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| Sir Frank Brangwyn in 1913 |
Sir Frank William Brangwyn (1867 – 1956) was an Anglo-Welsh artist, painter, water colourist, engraver, illustrator and progressive designer.
Brangwyn was an artistic jack-of-all-trades. As well as paintings and drawings, he produced designs for stained glass, furniture, ceramics, table glassware, buildings and interiors, was a lithographer and woodcutter and was a book illustrator. It has been estimated that during his lifetime Brangwyn produced over 12,000 works. His mural commissions would cover over 22,000 sq ft (2,000 m2) of canvas, he painted over 1,000 oils, over 660 mixed media works (watercolours, gouache), over 500 etchings, about 400 wood engravings and woodcuts, 280 lithographs, 40 architectural and interior designs, 230 designs for items of furniture and 20 stained glass panels and windows.
Brangwyn received some artistic training, probably from his father, and later from Arthur Heygate Mackmurdo and in the workshops of William Morris, but he was largely an autodidact without a formal artistic education. When, at the age of seventeen, one of his paintings was accepted at the Royal Academy Summer Exhibition, he was strengthened in his conviction to become an artist. Initially he painted traditional subjects about the sea and life on the seas. His 1890 canvas, Funeral At Sea won a medal of the third class at the 1891 Paris Salon. The murals for which Brangwyn was famous, and during his lifetime he was very famous indeed, were brightly coloured and crowded with details of plants and animals, although they became flatter and less flamboyant later in his life.
This is part 5 of a 13-part series on the works of Sir Frank William Brangwyn. For earlier works see parts 1 - 4 also.
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| 1911 Frank Brangwyn and his work by Walter Shaw-Sparrow published by Dana Estes & Company, Boston, MA |
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| 1911 Frank Brangwyn and his work by Walter Shaw-Sparrow published by Dana Estes & Company, Boston, MA |
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| 1911 Pastel Sketch for a Tempera Panel at The Ghent Exhibition |
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| 1911 The Bridge of Sighs in Venice etching and drypoint 70.7 x 45.2 cm (plate) |
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| 1911 The Crucifixion oil on canvas 147.3 x 160 cm Glasgow Museums Resource Centre, UK |
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| 1911 The Lot at Vers zinc etching 13 x 16.5 cm |
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| 1911 The Mountebank zinc etching 24 x 26.5 cm |
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| 1911 The Traghetto, Venice etching with surface tone 37.6 x 39.2 cm (plate) The Cleveland Museum of Art, Ohio |
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| 1911 The Valentre Bridge, Cahors zinc etching 53.8 x 80.2 cm (plate) |
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| 1911-15 Courtiers, study for Cuyahoga Court House black, red and white chalk on paper 57.5 x 45.5 cm |
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| c1911 Breaking Up The Caledonia (study) etching 19.7 x 13.2 xm (plate) Fine Arts Museums of San Francisco, CA |
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| c1911 Garden of the Mosque of Soliman, Constantinople colour wood cut on wove paper 17.6 x 21.5 cm (block) The Cleveland Museum of Art, Ohio |
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| c1911 The Prow of the "Duncan" etching and drypoint 30.7 x 39.7 cm (plate) Fine Arts Museums of San Francisco, CA |
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| 1911 The Bridge, Cahors etching 18x 24 cm |
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| 1912 A Top Stove lithograph published in The Journal of Ancient and Modern Art 13.9 x 20.5 cm |
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| 1912 Browning's House, Venice etching and drypoint 70.6 x 45.5 cm (plate) Fine Arts Museums of San Francisco, CA |
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| 1912 Mocking of Christ hand-coloured lithograph 40 x 36 cm |
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| 1912 Notre Dame, la Riche, Tours etching brown-black ink on ivory laid paper 27.7 x 22.7 cm (plate) Art Institute of Chicago, IL |
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| 1912 Notre Dame, Poitiers etching brown ink on ivory laid paper 25.3 x 20.2 cm (plate) Art Institute of Chicago, IL |
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| 1912 Pont du Tarn at Albi, France watercolour and gouache over pencil 47 x 72.7 cm Art Gallery of New South Wales, Sydney, Australia |
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| 1912 Shipbuilding woodcut 16.9 x 13.3 cm |
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| 1912 The Coal Mine etching 19 x 15.2 cm (plate) |
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| 1912 The Drinkers oil on canvas 102.3 x 127.5 cm Ulster Museum, Belfast, UK |
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| 1912 The Monument, London etching, brown ink on cream wove paper 70.7 x 45.3 cm (plate) Art Institute of Chicago, IL |
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| 1912 The Tannery, Parthenay etching and drypoint 25.2 x 20.3 cm (plate) Fine Arts Museums of San Francisco, CA |
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| 1912 The Village of La Popie hand-coloured collotype 33 x 39.3 cm |
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| c1912 Street Decoration lithograph 24.4 x 37 cm |
