LFA Brangwyn Catalogue

Frank Brangwyn
A Mission to Decorate Life
An artists function is everything:he must be able

to turn his hand to everything,for his mission is to
decorate life he should be able to make pots and
pans,doors and walls,monuments or cathedrals,
carve,paint,and do everything asked of him.
Brangwyn quoted in King of the Earth with Sixpence,
Daily Sketch, October
Text by Libby Horner
FRANK
BRANGWYN
A Mission to Decorate Life
March April

New Bond Street, London
Telephone Email [email protected]
Fax Web www.faslondon.com

Email [email protected] Web www.lissfineart.com
France () London
CONTENTS
The Brangwyn Handbook

Introduction
MURALS
OILS
WATERCOLOURS, GOUACHE AND MIXED MEDIA
DRAWINGS
PRINTS
Etchings
Woodcuts
Lithographs
DECORATIVE ARTS
Architecture and Interiors
Furniture and Furnishings
Carpets,Tapestries and Textiles
Metalwork and Jewellery
Ceramics
Glassware
Stained Glass
Street Decorations
PHOTOGRAPHY
Chronology
Brangwyns Studio Assistants
Major Exhibitions and Selected Critical Reaction
Quotations
Facsimiles of Brangwyns signature and monogram
Endnotes
THE BRANGWYN HANDBOOK
Sir Frank Brangwyn is one of the most baffling figures in the history of
British painting.
John Russell,Brangwyn, (untraced newspaper cutting)
This exhibition, which has been five years in the making, is the largest
Life in Messina after the commercial show of Brangwyns work ever undertaken. All works
Earthquake, c (detail;
cat ). Provenance: from
are for sale. Our aim has been to represent every aspect of Brangwyns
the collection of William remarkable oeuvre in the belief that the range and diversity of his talent
de Belleroche. has never previously been fully appreciated. For too long he has been
known simply as a muralist or a painter or print maker.We want him to
be seen in the round: a man whose self-stated raison detre was a mission
to decorate life.
The feasibility of this exhibition has been made possible by the recent
discovery of two remarkable collections of Brangwyns works those of
William de Belleroche and Edgar Peacock (see p ).
William de Belleroche was the self-appointed champion of Brangwyn,
responsible for the establishment of the Brangwyn museum in Bruges
() and the major retrospective at the Royal Academy (). Shown
here for the first time in years are the original drawings which were
used to illustrate the two biographies Belleroche wrote about Brangwyn
(Brangwyn Talks, , and Brangwyns Pilgrimage, ).1 (see cat ) Another
remarkable series of objects from this collection are some of Brangwyns
original woodblocks. A rare survival (blocks are frequently disregarded,
or shaved down for re-use), these are beautiful objects in their own
right and offer an insight into the artists working methods (see cat ,
illustrated on p ).
Edgar Peacock was the son of Brangwyns housekeeper, Elizabeth
(Lizzie) Peacock. He and his mother were the principal beneficiaries of
Brangwyns estate.2 Until Edgars cache of design drawings was offered
for sale at Edgar Horns auction house in , the full range of Brangwyns
output had not been fully recorded here were designs for the famous
Whitefriars glasswork, unrecorded designs for Royal Doulton, and the

original drawings for some of Brangwyns most complete architectural Electric light switch board,
schemes (ranging from the Davis bedroom () to an interior for the c (cat ).
Inscribed with title.
SS Empress of Britain (-). Brangwyns interest in architecture Pencil, pen, paint and
and interior design is little known, in spite of the fact that he designed white chalk on grey paper,
well over complete schemes, at least of which were realised. The cm ( in).
designs in this exhibition offer a remarkable record of this least known, Provenance: from the
collection of Edgar
but most significant, aspect of Brangwyns work (see cat ). Peacock
To date no accurate single source of information has existed about
Brangwyn the standard reference works are riddled with inaccuracies and
L'Eroica, c (cat )
confusion. The most recent edition of the DNB has factual errors and
Original woodblock.
statements for which there is no evidence, including the wrong birth date.3 Provenance: from the
To mark the th anniversary of Brangwyns death we have commis- collection of William de
sioned Dr Libby Horner to write this catalogue which has been deliber- Belleroche
ately styled as The Brangwyn Handbook. Each catalogue section is preceeded
by an introductory essay and checklist of major commissions. Drawing
on five years of research this offers the first accurate overview of
Brangwyns oeuvre: his mission to decorate life.
Fifty years after Brangwyns death, we hope this exhibition and cata-
logue will make a significant contribution to Brangwyn scholarship and
mark a watershed in terms of public perception.
Paul Liss

INTRODUCTION
Swim against the tide, even if you dont reach the other side
Brangwyn quoted in The Rebel, Daily Mail, October
Brangwyn has never fitted comfortably into accounts of th-century

Napier Hemy Painting at British art.As early as he formed part of Wyndham Lewis infamous
Putney, c (detail;
cat )
list in Blast and was pilloried as an archetypal establishment figure; and
yet just two years earlier he had been singled out by Kandinsky as one of
the first th-century artists to use colour in a modern manner.4
Brangwyn dared to be different, always maintained his artistic integrity,
and was apparently indifferent to the consequences. Critics have been
variously shocked, delighted and confused by his work. In the United
Kingdom the general tone was one of scepticism during his lifetime, dis-
paragement since; he fared better in Europe and the United States of
America.
With Arthur Heygate Mackmurdo as his mentor, an apprenticeship
with William Morris, commissions from Siegfried Bing to decorate his
seminal shop LArt Nouveau (), from Tiffany to design stained glass
(), and a significant contribution to the first Vienna Secession (),
Brangwyn should naturally have been at least mentioned in the Royal
Academy show, : Art at the Crossroads. But his total omission from
such accounts is all too frequent.
Why have Brangwyns achievements not been fully appreciated?
Brangwyn had no formal artistic education and remained throughout
his life, at his own insistence, outside the art establishment. This was
despite the fact that he was the recipient of endless honours.5
Brangwyns lack of art education allowed him to flout convention, to
experiment with techniques and mixed media, but also left him outside
the artistic social pale. Brangwyn did not appear to regret his lack of
training, writing later in life to his early mentor, Mackmurdo, that art
schools only produce a lot of clever imitators, and destroy all originality
and turn out sophisticated prizes.6

More significantly, Brangwyn refused to confine himself to one disci- FB Painting Alfred East in the Gulur, (cat ) to every area of artistic production, becoming a polymath, a quintessen-
pline. Partly as a result of this there was a perceived lack of attributable Garden, c (cat ) tial artist-craftsman.The sheer scale and variety of his artistic production
style in his work. daunted the critics.
In a desperate attempt to categorize Brangwyn, critics compared his Fate has contributed to Brangwyns fall from favour. If the project to
work with Oriental carpets, Italian Renaissance artists and the Old decorate a dome at Selfridges department store in Oxford Street had
Masters, and in particular, among others, Tintoretto, Rubens, been carried out (see cat ), or the British Empire panels had been installed
Rembrandt and Delacroix.7 He was also linked to various movements, in the House of Lords as originally intended (see cat ), he may have
among them Arts and Crafts, the Century Guild, the Newlyn School, become a household name.8 Brangwyns commission to design an art
Vienna Secessionists, French Impressionists, the Nabis and Art Nouveau, gallery for Tokyo would have provided the country with the largest
and his paintings display fleeting references to individual painters, museum of western art outside Europe and the Americas.9 Many of
including Bastien-Lepage, Napier Hemy, La Thangue and his friends and Brangwyns important works have been destroyed, for example the
travelling companions Sir Alfred East, Dudley Hardy and Arthur murals for Siegfried Bings shop LArt Nouveau and the murals for Lloyds
Melville. However, Brangwyn was too impatient and imaginative to be Register of Shipping (see p ). In addition, of what Brangwyn con-
restricted by the ideology of one particular school or person. He was a sidered to be his best works were burnt in the Pantechnicon fire in
jackdaw of art, adopting the most attractive or relevant baubles of each London, October (see cat , illustrated on p ).10
group and transmuting them into his own inimitable style. During his lifetime Brangwyn produced an estimated , works,
From the outset Brangwyn applied himself with rigour and equal success making him the most prolific British artist since Turner (see p ).

