with sheep, cattle and Bethlehem in the distance. The stable roof appears at the top, the vertical stable supports dividing the outer lights. The design was executed in glass by James Sylvester Sparrow.
In 1924 the art historian and critic, Herbert Furst, considered the nativity window ‘perfect’, the design fitting easily into the window shape, the composition simple, ‘the drawing full of dramatic power and characterization, and the beautiful colour scheme helps the definition.’ He also appreciated the row of spectators gazing over the fence, which he described as ‘an excellent and unusual effect, dramatically, tectonically and colouristically’. Furst continued that it was ‘futile to attempt a description; the window, like a musical composition, must be realised by direct contact with the senses. It is undoubtedly one of the finest things Brangwyn has done…’
In the early decades of the 1900s Brangwyn was one of the most revered artists in the world, his work being avidly commissioned or collected by many of the greatest public and private collections in Europe, the British Empire, Japan and the United States. He was indeed the first British artist to achieve world-wide recognition in his lifetime, and the Dictionary of National Biography was able to record that ‘His work is represented in virtually every major art gallery and print room in the world.’ Brangwyn was an extremely versatile artist and designer. In addition to his canvasses, he was also in great demand as a painter of murals for very significant public buildings in many countries, including his famous series for the Rockefeller Center in New York. He was, in fact, a complete polymath, the quintessential artist craftsman. Apart from his paintings and murals, he designed stained glass, carpets, jewellery, metalwork, pottery, posters and furniture. He was elected Royal Academician in 1919 (although he had almost nothing to do with the Academy’s affairs) and was knighted in 1941. An important exhibition of his art was opened in 1924 by the Prime Minister, the first occasion this had ever happened for an art show. In 1952, Brangwyn was honoured with the first retrospective at the Royal Academy of a living artist’s work. He held the presidency of numerous artistic societies and his work was recognised by countless awards and honours bestowed by many nations as well as Britain. Yet, until a major retrospective of his work in various locations in Britain and abroad in 2006, his work had long since ceased to be exhibited widely in Britain (although it was still abroad) and his name was largely unknown. Brangwyn had received no academic training and did not philosophise about art, nor was he a self-publicist. Somewhat a loner, working independently of other artists, he followed his own course and was not connected with any particular school or group. The generally dismissive response of most (but not all) gallery curators and art-schools in Britain to Brangwyn indicated either a lack of knowledge of the artist or an unwillingness to confront their self-manufactured difficulties perceived to arise from the inability neatly to allocate Brangwyn to one or another artistic school or to find some convenient category in which to slot his oeuvre. It is inconceivable that such a state of affairs could have arisen, or subsisted, had not the artistically-myopic House of Lords in 1930 rejected Brangwyn’s magnificent Empire Panels created for the Royal Gallery as a commemoration of the First World War, a decision that must remain one of the most controversial and unpopular in the history of British art. The enthusiastic research of art historian Dr Elizabeth Horner throughout the 1990s and beyond on the life and work of Brangwyn has contributed to a much greater appreciation of Brangwyn’s work across many media, and to renewed interest in his significant achievements as an artist. The result has been that Brangwyn’s work is now more widely exhibited in important venues and frequently appears in the major salerooms.The present whereabouts of the designs for the central and left-hand light s of the Nativity window is unknown
We are grateful to Dr David Wilson FSA for the above note.
We are grateful to Dr. Libby Horner for assistance. This design will appear as G2237 in her forthcoming catalogue raisonne.
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Presentation: Unmounted
SN: 1460
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)
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Presentation: Framed
SN: 1463
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
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Presentation: Framed
SN: 1465
lithographic proof
Pen & ink 3 1/2 x 2 5/16 in. (14 x 11 cm).
Provenance: William de Belleroche
EP95
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Presentation: Framed
SN: 1466
Pen and ink on paper
5 7/8 x 4 3/4 in. (15 x 12 cm).
Provenance: William de Belleroche
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Presentation: Unmounted
SN: 2951
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.
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Presentation: Framed
SN: 1496
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
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Presentation: Framed
SN: 1552
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).
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Presentation: Framed
SN: 1553
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).