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| 1913 A Street in Puy etching with surface tone 40 x 30 cm (plate) Museum of New Zealand, Wellington, NZ |
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| 1913 Eöthen published by Sampson Low, Marston & Co., London |
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| 1913 Eöthen published by Sampson Low, Marston & Co., London |
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| 1913 Eöthen published by Sampson Low, Marston & Co., London |
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| 1913 Eöthen published by Sampson Low, Marston & Co., London |
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| 1913 Mowers at Work lithograph in black on ivory wove paper 44.7 x 64.8 cm (plate) Art Institute of Chicago, IL |
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| 1913 Seascape oil on board 78 x 59.5 cm Northampton Museums & Art Gallery, UK |
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| 1913 The Gate of St. Vincent, Avila etching with surface tone 39.3 x 30.4 cm (plate) Museum of New Zealand, Wellington, NZ |
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| 1913 London Underground poster The Way of Business lithograph 100.9 x 64.1 cm |
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| 1913-1915 Building the New Home black and white chalk Study for the murals in the rotunda of the State Capital, St Louis, Missouri 27.5 x 38 cm |
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| 1914 WW1 Recruitment Poster At Neuve Chapelle. Your Friends Need You. Be A Man lithograph 75.7 x 50.7 cm Victoria & Albert MUseum, London |
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| before 1914 Bridge over the Tarn etching 13.3 x 16.3 cm (plate) |
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| 1914 Breaking up of the Caledonia lithograph 25.1 x 34.5 cm (plate) Fine Arts Museums of San Francisco, CA |
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| 1914 Interior of a Church at Airvault, France etching 75.5 x 70 cm |
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| 1914 Pont Marie, Paris copper etching 50.5 x 60 cm |
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| 1914-16 Mars Appeals to Vulcan Daily Chronicle War Cartoon lithograph 73.5 x 48 cm |
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| 1914-16 The Vow of Vengeance lithograph 73.5 x 48.5 cm |
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| 1914-16 British Gifts for Belgian Soldiers lithograph on paper 101.5 x 72.8 cm Victoria & Albert Museum, London |
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| 1914-16c British Occupy Dixmude lithograph on paper 79.2 x 62.5 cm Victoria & Albert Museum, London |
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| 1914-18 Daily Chronicle newspaper illustration 40.6 x 73.7 cm |
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| 1914-18 'Peace' Issued to the World by The Daily Herald colour lithograph 71.5 cm high |
1912-23 Christ's Hospital School Murals
Brangwyn had begun work on the panels in the chapel at Christ’s Hospital School in 1912 though they were not completed until 1923. Christ’s Hospital School was re-sited from the City of London to its current location near Horsham between 1893and 1902. The architect Sir Aston Webb, with his partner Ingress Bell, designed the Tudor-Gothic revival buildings, which are still central to the school’s character today. Sir Aston Webb had supported Frank Brangwyn putting him forward for large scale projects over many years. Webb was able to secure Brangwyn the commission to paint the school’s chapel. The subjects were devised by the headmaster, the Revd. Dr A. W. Upcott. The scheme follows a procession from the earliest stories of the Church to the conversion of Britain and the mission of the Church of England.
The panels are painted in tempera which gives them their luminous quality. Revd. Rupert Toovey. Originally published in 2014 in the West Sussex Gazette.
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| 1912-23 Christ's Hospital School murals |
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| 1912-23 "Let the People Praise Thee O Lord: Let All the People Praise Thee" |
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| 1912-23 St Ambrose Training the Choir in His Church in Milan A.D. 687 |
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| 1912-23 St Augustine at Ebbsfleet “Turn O Lord Thy Wrath from this People” |
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| 1912-23 St Wilfred First Bishop of Selsey teaching the South Saxon’s A.D. 687 |
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| 1912-23 St Patrick in the Forest tempera on canvas 228 x 227 cm |
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| 1912-23 St. Paul Shipwrecked study |
1913-20 Ruba'iyat of Omar Khayyam
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| 1913 edition Ruba'iyat of Omar Khayyam published by Le Roy Phillips, Boston, USADust Wrapper |
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| 1913 edition Ruba'iyat of Omar Khayyam published by Le Roy Phillips, Boston, USA |
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| from c1914 Ruba'iyat of Omar Khayyam illustration oil on panel 38.1 x 61 cm Art Institute of Chicago, IL |
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| from 1917 edition Ruba'iyat of Omar Khayyam |
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| 1920 edition Ruba'iyat of Omar Khayyam published by T.M. Foulis, London |
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| 1920 edition Ruba'iyat of Omar Khayyam published by T.M. Foulis, London |
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| 1920 edition Ruba'iyat of Omar Khayyam published by T.M. Foulis, London |