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| 1931 Sir Frank Brangwyn by Joseph Simpson etching and drypoint 44.8 x 28.8 cm |
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 8 of a 13-part series on the works of Sir Frank William Brangwyn.
For earlier works see parts 1 - 7 also.
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| c1920 The Hot Oven lithograph 24.8 x 21.6 cm |
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| 1920s Shipping Scene watercolour |
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| 1920s Venice watercolour |
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| 1921 Old Bridge, Rome (Ponte Quattro Capi) etching 30.5 x 35.6 cm |
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| 1921 Pont Neuf, Paris colour lithograph of a watercolour |
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| 1921 Pont Neuf, Paris etching 35.5 x 22 cm The Cleveland Museum of Art Ohio |
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| 1921 Soldier drinking wine from a bottle study for "The Allegory of Canada's War Record" mural coloured chalk and crayon 35.6 x 39.4 cm |
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| 1921 The Bridge, Subiano oil on canvas 64.5 x 80.5 cm Birmingham Museums Trust, UK |
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| 1921 The Chairing of Edmund Burke in 1774 oil on panel 54.3 x 44.8 cm Bristol Museum and Art Gallery, UK |
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| 1921 The Drinkers lithograph 25.2 x 20.4 cm (plate) Fine Arts Museums of San Francisco, CA |
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| 1921 The Society of Graphic Arts Exhibition monochrome lithograph 75.6 x 54.5 cm Victoria & Albert Museum, London |
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| 1921 The Swans oil on canvas 149 x 159 cm William Morris Gallery, London |
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| c1921 Selfridges: A Trader, study for Selfridges dome mosaic black chalk on paper 41.5 x 25 cm |
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| before 1922 The Canal, Venice oil on paper laid down on board 64 x 77 cm |
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| 1922 Cinerarias oil on canvas 104.1 x 114.9 cm Atkinson Art Gallery Collection,UK |
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| 1922 Sketch for Melon Stall lithograph 24.2 x 33 cm |
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| c1922 Foundry lithograph 35.5 x 27 cm |
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| 1923 Arch of the Pont Neuf, Paris etching on wove paper 55.5 x 33.8 cm The Cleveland Museum of Art, Ohio |
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| 1923 Bookplate "Association Belge 1993" woodcut on Japan paper |
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| 1923 St Martin’s Bridge, Toledo etching 65.5 x 75.7 cm |
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| 1923 Verger sanguine study lithograph 43.2 x 30.5 cm |
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| 1923 Via Dolorosa No.3 etching 37.8 x 35.3 |
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| before 1924 Two Beggars study lithograph 37 x 24 cm |
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| before 1924 Two Wounded Soldiers ink study 41 x 36.5 cm |
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| 1924 Cannon Street Station, Interior photogravure of etching (The Studio Collection) 24.5 x 30 cm (plate) |
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| 1924 Exhibition of Modern Architecture colour lithograph 75.6 x 50.5 cm Victoria & Albert Museum, London |
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| 1924 Exhibition Poster hand-coloured monochrome lithograph 75.8 x 55.2 cm Victoria & Albert Museum, London |
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| 1924 Flowers and Birds 'Dahlias' oil on canvas 122.6 x 127 cm Dundee Art Galleries and Museums Collection, UK |
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| 1924 Gateway, Genoa drypoint, plate-tone and spit-biting 17.6 x 14.8 cm (plate) National Gallery of Victoria, Melbourne, Australia |
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| 1924 Old Bridge, Hankow drypoint, plate-tone and spit-biting 17.4 x 14.9 cm (plate) National Gallery of Victoria, Melbourne, Australia |
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| 1924 Ponte Rotto oil on canvas 49.5 x 75 cm Museum of New Zealand, Wellington, NZ |
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| 1924 Ponte Rotto, Rome etching 53 x 71 cm |
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| 1924 Porta Capua, Naples etching, drypoint, plate-tone and spit-biting 15.1 x 14.7 cm (plate) National Gallery of Victoria, Melbourne, Australia |
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| 1924 Scaffolding, South Kensington, London etching and drypoint 17.4 x 12.7 cm (plate) Fine Arts Museums of San Francisco, CA |
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| 1924 Scotland East Coast Route lithographic print advertisement 17 x 11 cm |
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| 1924 Sisteron, France etching and drypoint 15 x 12.2 cm (plate) Fine Arts Museums of San Francisco, CA |
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| 1924 Still Life oil on canvas 51 x 61 cm Wolverhampton Art Gallery, UK |
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| 1924 The Knife Grinder copper etching 17.5 x 25 cm |
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| 1924 The Skittles Match lithograph 21.5 x 18 cm |
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| c1924 Ruins of a Roman Bridge over the Loire at Brives-Charensac colour wood block print 33 x 50.8 cm Victoria & Albert Museum, London |
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| c1924 Scaffolding, South Kensington, London etching 48.3 x 53.4 cm (plate) |
1923 Windmills by Frank Brangwyn and Hayter Preston
published by The Bodley Head, London:
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| Front Cover |
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| Endpapers |
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| Frontispiece Kvarmen, Sweden |
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| Title Page |
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| A Sussex Mill |
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| Molen de Koker, Zaandam |
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| Mills, Öland |
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| Montreuil-sur-Mer |
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| Barking Mill |
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| Last of Ramsgate Mill |
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| Winchelsea Mill |
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| The Mills of Crijitano |
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| Furnes, Belgium |
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| A Pumping Mill, Holland |
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| A Kentish Mill |
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| St. Bennett's Abbey Mill |
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| Crowborough |
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| Cologne |
1920s-30s Ceramics:
Brangwyn was passionate about ceramics – he collected examples of Persian, Chinese, Korean and Japanese ware and such items appear endlessly in his oils, watercolours and murals. Sheets of designs - discovered in the collection of Edgar Peacock in 2004 - have greatly added to the knowledge of what Brangwyn produced and for whom.
His commercial designs were mostly for Royal Doulton, but also for Foley pottery, A J Wilkinson, and Ashtead Potters. Brangwyn stipulated that the Royal Doulton ware should be reasonably priced, have the appearance of hand thrown pottery, and that the painters should be allowed a certain freedom of expression, resulting in every item being slightly different.
In addition to the Royal Doulton trademark each item bore the legend ‘Designed by Frank Brangwyn RA’ and /or ‘Brangwyn Ware’. Brangwyn also produced designs for Ashtead Potters and Iris tableware for Clarice Cliff’s Bizarre range at A J Wilkinson. He also produced designs for ceramic tiles.
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| 1920s-30s Royal Doulton bowl/plate clear glazed earthenware with underglaze painted and sgraffito decoration 24.8 cm diameter Museum of New Zealand, Wellington, NZ |
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| 1920s-30s Royal Doulton side plate clear glazed earthenware with underglaze painted and sgraffito decoration 19 cm diameter Museum of New Zealand, Wellington, NZ |
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| c1930 Ashtead Potters plate hand painted 24.5 cm diameter |
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| 1930c Ashtead Potters plate hand painted 25.5 cm diameter |
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| Royal Doulton plate 24.5 cm diameter Note: More Royal Doulton ceramics featured in Part 9 of this series. |