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Presentation: Framed
SN: 1555
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
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Presentation: Framed
SN: 1557
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
SN: 1558
The original Lawrences woodblock
21.3 x 32.5 cm
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Presentation: Passe-partout
SN: 4990Watercolour over pencil on paper
13.2 x 31 cm (22.5 x 40 cm framed)
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Presentation: Framed
SN: 1768
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
SN: 1778
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
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Presentation: Mounted
SN: 2186
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
We are grateful to Dr. Libby Horner for assistance. This watercolour will appear as D4758 in her forthcoming catalogue raisonne.
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Presentation: Framed
SN: 4405
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
SN: 2450
Pen and ink on paper
13 1/2 x 19 11/16 in. (34,3 x 50 cm.)
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Presentation: Framed
SN: 2574
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.
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Presentation: Framed
SN: 2575
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.
Send image Biography Enquire£950
Presentation: Framed
SN: 2581
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.
Send image Biography Enquire£700
Presentation: Framed
SN: 2618
Pen and ink
11 x 14 1/2 in. (28 x 37cm.)
Send image Biography Enquire£1,100
Presentation: Framed
SN: 2651
Pen and ink on paper
19 7/8 x 29 1/2 in. (50.5 x 75 cm.)
Send image Biography Enquire£2,000
Presentation: Framed
SN: 2652
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
Send image Biography Enquire£7,000
Presentation: Unmounted
SN: 2653A collection of over 20 original designs, various sizes
The SS Empress of Britain sank after enemy action in 1940.
Send image Biography Enquire£1,400
Presentation: Framed
SN: 2654
Watercolour and pencil on paper
17 1/2 x 21 7/8 in. (44,5 x 55,5 cm.)
Send image Biography Enquire£700
Presentation: Framed
SN: 2655
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.
Send image Biography Enquire£1,500
Presentation: Mounted
SN: 2897
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.
Send image Biography Enquire£1,200
Presentation: Framed
SN: 2900
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
Send image Biography Enquire£280
Presentation: Unmounted
SN: 2906
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
Send image Biography Enquire£200
Presentation: Unmounted
SN: 2909
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
Send image Biography Enquire£100
Presentation: Unmounted
SN: 2910
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.
Send image Biography Enquire£150
Presentation: Unmounted
SN: 2911
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
Send image Biography Enquire£900
Presentation: Unmounted
SN: 2912
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
Send image Biography Enquire£430
Presentation: Unmounted
SN: 2913
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
Send image Biography Enquire£280
Presentation: Unmounted
SN: 2914
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
Send image Biography EnquirePrice on request
Presentation: Framed
SN: 2970
Oil on canvas, 274.3×182.9cm (108×72in)
Provenance: E Kenneth Center; William de Belleroche (No 83); Gordon Anderson
Send image Biography EnquirePrice on request
Presentation: Unframed
SN: 2971
Oil on canvas, 274.3×182.9cm (108×72in)
Provenance: E Kenneth Center; William de Belleroche (No 84); Gordon Anderson
This remarkable life size canvas - produced by Brangwyn as a preparatory study for the entrance of the celebrated Rockefeller Plaza, (RCA Building) - was retained by the artist until the 1950's when it was acquired by the collector and Brangwyn promoter Count William de Belleroche.Picasso, and Matisse were originally offered this 1932 commission for the Rockefeller Centre murals, before Brangwyn, the Spanish artist José Maria Sert and the Mexican, Diego Rivera were subsequently appointed to carry out the scheme. Critics complained that American artists should have been chosen for the prestigious work. Further controversy followed in May 1933 Rivera was prevented from finishing his mural when it was discovered that he had included a portrait of Lenin, and sympathizers 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.
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.Brangwyn's paintings remain in situ: four large murals placed on the South corridor elevator banks of the RCA building each measuring 17x25ft and divided as follows: Man labouring painfully with his own hands; living precariously and adventurously, with courage, fortitude and the indomitable will to survive; Man the creator and master of the tool. Strengthening the foundations and multiplying the comforts of his abiding place; Man the master and servant of the machine, harnessing to his will the forces of the material world, mechanizing labour, and adding thereto the promise of leisure; Man’s ultimate destiny depends not on whether he can learn new lessons or make new discoveries and conquests, but on his acceptance of the lesson taught him close upon two thousand years ago.
Not more than 70–75% of the canvas was to be painted and lettering was to be included.
The model for the kneeling nude was Joy Sinden, sister of the actor Donald Sinden; both Donald and Joy lived in Ditchling and posed for Brangwyn.