But what counts is the range and diversity and his rude energy, which
Death and the Devil, c permeates all of his oeuvre, making it so recognisably Brangwyn. Today
(cat )
Brangwyns talent remains undervalued: Art Galleries and Museums in
Britain have between them well over works by Brangwyn, making
Brass Shop, (cat ) him probably the most represented but least known of all th-century
British artists. During his lifetime the sheer energy of the man and his
work forced the attention of curators and collectors alike. He was a nat-
ural choice to paint the Rockefeller murals, alongside Diego Rivera and
Jos Maria Sert after Picasso and Matisse had turned the commission
down. In his life international recognition came to him and now he is enti-
tled to be viewed as one of the major figures of th-century British Art.

CATALOGUE NOTE The names Gaunt, Bunt and Galloway are used as standard references
The catalogue entries for each section are arranged in chronological for Brangwyns work in etchings, watercolours and oils. However these
order. Each section is preceded by notes which give an overview of books have limitations. Gaunts book does not list Brangwyns etchings
Brangwyns activities in that particular discipline and where appropriate after and there are errors (see p ).The three books with intro-
checklists of major commissions. ductions by Bunt, Galloway and Boyd were in fact the result of research
Emphasis has been placed on the original designs for items, rather undertaken by the publisher Frank Lewis who was a passionate collec-
than the commercially produced versions. Thus, in the Decorative Arts tor, rather than a scholar, of Brangwyn. The books are incomplete and
section, the ceramics featured are either in the form of original draw- inconsistent with some works listed twice and many missing dimen-
ings, or unique pre-production models.The print section is made up of sions, making identification difficult.11 The Boyd catalogue, with the
original drawings for prints, working proofs and actual woodblocks and exception of five works, consisted of drawings in the collection of Frank
lithographic plates, rather than the editioned prints. Lewis (now at Dundee Art Gallery). No catalogues have previously been
Catalogue entries and text are by Libby Horner who is currently attempted listing in full Brangwyns woodcuts and lithographs or his
compiling the catalogue raisonn of Frank Brangwyns entire uvre.The architectural and interior designs, furniture, carpets, metalwork, ceram-
number in brackets following each picture title indicates the number by ics and stained glass.
which the work is identified in the Horner catalogue raisonn. In Clifford Musgrave estimated that Brangwyn had produced
over , works.12 Whether this figure was based on Brangwyns work
Seven standard reference books have been produced in the past: in all disciplines or included studies for completed commissions is
unknown. However, it is interesting to note that Gaunt listed etch-
Frank Newbolt, The Etched Work of Frank Brangwyn ARA RE,
ings, Bunt watercolours, Galloway oils and Boyd drawings,
London: The Fine Art Society,
making a total of , works.To date Libby Horner has catalogued over
Etchings by Frank Brangwyn, London: The Fine Art Society, , works, including nearly oils, over watercolours (includ-
ing gouache and mixed media) and over drawings, of which around
William Gaunt, The Etchings of Frank Brangwyn RA, London:
, relate to known works in other media (murals, oils, watercolours,
The Studio Limited,
prints etc) and around are studies in their own right. Every item list-
Cyril G E Bunt, The Water-Colours of Sir Frank Brangwyn RA, ed in the catalogue raisonn is supported by an image, thereby reducing
Leigh-on-Sea: Frank Lewis, the risk of double cataloguing. Statistics in each section refer to com-
pleted works only.
Vincent Galloway, The Oils and Murals of Sir Frank Brangwyn RA,
Leigh-on-Sea: Frank Lewis, All works are for sale
Inscriptions are by Brangwyn unless otherwise stated
James D Boyd, The Drawings of Sir Frank Brangwyn RA,
pwu = present whereabouts unknown
Leigh-on-Sea: Frank Lewis, The copyright holder is David Brangwyn who can be contacted via lissfineart.com
Dominique Marechal, Collectie Frank Brangwyn,
Bruges Stedelijke Musea,
Marechals book, based on the collection in the Arents House, Bruges
(see p and cat ), is the most scholarly work on Brangwyn, but
unfortunately out of print.

MURALS
Brangwyn is essentially, and of supreme scope and quality, a decorative
artist. He was born to paint large, to cover vast spaces with stupendous
designs and masses of vitalising colour.
Philip Macer-Wright,About Frank Brangwyn, supplement to John OLondons
Weekly, December
Brangwyn received his first mural commission in when he was only

Study, (detail; and completed his last mural in when he was years old. In
cat )
those fifty years he had received over mural commissions and his
completed works cover over , sq m ( acre of canvas).
In general his designs empathised with the architectural setting, they
were well balanced, two dimensional and orchestrated by strong hori-
zontals and verticals. Figures were usually outlined in blue and the scale
was consistent throughout a mural cycle. Brangwyn painted large patches
of single colour as befitted the scale of the works, rather than overbur-
dening the murals with detail.
Although commentators have regarded Brangwyn as a British succes-
sor to the great Italian Renaissance muralists, his approach was closer to
that of the French, in particular Puvis de Chavannes and members of the
Nabis. Industrialised labour was the theme of many of these works;
dominant muscular men, often toiling and naked from the waist up (see
cat ).Women appeared less frequently, and when they did, tended to be
Rubenesque. The murals were generally free from archaeological his-
toricism, allegory, mythology and stereotypical symbols, Brangwyn pre-
ferring to capture attention by the decorative content of his work.
Despite rumours to the contrary, Brangwyn never travelled to the
United States of America, Canada or Wales to see his murals in position.
In fact he only painted two murals Bings shop LArt Nouveau, Paris and
Casa Cuseni, Sicily in situ, the remainder being painted in his large

had never attempted mural painting. Other artists collaborating with
Bing at the time included Henri de Toulouse-Lautrec,Vincent van
Gogh, Felix Vallotton, Henry van de Velde and Edouard Vuillard.
Royal Exchange, City of London,
() Commissioned by Thomas Lane Devitt.14 Robersons spirit fresco,
. . cm ( ft, in ft)
Great Hall of The Worshipful Company of Skinners, Dowgate Hill,

London,
() Commission gained through Devitt. Oil on canvas, panels measuring
. cm ( ft, in ft, in), measuring . . cm ( ft, in ft in).
Harmony in gallery measures . cm ( ft ft). Four further panels, installed
, measure . . cm ( ft, in ft in) (see cat )
Canadian Grand Trunk Railway Offices, Cockspur Street, London

(Now in the Ottawa Conference Center, Canada),
() Tempera on heavy jute canvas, . . cm ( ft, in ft)
Committee Luncheon Room of Lloyds Register of Shipping,

Fenchurch Street, London,
() Commission gained through Devitt. Panels removed, stored, lost. Oil on
canvas. panels measured . . cm ( ft, in ft), panels . . cm
( ft, in ft), panels . . cm ( ft, in ft) and lunette . . cm
( ft).
Court of the Ages, Panama-Pacific International Exposition, San

studio at Temple Lodge, Hammersmith or his studio at The Jointure, Brangwyn with the Francisco (now in Herbst Theatre,Veterans Building Auditorium,
Ditchling. When painting the Rockefeller Center murals, lack of suffi- Rockefeller mural, San Francisco, USA),
Man the Creator,
cient space forced him to borrow one of the Exhibition Galleries at () Oil on absorbent coarse textured jute canvas, panels each measuring
c (cat h)
Brighton (see above). As a token of his gratitude Brangwyn donated . cm ( ft)
etchings and lithographs to the town. Brangwyn was the only British artist chosen to paint murals for the
Exposition.The other choices were all American.
MAJOR MURAL WORKS (red indicates extant murals) Lunette, Cuyahoga County Court House, Cleveland, Ohio, USA,