We are grateful to Dr Libby Horner for assistance. This study will appear as M1110 in her forthcoming catalogue raisonne.
Send image Biography Enquire£2,400
Presentation: Framed
SN: 3246
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
Send image Biography Enquire£650
Presentation: Framed
SN: 3200The original woodblock
8 x 3.5 cmProvenance: Count Willy de Belleroche
Send image Biography Enquire£5,000
Presentation: Framed
SN: 3203
According to V. De Bijser this wood-cut was cut after an etching and designed for a bookplate.
Send image Biography Enquire£4,500
Presentation: Framed
SN: 3225
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
Send image Biography Enquire£6,000
Presentation: Framed
SN: 3245
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
Send image Biography Enquire£1,200
Presentation: Framed
SN: 3254
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
Send image Biography Enquire£1,800
Presentation: Framed
SN: 3257
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
Send image Biography Enquire£400
Presentation: Mounted
SN: 3333
Watercolour on pencil
7 x 19 1/2 in. (7.5 x 50 cm)
Send image Biography Enquire£300
Presentation: Unmounted
SN: 3335
Etching, proof
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
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.
Send image Biography Enquire£280
Presentation: Unmounted
SN: 3336
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
Send image Biography Enquire£700
Presentation: Framed
SN: 3337
Black ink over etching, unique
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
Send image Biography Enquire£150
Presentation: Unmounted
SN: 3338
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
Send image Biography Enquire£160
Presentation: Unmounted
SN: 3339
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
Send image Biography Enquire£130
Presentation: Unmounted
SN: 3340
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
Send image Biography Enquire£130
Presentation: Unmounted
SN: 3341
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
Send image Biography Enquire£200
Presentation: Unmounted
SN: 3342
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
Send image Biography Enquire£150
Presentation: Unmounted
SN: 3343
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
Send image Biography Enquire£170
Presentation: Unmounted
SN: 3344
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
Send image Biography Enquire£110
Presentation: Unmounted
SN: 3345
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
Send image Biography Enquire£170
Presentation: Unmounted
SN: 3346
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
Send image Biography Enquire£170
Presentation: Unmounted
SN: 3348
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
Send image Biography Enquire£190
Presentation: Unmounted
SN: 3349
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
Send image Biography Enquire£200
Presentation: Unmounted
SN: 3350
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
Send image Biography Enquire£150
Presentation: Unmounted
SN: 3351
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
Send image Biography Enquire£170
Presentation: Unmounted
SN: 3352
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
Send image Biography Enquire£140
Presentation: Unmounted
SN: 3353
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
Send image Biography Enquire£140
Presentation: Unmounted
SN: 3354
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
Send image Biography Enquire£200
Presentation: Passe-partout
SN: 3400
Signed with initials
Etching, 4.5 x 6cm (13.5 x 15cm framed)
Send image Biography Enquire£350
Presentation: Passe-partout
SN: 3438
Signed with initials
Etching, 8 x 15.2 cm (17 x 24.5 cm framed)
Send image Biography Enquire£450
Presentation: Passe-partout
SN: 3444
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.
Send image Biography Enquire£280
Presentation: Unmounted
SN: 3490
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
Send image Biography Enquire£260
Presentation: Unmounted
SN: 3491
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
Send image Biography Enquire£180
Presentation: Unmounted
SN: 3492
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
Send image Biography Enquire£140
Presentation: Unmounted
SN: 3494
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
Send image Biography Enquire£180
Presentation: Passe-partout
SN: 3639
Signed with initial
Etching 4.5 x 15cm (13.5 x 24cm framed)
Send image Biography EnquirePrice on request
Presentation: Framed
SN: 3846
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
Send image Biography Enquire£290
Presentation: Passe-partout
SN: 3863Signed 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.
Send image Biography Enquire£264
Presentation: Passe-partout
SN: 3864Signed 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.
Send image Biography Enquire£270
Presentation: Passe-partout
SN: 3865Signed 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.
Send image Biography Enquire£390
Presentation: Passe-partout
SN: 3870Signed 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.
Send image Biography Enquire£270
Presentation: Passe-partout
SN: 3871Signed 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.
Send image Biography Enquire£950
Presentation: Framed
SN: 4278
The original woodblock, mounted onto a patterned woodcut
13.3 x 13.9 cm; 38 x 22 overall
Send image Biography Enquire£500
Presentation: Mounted
SN: 4372Indian ink over pencil with highlight in white
29.5 x 19.5 cm
Send image Biography Enquire£2,850
Presentation: Framed
SN: 4404Oil on canvas
26.3 x 18.5 cmProvenance: Count William de Belleroche.
In square section flat gilded oak frame with broad inner slip.
We are grateful to Dr Libby Horner for assistance. This study will appear a O4943 in her forthcoming catalogue raisonne.
Send image Biography EnquirePrice on request
Presentation: Framed
SN: 4430
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 Society; Donald Sinden until 2006; Private collection
Send image Biography Enquire£270
Presentation: Passe-partout
SN: 4519
Original etching, artist's proof, signed with initials,
7 x 13.5 cm (framed: 16 x 22.5 cm)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
Send image Biography Enquire£300
Presentation: Passe-partout
SN: 4521
Original etching, artist's proof, signed with initials,
7 x 16.5 cm (framed: 16 x 25.5 cm)
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
Send image Biography Enquire£260
Presentation: Passe-partout
SN: 4523
Original etching, artist's proof, signed with initials,
5.7 x 6.3 cm (framed: 15 x 14.5 cm)
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
Send image Biography Enquire£190
Presentation: Passe-partout
SN: 4524
Original etching, artist's proof,
5.8 x 5.8 cm (framed: 15 x 15 cm)
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
Send image Biography Enquire£300
Presentation: Passe-partout
SN: 4525
Original etching, artist's proof, signed with initials,
8.7 x 13. cm (framed: 17 x 22 cm)
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
Send image Biography Enquire£650
Presentation: Passe-partout
SN: 4528
Pencil and ink on paper,
11 x 17.6 cm (framed:20 x 27 cm)
Provenance: Count William de Belleroche; Christies 18th July 1961, part lot 9
We are grateful to Dr Horner for assistance
Send image Biography Enquire£280
Presentation: Passe-partout
SN: 4555Original etching, artist's proof, signed with initials,
5.7 x 7 cm (framed: 14 x 16 cm)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
Send image Biography Enquire£280
Presentation: Passe-partout
SN: 4883
Etching, unique proof,
11 x 17 cm (20 x 26 cm 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 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.
Brangwyn gave his friend and promoter Count Willy de Belleroche a loose leave pre production copy of L'Ombre de la Croix from which this etching came.
We are grateful to Dr. Libby Horner for her assistance.
Send image Biography Enquire£180
Presentation: Passe-partout
SN: 4884
Etching, unique proof,
6.5 x 6 cm (15.5 x 15.5 cm 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 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.
Brangwyn gave his friend and promoter Count Willy de Belleroche a loose leave pre production copy of L'Ombre de la Croix from which this etching came.
We are grateful to Dr. Libby Horner for her assistance.
Send image Biography Enquire£260
Presentation: Passe-partout
SN: 4885
Etching, unique proof,
7.5 x 10 cm (16.5 x 19 cm 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 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.
Brangwyn gave his friend and promoter Count Willy de Belleroche a loose leave pre production copy of L'Ombre de la Croix from which this etching came.
We are grateful to Dr. Libby Horner for her assistance.
Send image Biography Enquire£270
Presentation: Passe-partout
SN: 4886
Etching, unique proof,
11 x 11.5 cm (20 x 21 cm 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 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.
Brangwyn gave his friend and promoter Count Willy de Belleroche a loose leave pre production copy of L'Ombre de la Croix from which this etching came.
We are grateful to Dr. Libby Horner for her assistance.
Send image Biography Enquire£280
Presentation: Passe-partout
SN: 4888
Etching, unique proof,
10 x 11.5 cm (18.5 x 20.5 cm 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 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.
Brangwyn gave his friend and promoter Count Willy de Belleroche a loose leave pre production copy of L'Ombre de la Croix from which this etching came.
We are grateful to Dr. Libby Horner for her assistance.
Send image Biography Enquire£190
Presentation: Passe-partout
SN: 4892
Etching, unique proof,
6 x 4.5 cm (15.5 x 14 cm 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 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.
Brangwyn gave his friend and promoter Count Willy de Belleroche a loose leave pre production copy of L'Ombre de la Croix from which this etching came.
We are grateful to Dr. Libby Horner for her assistance.
Send image Biography Enquire£190
Presentation: Passe-partout
SN: 4894
Etching, unique proof,
8 x 6 cm (17 x 15 cm 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 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.