Bings LArt Nouveau, Rue de Provence, Paris,
() Oil mixed with wax, on canvas, . cm ( ft).
() Two friezes and various stencil decorations for exterior of building,
commissioned by Siegfried Bing. Exterior artwork obliterated. Keims process on The NewYork Times stated that the canvas was the largest picture ever
canvas, each frieze cm ( ft) long12 painted in London for shipment abroad.15
Brangwyn gained this commission when he was only years old, and
although his oil paintings were already receiving acclaim in Paris, he

Mosaic mural, St Aidans, Roundhay Road, Leeds,
Commissioned by Robert Hawthorne Kitson, (M)16 Rusts Vitreous Mosaic, sq m
( sq ft) apse, . sq m ( sq ft) sea wall. (see cat and )
Manitoba Legislative Building,Winnipeg, Canada,

(M) Flat oil on canvas, . . cm ( ft)
Stations of the Cross for Leper Mission, South Africa (now

belonging to Archdiocese of Pretoria),
(S) Tempera on canvas, panels each measuring cm ( in).
Chapel, Christs Hospital, Horsham, Sussex,

(M) Egg tempera on canvas, panels measuring . . cm ( ft),
two panels . . cm ( ft)
Dome decoration, Selfridges, Oxford Street, London,

(M) Commissioned by Harry Gordon Selfridge, unexecuted.The dome was
metres ( ft) in diameter and the interior was to have been covered with mosaic.
(see cat )
Stations of the Cross,Arras Cathedral,

(S) Unfinished. Oil on canvas, panels each measuring cm
( in). (See cat )
State Capitol, Jefferson City, USA,

(M) Flat oil on canvas, eye of dome . cm ( ft) in diameter; pendentives
each . cm high ( ft), cm ( ft) wide at top and cm ( ft) wide at base;
eight lower dome panels approximately . . cm ( ft)
British Empire Panels,

Brangwyn and his assistants Lunette, Odhams Press, Long Acre, London,
Commissioned by Lord Iveagh (intended for Royal Gallery,Westminster but now housed putting the finishing
in Brangwyn Hall, Guildhall, Swansea), (M). Oil and tempera on canvas, panels (M) Commissioned by Lord Southwood, now in private collection.
touches to the Skinners Oil and tempera, . . cm ( ft)
measuring cm ( ft), panels measuring cm ( ft). hall murals, c
(See cat ) (cat b) Last Supper, Holy Name of Mary Church, Middlesbrough,
GE (previously RCA) Building, Rockefeller Plaza, NewYork,
USA, (M) Oil on canvas, . cm ( ft ft, in)
(M) Commissioned by John D Rockefeller Jr.Tempera on coarse canvas, panels,
each . cm ( ft ft).17 Last Supper, St Josephs, Stokesley,
(M) Oil on canvas, . . cm ( ft, in ft).The church and contents
Matisse and Picasso turned down the offer to paint murals for the were destroyed in fire,
Center, and the artists finally chosen were Brangwyn, the Mexican
artist, Diego Rivera, and the Spaniard, Jos Maria Sert (see p ).

Open foldouts
.
Great Hall of the Worshipful Company of Skinners:
Study of Workman Eating,
() Signed with monogram b.l.:FB.Also inscribed (in another hand) b.r.:
WdeB Coll and verso:William de Belleroche Collection
Coloured crayon and ink on brown paper, . cm ( in)
Provenance:William de Belleroche (No ); Christies, July , part Lot ;
Gordon Anderson
Brangwyn was commissioned in August to paint mural panels for the
Great Hall of The Skinners Company in London. He was expected to complete
two of the larger panels within a year and the complete commission within five
years. Unfortunately Brangwyn had, as usual, undertaken too much work, and the
murals were not completed until .The panel, Departure of Sir James Lancaster
for the East Indies,AD was exhibited at the Royal Academy in , the year
Brangwyn was elected an Associate.The panel Harmony in the gallery replaced
Fruits of Industry which is now in the Mildura Arts Centre,Victoria,Australia.
This is probably a sketch for panel , Skin-Merchants or Skinners selecting Furs
and Pelts at the City Mart in the days before the Guild of Corpus Christi received their
Charter.
. (illustrated overleaf)
Industrial Frieze, c
() Inscribed (not in Brangwyns hand) on stretcher:
Mixed media on paper laid on canvas, . . cm ( in)
Provenance: Kojiro Matsukata; unknown
Ill:W K West,Some Examples of Recent Work by Mr Frank Brangwyn ARA, The Studio,
February , p
The Studio magazine in which this work was reproduced (February )
captioned the design sketch in oils for a frieze. It is unclear whether it was a
commissioned work, rather than speculative, or indeed whether it was ever
realised.Although the stretcher is inscribed , it seems unlikely
that he commissioned the design as the earliest recorded contact between
Matsukata and Brangwyn was .18

ST AIDANS CHURCH, ROUNDHAY ROAD, LEEDS,
19081916 (M1108)
The red brick church of St Aidan was designed by R J Johnson, executed
by his partner A Crawford-Hicks, and completed in . It is Basilican
in style and both east and west ends are apsidal. Brangwyn designed the
sea wall decoration, the dado of the apse and the mural above which
illustrates, from left to right, the landing of St Aidan in Northumbria, St
Aidan feeding the poor, St Aidan preaching, and the death of St Aidan.
.
Beggars
Signed with monogram b.l.:FB.Also inscribed (in another hand) b.r.:WdeB Coll
Sanguine drawing on paper, . cm ( in)
Provenance:William de Belleroche; Gordon Anderson; Hilary Gerrish
.
Two Monks
Signed with monogram b.r.:FB and inscribed b.r.:St Aidans, Leeds.Also inscribed
(in another hand) b.r.:WdeB Coll and verso:William de Belleroche Collection
Red chalk on cream paper, squared, . . cm ( in)
Provenance:William de Belleroche (No ); Gordon Anderson; Hilary Gerrish

SELFRIDGES DOME DECORATION, 19211923 (M2157)
Harry Gordon Selfridge, nicknamed Mile a Minute Harry, brought
American ideas on commerce and advertising to the British retail busi-
ness. His vast Emporium in Oxford Street was, when built, the largest
in England and was enlarged over the following twenty years. Brangwyn
was approached to design a decoration for the interior of the huge
dome, which he suggested should be in mosaic. Unfortunately the plan
never came to fruition because the London County Council feared that
the excessive weight might damage the underground railway (see p ).19
.
Study of Old Franklin20
Signed with monogram b.l.:FB and inscribed c.l.:Copt/puller and Franklin/Reunion
House.Also inscribed (in another hand) b.r.:WdeB Coll and verso:William de
Belleroche Collection
Sanguine and blue crayon heightened with white on buff paper, . . cm ( in)
Provenance:William de Belleroche (No ); Gordon Anderson; Hilary Gerrish

BRITISH EMPIRE PANELS, GUILDHALL, SWANSEA, .
19251932 (M1145) Profile of Heads of Two Negro Boys
Signed with monogram b.r.:FB
The British Empire panels were commissioned by the Earl of Iveagh Red chalk on cream wove paper, squared, cm ( in)
to decorate the Royal Gallery in the House of Lords, Westminster. Provenance:William de Belleroche (No); Gordon Anderson
Following the death of Iveagh, the Fine Art Commission insisted on .
some panels being placed temporarily in the Gallery. They rejected the Young Negro Boy
work as did the House of Lords. Brangwyn completed the commission Signed with monogram b.r.:FB
which was eventually exhibited at the Ideal Home Exhibition, Olympia, Brown, red and white chalk on brown paper, squared, . . cm ( in)
. Offers for the panels were received from the USA and Japan, and Provenance:William de Belleroche (No ); Gordon Anderson
British cities including Birmingham, Cardiff and London attempted to .