Brangwyn gave his friend and promoter Count Willy de Belleroche a loose leave pre production copy of L'Ombre de la Croix from which this etching came.
We are grateful to Dr. Libby Horner for her assistance.
Send image Biography Enquire£260
Presentation: Passe-partout
SN: 4907
Etching, unique proof,
8 x 6.5 cm (17 x 15.5 cm 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 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.
Brangwyn gave his friend and promoter Count Willy de Belleroche a loose leave pre production copy of L'Ombre de la Croix from which this etching came.
We are grateful to Dr. Libby Horner for her assistance.
Send image Biography Enquire£260
Presentation: Passe-partout
SN: 4908
Etching, unique proof,
9 x 6.5 cm (18 x 15.5 cm 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 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.
Brangwyn gave his friend and promoter Count Willy de Belleroche a loose leave pre production copy of L'Ombre de la Croix from which this etching came.
We are grateful to Dr. Libby Horner for her assistance.
Send image Biography Enquire£400
Presentation: Passe-partout
SN: 4914
Pencil and watercolor
11 x 28 cm (20 x 37.5 cm framed)
Send image Biography Enquire£400
Presentation: Passe-partout
SN: 5008Black chalk
19.5 27 cm ( 28.5 x 36 cm framed)
Send image Biography Enquire£18,000
Presentation: Framed
SN: 5224Signed with initials and date F.B. 1890 (lower right)
oil grisaille on board
29.5 x 21.5in (74.9 x 54.6cm)
Provenance: Neal Green, Holbeck Manor, Nr Horncastle (before 1970); thence by descent.
Literature: The Graphic, 13th June 1891, p.662, reproduced: The Graphic, 13th June 1891 coverThe subject matter of the painting is discussed in The Graphic, Saturday 13th June 1891, p662 'This is a companion piece to Mr Frank Brangwyn's Bound to the West'ard, an engraving of which we published in a recent issue. In that painting the vessel depicted was, as the old proverb has it, in the position of a young bear, with all its sorrows to come. In this picture she is about to have a respite from her labours, and, ceasing awhile from ploughing the deep, will rest on the muddy bottom of Old Father Thames. The sturdy little tug is conveying her to her berth with as much speed as is prudent in a crowded maritime thoroughfare.
We are grateful to Dr Horner for assistance. Home from the West'ard will appear in her forthcoming catalogue raisonne as 04229
Send image Biography Enquire£1,200
Presentation: Passe-partout
SN: 5325Inscribed Frank Brangwyn to William Belleroche
Pen and ink over etched base
5 1/2 x 5 ins. (14 x 13 cm)Provenance: Given by the artist to Count William de Belleroche; thence by descent.
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
Send image Biography Enquire£3,950
Presentation: Unframed
SN: 5295Mixed media on gold speckled paper laid on board
18 1/4 x 11 1/4in (46 x 28.5cm)
Brangwyn designed a complete interior for the 1st Class dining room, the Salle Jacques Cartier for this Canadian Pacific Line Vessel. This included murals in the British Empire style. reminiscent of Brangwyn Decoration for the House of Lords, painted on silvered panels. In this study Brangwyn experimented with metalic the effect of the background panels.Empress of Britain was torpedoed in October 1940 - the largest liner lost during the Second World War.
We are grateful to Dr Libby Horner for assistance. The study will appear as no. A1822 in her forthcoming catalogue raisonne.
Send image Biography Enquire£3,000
Presentation: Unmounted
SN: 5303Inscribed 'Colour block of Nude upright small/ohcro drawing of/St Aidan (?) Cross/long drawing/Colour block of/old Franklin/Head in pencil right and 'Bloell' (lower right)'
pencil, red crayon and black ink,
13 1/2 x 18 1/2 in (34.3 x 46.6cm)Provenance:Waldron West until 1994; thence by descent.
This is a study for Fruit Pickers, one of the eight panels Brangwyn painted for the Panama-Pacific International Exposition in 1914. There is a similar study in the Victorian Art Gallery, Bath. Brangwyn was the only British artist chosen to paint murals for the event, the other choices all being American.Waldron West, a portrait painter who was born, trained and worked in Worcestershire, was profoundly influenced by Brangwyn . West befriended Brangwyn in the late 1930's and as part of his friendship acquired, over the next two decades, a number of works from his mentor.
We are grateful to Dr. Horner for assistance. This drawing will appear as reference M1323 in her forthcoming catalogue raisonne.
Send image Biography Enquire£1,200
Presentation: Unmounted
SN: 5307Sanguine on tracing paper
14.8 x 19.4in (38 x 49cm.)Provenance:Waldron West until 1994; thence by descent.
Brangwyn was asked by Antonio Fradeletto, the General Secretary of the 1905 Biennale Commission, to design the interior for the British Room. He painted 4 murals for the British Room: Navvies at Work, Rolling Mill, Blacksmith and Potters.
Waldron West, a portrait painter who was born, trained and worked in Worcestershire, was profoundly influenced by Brangwyn . West befriended Brangwyn in the late 1930's and as part of his friendship acquired, over the next two decades, a number of works from his mentor.
We are grateful to Dr. Horner for assistance. This drawing will appear as reference A1337 in her forthcoming catalogue raisonne.
Send image Biography Enquire£2,500
Presentation: Unmounted
SN: 5308Black and red chalk,
22 x 17 3/4in (56 x 45cm)Provenance:Waldron West until 1994; thence by descent.
Brangwyn was commissioned by his friend R.H. Kinson to design a mosaic mural for St.Aidans,, depicting the life of the Saint. The red headed child appears by the side of St. Aidan preaching, but facing sideways in the completed work (the same girl features in the later stained glass
window at Northampton).Waldron West, a portrait painter who was born, trained and worked in Worcestershire, was profoundly influenced by Brangwyn . West befriended Brangwyn in the late 1930's and as part of his friendship acquired, over the next two decades, a number of works from his mentor.
We are grateful to Dr. Horner for assistance. This drawing will appear as reference M1108 in her forthcoming catalogue raisonne.
Send image Biography Enquire£4,250
Presentation: Unmounted
SN: 5309Signed, crayon and pastel drawing on brown paper,
22 x 17 3/4in (56 x 45cm)Provenance:Waldron West until 1994; thence by descent.
Brangwyn was commissioned by his friend R.H. Kitson to design a mosaic mural for St.Aidans,, depicting the life of the Saint. The red headed child appears by the side of St. Aidan preaching, but facing sideways in the completed work (the same girl features in the later stained glass
window at Northampton).Waldron West, a portrait painter who was born, trained and worked in Worcestershire, was profoundly influenced by Brangwyn . West befriended Brangwyn in the late 1930's and as part of his friendship acquired, over the next two decades, a number of works from his mentor.
We are grateful to Dr. Horner for assistance. This drawing will appear as reference M1108 in her forthcoming catalogue raisonne.
Send image Biography Enquire£1,400
Presentation: Unmounted
SN: 5310Charcoal on paper, squared
20 1/2 x 13in (52.5 x 33cm)Provenance:Waldron West until 1994; thence by descent.
Brangwyn was asked by Antonio Fradeletto, the General Secretary of the 1905 Biennale Commission, to design the interior for the British Room. He painted 4 murals for the British Room: Navvies at Work, Rolling Mill, Blacksmith and Potters.
Waldron West, a portrait painter who was born, trained and worked in Worcestershire, was profoundly influenced by Brangwyn . West befriended Brangwyn in the late 1930's and as part of his friendship acquired, over the next two decades, a number of works from his mentor.
We are grateful to Dr. Horner for assistance. This drawing will appear as reference A1337 in her forthcoming catalogue raisonne.
Send image Biography Enquire£550
Presentation: Unmounted
SN: 5311Black chalk
15 x 12 in (38.2 x 30.5cm); edges irregular.
Provenance:Waldron West until 1994; thence by descent.
Waldron West, a portrait painter who was born, trained and worked in Worcestershire, was profoundly influenced by Brangwyn . West befriended Brangwyn in the late 1930's and as part of his friendship acquired, over the next two decades, a number of works from his mentor.
We are grateful to Dr. Horner for assistance. This drawing will appear as reference D4902 in her forthcoming catalogue raisonne.
Send image Biography Enquire£3,000
Presentation: Framed
SN: 5313Inscribed Building the New Home with additional various notes
Black and white chalk
23 1/4 x 28 1/4 in. (59 x 72 cm.)Provenance: Abbot & Holder 2002, private collection. Literature: Roger Alford & Libby Horner (Eds), Brangwyn in His Studio, The Diary of His Assistant Frank Alford, 2004, p70
Literature: D. Wilson, ‘The Mysterious Case of Frank Brangwyn – Brangwyn In His studio - The Diary of His Assistant Frank Alford (2004)’ The British Art Journal, Vol. VI, No. 1 (June 2005), pp. 86-7.