gain the murals.21 However, a new Guildhall was being designed for Five Profiles of Negro Boy
Swansea and the city persuaded Iveaghs son and Brangwyn that the pan- Signed with monogram b.r.:FB
els could be successfully accommodated in the main hall, now known as Brown chalk on cream wove paper, squared, . . cm ( in)
Provenance:William de Belleroche (No); Gordon Anderson
the Brangwyn Hall.
There are over studies for the British Empire panels in public gal-
leries in the UK and Australia, the largest collection (some works)
being in Swansea, at the Glynn Vivian Art Gallery and the Guildhall. An
equal number probably exists in private collections throughout the
world.There are also at least photographs of models which were used
as studies.
The British Empire panels represent a sublime mixture of Flemish
verdure tapestries and natura naturens, Indonesian paintings, and William
Morris flora and fauna. Humans have virtually disappeared, hidden
behind hallucinatory visions of foliage and wildlife infested forest.
Critical reaction to the completed panels has varied from the glow-
ing: The most splendid unit of decorative painting executed in Europe
since Tintoretto ceased his work in the Doges Palace at Venice22 to the
airily dismissive: All tits and bananas.23
. (detail on p )
Study
Oil on canvas, . . cm ( in)
Provenance: Crosby Cook, and by descent
Some of Brangwyns finest studies are those he made for the British Empire
panels. He told his friend R H Kitson that he was working from flowers, trees,
animals, and black and colored men women and children. It is very interesting
more especially the animals and a grand chance for me to take up animals and
landscape and do it finely. It never has really been done only a bit here and there.24

BRITISH EMPIRE PANELS (continued) .
Studies of a Frog
. (also illustrated on p ) Signed with monogram and dated b.r.:FB and Ditchling .
Head of a Chimpanzee Also inscribed (in another hand) b.l.:WdeB Coll
Pencil on paper, cm ( in)
Signed with monogram in pencil b.r.:FB
Provenance:William de Belleroche (No ); Gordon Anderson
Brown ink and white chalk on pink paper, squared, . . cm ( in)
The partly decomposed frog also made an appearance in a woodcut for Emile Verhaerens, Les
Campagnes Hallucinees.25
Exh: Exhibition of Works by Frank Brangwyn RA, Royal Academy of Arts, London, (No )
.
.
Blue Parrots Sunflowers (recto), Sketch of Leaves (verso)
Inscribed with monogram and place b.l.:Warborrow/FB. Other inscriptions:green leaf
Signed with monogram b.r.:FB and inscribed centre:red line.Also inscribed (in another
with/grey warm edge,vins[sic] & leaves light,warm green and purple/lemon around
hand) b.l.:WdeBColl and verso: William de Belleroche Collection and
seed/ golden seed with white/[?] green oxide with/warm grey at ends which/dry/green
Blue and black crayon, wash on paper, . cm ( in)
stalk getting to very light/green at bottom
Pencil on brown paper, . . cm ( in)
Provenance: Hilary Gerrish
The notations on this drawing are typical of those with which Brangwyn annotated his
nature sketches.

GENERAL ELECTRIC (PREVIOUSLY RCA) BUILDING,
30 ROCKEFELLER PLAZA, NEW YORK, 19301934 (M1110)
Frank Brangwyn, the Spanish artist Jos Maria Sert and the Mexican,
Diego Rivera were the three artists chosen to paint murals to decorate Study for Man the Master,
(detail; cat )
the main entrance of the storey RCA Building. The commission
sparked controversy from the outset, critics complaining that American
artists should have been chosen for the prestigious work. In May
Rivera was prevented from finishing his mural when it was discovered
that he had included a portrait of Lenin, and sympathisers of the artist
clashed with police outside the building.The authorities also objected to
the bright colours of the panel (Sert and Brangwyn had both agreed to
paint monochrome works) and the mural was taken down and replaced
by a new mural by Sert.
Brangwyn was asked to produce four large murals which are placed
on the south side of the elevator corridor, RCA building. The paintings
were carried out in three tones to harmonize with the black terrazzo
floor, the walls which were of Champlain black marble to a height of
. cm ( ft in), and the ivory ceiling. Not more than % of the
canvas was to be painted and lettering was to be included. Brangwyn was
given the theme Mans new relationship to society and his fellow men, his fam-
ily relationships, his relationships as a worker, his relationships as part of a gov-
ernment and his ethical and religious relationships.26
In September , 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 busi-
ness building.They thought that might be too strong a representation of
an individual religion.27 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 name-
less cloaked man.
The following two life-sized studies are similar to the finished com-
positions both in terms of scale and colour.

. (detail opposite) William de Belleroche with
Study for Man the Creator Studies for Man the Creator
and Man the Master,
Provenance: E Kenneth Center;28 William de Belleroche (No ); Gordon Anderson
c (cat l)
. (detail on p )
Study for Man the Master
Provenance: E Kenneth Center;William de Belleroche (No ); Gordon Anderson

.
Sketch for panel in the house of Grant Bryn & Mays,
Pennsylvania, USA, c
() Signed with monogram:FB and inscribed with title verso
Oil on board, . cm ( in)
Provenance:William Stewart, and by descent; private collection
Lit & Ill: Liss Fine Art, (cat )
This is a study for a proposed mural which has not, to date, been identified.
Brangwyn may have gained the commission through one of his American
assistants. Only one other study is known to exist, a cont drawing in the
Art Gallery of South Australia,Adelaide, squared for enlargement; a
photographic study of the central mother and child gives a clue to the date.29

OILS
He loved man and the works of man ships, bridges, factories, towers.
He crowded his backgrounds with throngs of people. He massed his fore-
grounds with fruits and merchandise in exuberant, exotic superabundance.
The sun shone, sails swelled in the breeze, men toiled in promethean
labours or to clear virgin forests.There was no stint in this generous
creation. Ripeness was all in the world of Brangwyn. Here was the juice,
the fatness, the fullness of life. Here, if ever in British art, was reckless
joie-de-vivre.
D.P.B.Famous Mural artist dead, The Scotsman, Edinburgh, June
The earliest known Brangwyn oil is dated (Leaving Harbour, private

Susanna and the Elders, collection); three years later when the artist was a small oil, A Bit on
c (detail; cat )
the Esk (pwu), was shown at the Royal Academy. Sixty seven years later,
in , this same institution honoured Brangwyn by holding the first
ever retrospective of a living artist.
Brangwyns output was phenomenal, not least in oil painting.To date
Libby Horner has catalogued oils. Of these were painted between
and an average of one painting a week. were painted
between and , and a further are undated.
Of the oils painted before , at least were comparatively
small monochrome compositions produced as illustrations for books
(for example The Arabian Nights and Don Quixote of La Mancha) and mag-
azines (such as Scribners and The Graphic) (see cat and ).30 Conversely,
Brangwyn painted some large decorative works prior to , being
over one square metre in area ( sq ft), of these over . sq m ( sq ft).
The oils depict marine subjects, buildings, bridges, Venice (approxi-
mately works) Middle Eastern markets (approximately ), a num-
ber of rather anachronistic historical topics, and some religious themes.
In the majority of paintings figures are predominant. The artist took up