This is a study for one of four pendentives painted for the State Capitol, Jefferson City, USA, 1915-1925, the murals representing 'Missouri in Four Great Historical Periods'. the other titles were Historic Landing, Pioneers and Builders.
This original drawing is on of a 100 works by Brangwyn better known through its appearance in the Brangwyn Portfolio where it appears as a reproduction measuring 27.5 x 38 cm. The Brangwyn Portfolio published, by E F d'Alignan and Paul Turpin in 1927, was a response to the demand for high quality reproductions of Brangwyn's 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.We are grateful to Dr Libby Horner for assistance. Home-Makers will appear as M1135 in her forthcoming catalogue raisonne
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Presentation: Unmounted
SN: 3493
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
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Presentation: Mounted
SN: 3524
Plate photomechanical lithograph from the Steilen Portfolio.
10 7/16 x 14 5/8 in. (26.5 x 35.2 cm.)
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Presentation: Passe-partout
SN: 3641
Red chalk and pencil on paper, 19 x 23cm (29 x 33cm framed)
Provenance: from the collection of Count William de Belleroche
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Presentation: Passe-partout
SN: 3866Signed with initials
Etching, unique proo. 5.7 x 6cm (14.7 x 15cm 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.
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Presentation: Passe-partout
SN: 4882
Etching, unique proof,
6.5 x 13 cm (16 x 22 cm 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 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.
Brangwyn gave his friend and promoter Count Willy de Belleroche a loose leave pre production copy of L'Ombre de la Croix from which this etching came.
We are grateful to Dr. Libby Horner for her assistance.
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Presentation: Mounted
SN: 5192Photomechanical lithographic reproduction
Signed in the plate with initials
13 x 16 in. (33 x 40 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: Unmounted
SN: 5305Signed with monogram, black chalk on brown paper
18 1/2 x 13 1/4in (47 x 34cm.)Provenance:Waldron West until 1994; thence by descent.
Waldron West, a portrait painter who was born, trained and worked in Worcestershire, was profoundly influenced by Brangwyn . West befriended Brangwyn in the late 1930's and as part of his friendship acquired, over the next two decades, a number of works from his mentor.
We are grateful to Dr. Horner for assistance. This drawing will appear as D4890 in her forthcoming catalogue raisonne.
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Reserved
Presentation: Framed
SN: 5048Signed with initials
oil on board
54 x 44.5 cm
Provenance: Gift from Frank Brangwyn to Frank Alford, the artist's assistant, and by descent.Literature: Frank Branwyn in his studio, The Diary of His Assistant, Frank Alford; Edited by Roger Alford and Libby Horner.
Letter from Frank Brangwyn, The Jointure, Ditchling, to Alford, 8 June 1952
Dear Alford,
.....
We are grateful to Dr Libby Horner for assistance. This oil will be included in her forthcoming catalogue raissone under the reference no 02516 
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Presentation: Framed
SN: 17
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
SN: 19
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
SN: 22
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
SN: 23
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
SN: 24
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
SN: 482
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
SN: 521
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
SN: 590
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: Unframed
SN: 606
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
SN: 5353Signed with monogram
Oil on canvas,
18 x 25 in. (45.7 x 63.5 cm.)In a flat D section carved and gilded laurel leaf frame.
The Cafe will appear as O2573 in Dr Libby Horners forthcoming catalogue raisonné. Another version of the same painting was offered for sale at Sothebys on 13th December 2005 (lot 93).
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Presentation: Framed
SN: 953
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
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Presentation: Unmounted
SN: 1083Signed
Red chalk,
89 x 57 cm
The two figures on the right appear to relate to the woodcut Via Dolorosa #1 (Jesus falls below the cross), V2202, dated 1916. The woodcut only measures 19.8 x 38.5cm, so this sketch is possible for a different, (unidentified) project.
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Presentation: Unmounted
SN: 1128
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
SN: 1221
Inscribed 'Tobe 1917'
Sanguine on Temple Lodge notepaper
8 x 10 7/16 in. (20.4 x 26.5cm).