landscape painting in , and painted about such works; Assisi in with a difference; it is neither maudlin nor pessimistic. The figures
Italy; Avignon, Cahors and Hesdin in France were his favoured destina- undoubtedly owe something to Constantin Meunier, Jean Franois Millet
tions. After Brangwyn painted about still lifes. Brangwyn was and Alphonse Legros Brangwyn adopting the relatively loose tech-
not a portrait painter; the or so known portraits were not commis- nique of his peers and depicting the same tattered clothing and heavy
sioned but depicted friends and local characters, ranging from Sir Alfred boots. However, the bodies and faces of Brangwyns men (and they were
East (National Portrait Gallery) to an odd job man named Old Franklin31 mostly men) are confident and relaxed, these people take pride in their
(Arents House, Bruges). skills, ability and strength.There is a thread of optimism woven through
Historians have, in the past, mistakenly categorized Brangwyns out- Brangwyns art, which in a sense is linked to his strong work ethic.
put based entirely on an assumed change of colour palette following The composition of Brangwyns paintings owes much to Japanese
either the artists trip to Turkey in or his sketching holiday design. The clearly defined lines, geometry and sense of proportion
with Arthur Melville in Spain. However, on closer inspection, it is appar- found in Japanese art became the basis of his uvre and certain motifs
ent that he discovered colour prior to and was still producing som- were assimilated into his work, either consciously or unconsciously; for
bre toned works in the s. Brangwyns use of colour was sensual and example strong diagonals, trellis, grilles, silhouettes, asymmetry, using
empirical, not academic, considered or theoretical and the differences of posts as spatial dividers and the use of truncated objects in the fore-
tone, light and shadow can more pertinently be attributed to Brangwyns ground to create depth.
acute observation of, and enthusiasm for, the natural world; not just the Contemporary British critics were, in general, distinctly under-
vast panoply, but also the minute detail as recorded by the Pre- whelmed by Brangwyns oil paintings. The reception abroad was far
Raphaelites he simply painted what he saw. Thus his English oils are more enthusiastic, art galleries vying to purchase the award winning
usually characterized by a pale iridescence, the Venetian works a palette work. Funeral at Sea, (Glasgow Art Gallery and Museum) won a
ranging from soft warm yellow-pink to dark red and orange, the South medal of the rd class at the Paris Salon in , followed by a bronze
African series show land bleached by the sun and in the Middle Eastern for Pilots, Puerto de los Pasajes, c (Art Institute of Chicago, Stickney
and North African paintings sizzling red, orange and yellow colours are Fund) and a gold for Convict Ship, (pwu) at the Worlds Colombian
heightened by dusky shadows. Exposition, Chicago in . In the artist won a further gold for
Brangwyns travels in the s and s were tremendously form- Scoffers, c (Art Gallery of New South Wales, Sydney) at the
ative, educating the artist and providing both immediate and future International Art Exhibition, Munich and a silver for Market at Bushire,
inspiration. For example, his early works were marine paintings depict- (pwu) at the Paris World Fair. Gold medals were awarded for Santa
ing the British coastline; serene landscapes were the result of Italian Maria della Salute, (Te Papa Tongarewa, Wellington) at the
sojourns; voluptuous, almost claustrophobic market scenes were International Exhibition,Amsterdam in and Brass Shop, , at the
inspired by his North African trips. Berlin Academy in (see cat ).
The subject matter of Brangwyns painting was linked to the social
convictions he held, influenced by his early mentors Arthur Heygate
Mackmurdo and William Morris. Brangwyn felt strongly that art should
be accessible to all and easily understood; he wanted colour, design,
composition and meaning, but not symbolic meaning, resulting in him
frequently being labelled in a disparaging manner as a non-intellectual
artist.There is sincerity, honesty and integrity in his work, which displays
an empathy with the lives of working people. But this is social realism

. .
Smugglers, c Flood Time,
() Signed with monogram b.l.:FB () Signed and dated b.r.: .
Oil on board, cm ( in) oil on canvas, . . cm ( in)
Provenance:William Stewart, and by descent The painting shows the influence of Japanese art, in that the scrub and tree
Since this is a monochrome work it was probably painted as an illustration for a branches were probably painted with a brush in which all the hairs are
book or magazine. (see p ) separated, creating a dragged effect. Brangwyn may have been taught the
technique by Thomas Joseph Larkin of the Japanese Gallery, London.32

. (illustrated right)
Turkish Fishermen,
() Signed with monogram and date b.l.:FB.
Inscribed with title verso:Turkish Fishermen
Oil on board, cm ( in)
Provenance: Liss Fine Art; private collection
Brangwyn travelled to Turkey in , the results of
his work being exhibited in his first one-man show,
From the Scheldt to the Danube, at the Royal Arcade
Gallery, London in March .This brilliantly
coloured oil is almost identical to a watercolour,
Fishing Boats on the Danube, in the collection of The
Fitzwilliam Museum, Cambridge.This might lead
one to assume that the oil is No in Vincent
Galloways, The Oils and Murals of Frank Brangwyn,
but neither the size nor inscription match. Brangwyn,
inspired by the scenery, possibly painted a number
of similar compositions.
.
Ostrich Farm, South Africa,
() Signed with monogram and date b.l.:FB.
Oil on panel, . cm ( in)
Reference: Galloway
Exh: Larkins Japanese Gallery, London, ;
The Fine Art Society, June (No )
Lit:Walter Shaw Sparrow, Frank Brangwyn and hisWork,
London: Kegan Paul,Trench,Trbner, , p ;
The Fine Art Society catalogue, June (plus illustrated)
Brangwyn and William Hunt travelled round South
Africa in , a trip financed by Larkin of the
Japanese Gallery (see fn ). During the trip
Brangwyn painted on identically sized panels,
stored in a specially made case, which enabled the
artist to travel when the boards were still wet.

.
Gulur,
(o) Signed, dated and titled b.r. in red:F Brangwyn Gulur (see p )
Reference: Galloway
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 (No );
The Fine Art Society,
This scene, one of several Brangwyn painted of Spanish goatherds, was undertaken
whilst travelling through Spain in 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.

.
Quay, c
() Signed with monogram b.r.:FB
Oil on board, . cm ( in)
Provenance:The Fine Art Society; private collection
Quay may have been painted when Brangwyn visited Morocco with Dudley
Hardy, the cartoonist and poster designer.

.
Fishermen under a Canopy, North Africa, c
() Oil on canvas, cm ( in)
Provenance: Mrs V Abbot; Liss Fine Art; private collection
Brangwyn and his friend, the artist Dudley Hardy, visited Morocco in and
probably returned the following year for another sketching trip.

.
Fishermens Quarters,Venice, c
() Signed with monogram b.l.:FB
Oil on canvas, . cm ( in)
Provenance:The Fine Art Society; private collection
Brangwyn is thought to have visited Venice for the first time in . He designed
the British Room for the Venice Biennale in and and always felt a
strong association with the city and its celebrated tradition of painting. In
he illustrated Edward Huttons book The Pageant ofVenice.34
Venetian boat-building yards, known as squero, were a favourite subject of
Brangwyns; he produced another five oils, three etchings and two watercolours
on the same theme.

.
Morning after first attempt to block Port Arthur,
() Signed with monogram b.r.:FB; title verso
Grisaille oil on board, . cm ( in)
Provenance:William de Belleroche; Gordon Anderson, private collection
Ill: The Graphic, May , p
The scene illustrates an episode during the war between the Russian and Japanese
fleets at Port Arthur on the Liaotung Peninsula (now Korea). It was one of the
many illustrations Brangwyn painted for The Graphic magazine (see p ) and
was accompanied by the following explanation:
Early in the morning four old vessels escorted by some Japanese torpedo-
boats ran into the entrance of Port Arthur for the purpose of blockading
the mouth of the harbour.The vessels were sunk, but the harbour was not
blocked.The officers and crew all of them volunteers from the fleet
returned in safety.The keenest anxiety was felt by the Russians whether
the passage into the harbour was in any way obstructed by the sunken
ships, and early next morning, when the tide was low, several boats were
sent out to explore the scene of the action and examine the sunken ships.35
. (detail on p )
Gathering Grapes, c
() Oil on board, . cm ( in)
Provenance: private collection
Ill: Scribners Magazine, cover,Vol XXXVIII, October
This painting demonstrates two salient points about Brangwyns 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 May , 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 FBs series for Scribners
magazine.36
Secondly, despite the fact that Brangwyn was financially secure by ,
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.