Provenance: Count William de Belleroche
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Presentation: Passe-partout
SN: 1305
Original 's woodcut, 2 1/4 x 2 3/8 ins. (5.5 x 6.2 cms.)
Provenance: Count William de Belleroche; private collecti
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Presentation: Framed
SN: 1464
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'.
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Presentation: Framed
SN: 1799
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: Framed
SN: 2958
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
SN: 2965
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
SN: 2968
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
SN: 3150
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
SN: 3251
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
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Presentation: Framed
SN: 3553
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: Framed
SN: 3847
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
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Presentation: Passe-partout
SN: 4520
Original etching, artist's proof, signed with initials,
9 x 9.3 cm (framed: 18 x 18.5 cm)
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
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Presentation: Passe-partout
SN: 4929
Signed
Pencil and watercolor on green paper
19 x 25.5 cm (28 x 34.5 cm framed)
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Presentation: Passe-partout
SN: 5022Ink and gouache on paper
12.5 x 8.5 cm ( 21.5 x 17.5 cm framed)Provenance: Count William de Belleroche; Christies 18 July 1961, part lot 9; private collection until 2006
Walter Shaw Sparrow was one of Brangwyn's earliest champions and published a number of influential books about him, amongst them, The Spirit of the Age, London: Hodder & Stoughton, 1905, Frank Brangwyn and his Work, London: Kegan Paul, Trench, Trubner & Co, 1915 and Prints and drawings by Frank Brangwyn, London: John Lane, The Bodley Head, 1919.
Brangwyn was a master of the art of Ex Libris design and produced over 130 bookplates for friends and colleagues both in the UK and abroad.
We are grateful to Dr. Libby Horner for assistance. This drawing will appear under reference no. X 0620 in her forthcoming catalogue raisonne
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Presentation: Framed
SN: 5046Watercolour and ink
7 5/16 x 8 1/16 ins (18.5 x 20.5 cm)Provenance: Marion Phipps
In a wooden gilded frame.
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Presentation: Framed
SN: 5250Signed with monogram,
Oil on Board
19.5 in. x 11.5 in. (49.5 cm.x 29.2 cm).In a black polished wood frame
According to Dr Libby Horner this scene is likely to have been painted around Assisi. We are grateful to Dr Libby Horner for assistance. Goatherd will appear as O4227 in her forthcoming catalogue raisonne.
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Presentation: Framed
SN: 5252Signed with initials
oil on board
54 x 44.5 cm
Provenance: A gift from Frank Brangwyn to Frank Alford, the artist's assistant, and by descent.
Literature: Frank Branwyn in his studio, The Diary of His Assistant, Frank Alford; Edited by Roger Alford and Libby Horner.Brangwyn gave this oil to Frank Alford, his former studio assistant, in 1952, an event recorded in a letter from Brangwyn, dated 8th June:
Dear Alford,
I have been hoping to hear from you and how you are. I have tried to find a bit of my work to give you, but all has long since been given away.
I wish you had in the past asked me and you could have had anything you liked. Anyway I have found 1 or two small sketches; can you come along some Sunday between 12 and 1 o'clock and then if you think it worthwhile take the small oil of a Venetian canal; it is unframed and I cant get it one here but there is a good framer in Worthing - Aldridge is his name. All kind wishes to you allYours ever sincerely, Frank Brangwyn
Letter from Frank Brangwyn, The Jointure, Ditchling, to Alford, 8 June 1952.
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.
We are grateful to Dr Libby Horner for assistance. This oil will be included in her forthcoming catalogue raissone under the reference no 02516
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Presentation: Unmounted
SN: 5306Charcoal heightened with white on brown paper, squared for transfer,
9 1/2 x 11in (24 x 28cm.)Provenance:Waldron West until 1994; thence by descent.
Brangwyn was asked by Antonio Fradeletto, the General Secretary of the 1905 Biennale Commission, to design the interior for the British Room. He painted 4 murals for the British Room: Navvies at Work, Rolling Mill, Blacksmith and Potters.
Waldron West, a portrait painter who was born, trained and worked in Worcestershire, was profoundly influenced by Brangwyn . West befriended Brangwyn in the late 1930's and as part of his friendship acquired, over the next two decades, a number of works from his mentor.
We are grateful to Dr. Horner for assistance. This drawing will appear as reference A1337 in her forthcoming catalogue raisonne.