. (also illustrated on p )
Brass Shop,
() Signed with monogram t.l.:FB
Reference: Galloway
Provenance: Sir James Roberts, and by descent; Cyril Leeper; private collection
Exh: Berlin Academy, Berlin, (No ); Twentieth Spring Exhibition, Bradford, (No );
Venice Biennale, (No ); Exhibition of Paintings Drawings and Etchings by Frank Brangwyn,
Queens Gate, London, (No ); Frank Brangwyn, Leeds, Bruges, Swansea,
Lit:Walter Shaw Sparrow, Frank Brangwyn and hisWork, London: Kegan Paul,Trench,Trbner,
, p ,
Ill:Walter Shaw Sparrow, Frank Brangwyn and hisWork, London, , facing p ;
N M Lazareva, Frenk Brengvin, Izobrazit, , plate
The painting was awarded a gold medal at the Berlin Academy in , and is one
of Brangwyns seminal works. Brangwyn obviously had problems perfecting the
sparkling brass pots and pans, writing to his friend R H Kitson that he had been
trying to paint the brass pots and I feel wretched,37 but his efforts were not
wasted, Shaw Sparrow noting that their handling could not well be bettered.38
The painting was purchased by Sir James Roberts (). Born into
a poor farming family in Haworth,Yorkshire, Roberts started work at Saltaire
Mill at the age of twelve and eventually succeeded Sir Titus Salt as owner of the
mill. He established the chair of Russian at Leeds University in , and in
purchased and bequeathed to the nation the home of the Bront family,
Haworth parsonage. He probably purchased this particular work because his
wife, Elizabeth Foster, had been brought up in Brass Castle, New Jersey.

. (detail on p )
Susanna and the Elders, c
() Oil on canvas, . . cm ( in)
Reference: Galloway
Provenance: Carpenter Collection, Iowa, USA; Des Moines Art Center; Salender-OReilly
Galleries; Liss Fine Art; private collection
Exh: Robert Vose, Boston, USA, ; Exhibition of Paintings Drawings & Etchings by Frank
Brangwyn, Queens Gate, London, (No )
Ill: La Flamma, Rome, June
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
th-century painters, in particular Rubens and Jordaens, whose work
Brangwyn admired.
In Brangwyn painted a larger version measuring cm
( in) which is in the collection of the National Museum of Wales,
Cardiff. In this work the position of the figures is reversed.

.
Venetian Galleons, c
() Signed with monogram b.r.:FB
Oil on board, . . cm ( in)
Provenance: Barbizon House; unknown; Sothebys, London, October , Lot ;
private collection
There is a Barbizon House sticker verso, and Barbizon House had an apparently
identical painting c , described as oil on millboard, measuring in.
The painting may be Galloway (see fn ).
The scene is the lagoon slightly east of the Punta de Dogana, with the Dogana
faintly visible background left.

.
Landing the Catch: Boat Building in the Harbour,
() Signed with monogram and date b.r.:FB
Oil on canvas, . cm ( in)
Reference: Galloway
Provenance: Barbizon House (); private collection (UK)
Exh: Barbizon House, (cat )
Lit and Ill: Barbizon House Record,
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
of the workers in full swing, each absorbed in his own labour.

. (illustrated on p )
Death and the Devil, c
Signed with monogram b.c.:FB.Also inscribed (in another
hand) verso William de Belleroche Collection
Red, black and white chalk and paint on cream paper,
cm ( in)
Provenance:William de Belleroche (No );
Gordon Anderson
This is a study for the oil painting Winter The Seasons
(Galloway , ), one of the illustrations
Brangwyn produced for Eden Phillpotts, The Girl
and the Faun, London: Cecil Palmer & Hayward,
.The oil, which was owned by Brangwyns
patron, Kojiro Matsukata, and was exhibited at
Queens Gate, (No ), is thought to have
been destroyed in the Pantechnicon fire in London,
(see p and fn ).
.
Bridge at Alcantara, Spain, c
Oil on canvas board, . cm ( in)
Reference: Galloway
Provenance:The Fine Art Society (); private collection
Exh: St Ives Society of Artists, Summer
Preliminary sketches for this painting are in one of
Brangwyns sketchbooks.39 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.40

.
Jesus Falls for the Second Time (th Station of the Cross),
() Oil on canvas, cm ( in)
Provenance: Campion Hall, Oxford (presented to Father M C DArcy by Brangwyn);
The Fine Art Society; private collection
Ill: Herbert Furst, The Decorative Art of Frank Brangwyn, London:The Bodley Head, ,
facing p
After World War I, Brangwyn was commissioned to produce Stations of the Cross
for Arras Cathedral through the recommendation of his friend, the artist,
Theophile Steinlen (; see p ). Reproductions of the Stations were
to be distributed to other war damaged churches. Unfortunately the series
was never completed. It was generally reported that this was due to the death
of the model Cervi, although we know from Frank Alfords diary that Marco
Jafrato also posed as Christ.41 The deaths of Brangwyns wife, Lucy, and Steinlen
.
himself may have had more to do with the failure of the commission.
Seated Woman Polishing Brass Pots, c Studies or completed panels have been discovered for of the Stations.
() Signed with monogram b.r.:FB.Also inscribed (probably in another hand) on The work was illustrated in Herbert Fursts book The Decorative Art of Frank
surface:Wilfred Jewson and xxxx/
Brangwyn, facing p . Brangwyn subsequently altered the painting and
Oil on panel, . . cm ( in)
Provenance:William de Belleroche
inserted his self portrait on the right, offering succour to Christ, probably
before presenting the work to Father DArcy (c ).42

WATERCOLOURS, GOUACHE
AND MIXED MEDIA
He [Brangwyn] is English, perhaps in the skill with which he handles
water-colours, but he is far from being readily related to the so-called
English Tradition. He is not as realistic as Constable, nor as romantic
as Turner, nor as flat as Cotman, nor as atmospheric as Cox, nor as
architectural as Roberts, nor as delicate as Steer. He is one thing that
none of these water-colourists ever were: primarily decorative.
Apollo, June , p
Brangwyn produced over works in watercolour, gouache and mixed

Herb Market,Venice, c media. The earliest known watercolour, of a boat-shed (private collec-
(detail; cat )
tion), dates from and the last known, dated , is of the Jointure
garden (private collection), an amazingly competent work from a man
of suffering so badly from rheumatism that he could scarcely hold a
pen.The early works ranged from . cm ( in) to cm
( in), but in the artist produced a watercolour measuring
cm ( in) and thereafter his standard size of paper was
about cm ( in). The largest watercolour he is known
to have painted was Weekly Dispatch, (private collection), which
measured cm ( cm).
The artists approach to watercolour painting was not that of a purist.
Eschewing the usual small sketchbooks Brangwyn appears to have armed
himself with Imperial sheets ( cm, in) on which he threw
a mixture of watercolour, gouache, powder colour, tempera, pencil, pen,

chalk, pastel and waxed crayon. Sometimes large areas of the white or
tinted paper were left as uncoloured highlights or the entire sheet was
given a wash of peach colour. Brangwyn claims to have used only eight
colours flake white, yellow ochre, raw sienna, burnt sienna, cadmium,
Venetian red, vermilion and French blue, although another source sug-
gests that sepia, black and Chinese white lurked in his paint box.43
Many of the watercolours are travel documents, showing landscapes,
townscapes, rivers and bridges, often relating closely to photographs.
Although populated, figures tend to punctuate rather than dominate the
watercolours, in contrast to the oils and murals. Favourite destinations
for sketching trips were Italy, especially Venice ( works) (see cat ,
and ), France ( works) including Cahors (see cat ), St Cirq
Lapopie, La Roque, Montauban and Albi, Belgium ( works) including
Bruges,Antwerp, Diksmuide and Vuerne and Sicily ( works) including
Messina and Taormina.
Brangwyns watercolour painting was influenced by Arthur Melville,
with whom he travelled to Spain in , and possibly also by the works
of John Sell Cotman, of whom Brangwyns patron, R H Kitson, was a
renowned collector.44
Apart from showing a watercolour at the Royal Institute of Painters
in Watercolour in , Weekly Dispatch at the Grosvenor Gallery in
, and a number of works illustrating the devastation of the Messina
.
earthquake at The Fine Art Society in , Brangwyn rarely exhibited
Provins, c
his watercolours.45
() Pencil, ink and watercolour on paper, cm ( in)
The painting shows the west faade of the th-century church of Saint Ayoul,
Provins, Ile de France.The painting has, in the past, been mistakenly titled Poitiers.
, ,
. . (detail on p )
Cahors, c Herb Market,Venice, c
() Signed with monogram b.r.:FB () Signed with monogram b.l.:FB and inscribed with title verso
Watercolour, pencil and gouache on toned paper, . . cm ( in) Watercolour and bodycolour on paper, cm ( in)
Provenance: Dr Gregory; Harold Esselmont MBE;The Fine Art Society; private collection; Reference: Bunt
The Fine Art Society Provenance:William de Belleroche;The Fine Art Society;Texas Instruments, Dallas, USA;
Exh: Ian MacNicol Galleries, Glasgow;The Fine Art Society, Lucy Winterbottom; private collection
Cahors was a favourite sketching haunt of Brangwyns he also produced five Exh: Exhibition of Paintings Drawings & Etchings by Frank Brangwyn, Queens Gate, London,
etchings of the town.This scene shows the side view of the Barbacane which (No ); Exhibition of Paintings by Sir Frank Brangwyn RA from the Collection of CountWilliam
de Belleroche, Ferens Art Gallery, Kingston upon Hull, ; Sir Frank Brangwyn RA: Paintings
stands next to the Tour des Pendus.
andWatercolours from the Collection of CountWilliam de Belleroche,The Fine Art Society,
(No ), gns; The Fine Art Society Story, Part ,The Fine Art Society, (No ) (plus Ill)
Brangwyn delighted in the soft air of Venice, and painted more than
watercolours of the city.
, ,
. .
Santa Maria Gloriosa dei Frari, c Kew Bridge, c
() Signed with monogram b.r.:FB () Signed with monogram and title b.r.:
Watercolour and bodycolour on paper, cm ( in) Watercolour and bodycolour, . cm ( in)
Reference: Bunt Brangwyn produced an etching of Kew Bridge, two oils and a further two
Provenance: Lucy Winterbottom;The Fine Art Society; private collection
watercolours, all of which show the length of the bridge in perspective.
Exh: Autumn Exhibition of Paintings and Watercolours by Leading Artists,The Fine Art Society,
; The Fine Art Society Story, Part ,The Fine Art Society, (No ) (plus Ill) This viewpoint is unusual, placing the bridge horizontally.
Ill: Edward Hutton, The Pageant of Venice, London: John Lane,The Bodley Head, , facing p This may be Bunt which belonged to Sir Percy Thomas, the architect of
This watercolour depicts the Campo San Rocco, with the apse and tall campanile the Guildhall at Swansea where Brangwyns British Empire murals now hang.
of Santa Maria Gloriosa, commonly known as Il Frari, background.The original
Franciscan church dates back to the mid th century but was rebuilt in Venetian
Gothic style in the th century.
, ,
KINGS OF THE SEA, c 1924
() drawings, mixed media on paper, all approximately cm ( in)
Provenance:William de Belleroche (nos and ); private collection
The following sketches form part of a series produced as illustrations,

referred to in a letter from Brangwyn to Martin Hardie:
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.46
. (* illustrated clockwise from top left)

*Old Sea Character in a Bowler Hat, *Chief of Combatore, *Lion of
Samsun, *Ralph Fitch, *Bearded Sea Captain, *An Armenian, Abraham
Birdvod of Ipswich, , Captain Chas, Coal King, His Richness of
Bal, Isac Cutts, Keeper of a Low House, Man of Maratha, Mule Man,
Old Boatman, Old Sailor, Patwawantin:The Ojibway Chief, Ralph
Gonson, Sir E Osborn, Whaler of Rye
, ,
. (illustrated above)
Ships in a Venetian Port, c
Watercolour, cm ( in)
The painting of Venetian boats was probably produced from memory.
.
Good Samaritan, c
() Unsigned, inscribed in scroll at base:
Mixed media on paper, . cm ( in)
Provenance: Liss Fine Art; private collection
Possibly an illustration for a book, as yet unidentified.
. (illustrated opposite)
Venetian Canal, c
Pencil and watercolour, . cm ( in)
Provenance:William de Belleroche; private collection
, ,
.
The Jointure, Ditchling, c
drawings, mostly watercolour and pencil on lined paper, all approximately
cm ( in)
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 [sic].47
The four drawings reproduced here show Brangwyn and Lizzie Peacock by the
sundial on the lawn, with Brangwyn's house extension to the right; and various
parts of the garden with Brangwyn's earthenware pots, where the artist and
Belleroche talked of Art.
, ,
DRAWINGS
It is in the drawings that the key to Brangwyns greatness is to be found.
T W Earp,Brangwyn Art at Academy, Daily Telegraph, October
The earliest surviving pencil sketch by Brangwyn is dated (Portrait

FB starts his collection of of an unknown man, private collection). Over years later Brangwyn
pots, c (detail; cat )
was still producing drawings, including over book illustrations.48
The majority of Brangwyns drawings can be identified with finished
compositions and where this is the case they have been classified, both in
this catalogue and Libby Horners catalogue raisonn, within each of the
sections to which they relate: Murals, Oils,Watercolours and Prints etc.
This section is dedicated to the residual works.
Drawing was a compulsion for Brangwyn endless sketches on the
backs of envelopes, letterheads and scraps of paper (in fact anything that
came to hand) attest to this.
Brangwyn experimented with mixed media, often combining any of the
following pencil, crayon, chalk, charcoal, pastel, pen and ink and brush
and ink.The drawings were made on a variety of different coloured papers.
In the s he also experimented with scraper boards (see cat ).
Although he had no formal training few th-century British artists
rivalled his technical excellence in this respect he might be compared
to Augustus John and William Orpen. Brangwyn obviously enjoyed the
process of sketching, hence the volume of work, sometimes drawing the
same subject time and again with only small variations, and would return
to particular images for inspiration years later, making dating of com-
pleted works somewhat difficult. His figure studies and images of plants
and animals, carried out in soft pencil, chalk, pastel or mixed media, dis-
play a confidence of line which rarely required change. Brangwyn felt
that sketches show the most intimate side of an artists career [studies]
are usually the best thing an artist does.49

In common with many artists and writers, Brangwyn enjoyed the voy-
age of discovery far more than reaching port, the intellectual journey, the
studies and cartoons, more than the signature added to a completed
painting (see p ). He explained this view to a reporter in :
The ideas right at the back of my mind ideas impossible to
express in words are dawning into shape. The painting is only
secondary; its the thinking and planning the endless seeking for
satisfaction with your work that really counts.50
.
New London Bridge, c
() Pastel on buff paper, . cm ( in)
Provenance: Royal Bank of Scotland
Ill:Walter Shaw Sparrow, A Book of Bridges, London: John Lane,The Bodley Head, ,
facing p
The sketch was made from a photographic study, with the addition of extra
barges and the youths.51

.
Carrara Quarrying, c
() Signed in black b.r.:F Brangwyn and monogram in white b.r.:FB (see p )
Pastel and cont crayon on paper, . . cm ( in)
Ill: Nero and Modern Time52
This composition, with its angularity and striking palette shows Brangwyns
adept response to Vorticism, but with a characteristically decorative slant.

A Modern Picture, c
() Signed with monogram b.r.:FB and title below:a Modern picture
Pencil on paper, . . cm ( in)
Provenance:William de Belleroche, private collection
Circus,
() Pen, ink and wash with scratching out on card primed with gesso,
. cm ( in)
Artist, Model and Patron, c
() Pen and ink drawing on paper, . . cm
Provenance:William de Belleroche; Private Collection
FB Painting Alfred East in the Garden, c
() Inscribed with title top and b.r.:Temple Lodge.Also inscribed (in another hand)
b.r.:WdeB coll
Pen and ink on paper, cm ( in)
Brangwyn painted a portrait of his friend and mentor, Sir Alfred East, in about
, and the work is in the collection of the National Portrait Gallery, London.
A photograph in Brangwyns collection, records the occasion, Brangwyn at his
easel, East sitting in the background.53 Brangwyn would appear to have drawn
inspiration from this photograph, possibly at the behest of Belleroche.

.
Brangwyn Museum, Bruges, c
() Signed with monogram b.r.:FB and inscribed below:What a grand home for what
I fear/is hardly worthy of the contents.Also inscribed (in another hand) b.r.:WdeB Coll
Pen and ink on Jointure notepaper, . cm ( in)
Ill:William de Belleroche, Brangwyn Talks, London, , facing p
William de Belleroche helped establish the Brangwyn collection at the Arents
House Museum in Bruges (see p ).
.
Outside the Brangwyn Museum, Bruges, c
() Signed with monogram b.r.:FB.Also inscribed (in another hand) b.r.:WdeB coll
and outside the Brangwyn Museum (Inauguration Day) and b.l.:Coll WdeB
Pen and ink drawing on paper, . . cm ( in)
Provenance:William de Belleroche (No B); Gordon Anderson
Ill:William de Belleroche, Brangwyn Talks, London, , facing p
Making a deal for the pots from Syrene, c
() Inscribed top:we make a deal for the pots from Syrene, and b.l.:Sanger.
Also inscribed (in another hand) b.r.:WdeB Coll
Pen, ink and pencil on thin paper, cm ( in)
Provenance:William de Belleroche (No A); Gordon Anderson
Belleroche owned a photograph showing a similar scene, inscribed FB doing a
deal with a Jew.
Snake Charmers in Morocco, c
() Inscribed model.Also inscribed (in another hand):snake charmer
Pen and wash on paper, . cm ( in)
Exh: Exhibition of Works by Frank Brangwyn RA, Royal Academy of Art, London, (No )
Ill:William de Belleroche, Brangwyns Pilgrimage, London, , facing p
. (detail on p )
Life in Messina after the Earthquake, c
() Inscribed below drawing:The Hotel at Messina/Full page
Pencil overlaid with pen and ink on blue paper, . . cm ( in)

. (detail on p )
Napier Hemy Painting at Putney, c
() Signed with monogram b.r.:FB and inscribed:Napier Hemy and FB and Full paper
Pencil overlaid with pen and blue ink on paper, . cm ( in)
Exh: Exhibition of Works by Sir Frank Brangwyn RA, Royal Academy of Art, London, (No )
Ill:William de Belleroche, Brangwyns Pilgrimage, London: Chapman and Hall, , facing p
In Brangwyns Pilgrimage, Brangwyn recalled seeing Hemy near Putney Bridge:
He painted on the bank, amid the willows and rushes.This was good cover
for me to creep up without him seeing me, and to watch him at work. In
this way I got some first class lessons in the art of painting.After his days
work was done, he scraped his palette and wiped his scrapings on the
wall.When hed gone, I used to go and gloat over those scrapings with
great joy the colour ooh! It was marvellous!54
Penny Steam Boat, c
() Inscribed b.r.:river steamer/the penny Steamboat/full page
Pen and pencil on paper, cm ( in)
Provenance:William de Belleroche (No ); Christie's, July , part Lot ;
Gordon Anderson
Exh: Exhibition of Works of Sir Frank Brangwyn RA, Royal Academy of Art, London, (No )
In Brangwyns Pilgrimage, the artist described the steamboat:
What was called by us the Penny Steamboat was a great boon one
could get to all sorts of places easily Oh and the wonderful sights
to be seen at all times from the deck! the river below the bridge was
packed with small shipping whole tiers of schooners, brigs, billy boys,
ketches, lighters, etcetera, etcetera and one would see barges sailing in
and out of all this block of stuff.55

Wormwood Scrubs, c
() Signed with monogram b.l.:FB and inscribed b.c.:wormwood scrubs
and with notes verso (see below).Also inscribed b.r.:WdeB Coll
Blue ink and wash on blue paper, . . cm ( in)
Provenance:William de Belleroche (No ); Christie's, July , part Lot ;
Gordon Anderson
Brangwyn wrote his own description of events on the back of the drawing:
we boys used to spend the days on the scrubs, one day we came across a
crowd of men who grabbed us it was a prize fight a real one. One of the
men hoisted me on his shoulders so I had a good view.The idea was to keep
us boys from running away and talking it was an awful exhibition and I have
never forgotten it, but do not wish to dwell on it it was called a contest to
the finish./The only thing about it was the way the men treated us boys./
It was in the open so that they could see for a mile or two clear.
. (illustrated p )
Young Brangwyn with his Godfather at Bruges, c
() Signed with monogram b.r.:FB and inscribed espaliers and Full page.Also inscribed
(in another hand):My godfather Monsegneur de Boon/FB the stork and Alphonse
Pencil overlaid with pen and ink on paper, . cm ( in)
. (illustrated on p , detail on p )
FB starts his collection of pots, c
() Signed with monogram b.l.:FB and inscribed with title below
Pencil and blue ink on paper, . cm ( in)
. (illustrated p )
In a Spanish home, c
() Inscribed above drawing:[p]osada and Full page
Pencil overlaid with pen and blue ink on paper, . . cm ( in)
This drawing was presumably destined for Brangwyns Pilgrimage, but unused in
final version.

PRINTS
There should be a lot more common sense in Art, and a lot less affectation;
and perhaps the worst affectation is this nonsense about vulgarising Art by
associating it with Commerce. I hope to see it associated a good deal
more not only with Commerce but with everyday Life. I want Art to be
more useful, comforting and helpful to the people.
(Brangwyn quoted in Percy V Bradshaw, Art in Advertising,London:The Press Art
School, nd, p )
Brangwyn believed fervently that art should be available to all, regard-

Head of a Clown, less of wealth or station, which explains his interest in all forms of print-
c (detail;
cat )
ing. He designed well over , original prints, making him one of the
most prolific printmakers of the th century, a remarkable feat consid-
ering that his prints account for less than tenth of his oeuvre.56 Yet there
has been no attempt in the past to catalogue Brangwyn's work as a wood-
cutter or lithographer, or to quantify his war or commercial posters.
The following account represents the first accurate account of Brangwyn's
activity as a print maker.
As with his involvement with other disciplines, Brangwyn was inno-
vative, testing the limitations and printing processes of each medium,
and blurring the academic boundaries between the printing methods. He
reworked images in a variety of media, often using the same design for
woodcuts, etchings and lithographs. He frequently recycled areas of
etching plates to produce another print run.57 His Stations of the
Cross were lithographs drawn on zinc and printed on wood, and a
woodcut of printers clearly depicts an etching press (see cat ).
To keep up with demand for his work and maximise its availability,
Brangwyn allowed a number of commercial reproductions to be made of
his work, which were collated in limited edition folios, the principal
ones being:

Work, London: Berlin Photographic Company, 58 ( works) ETCHINGS
At the Front and at the Base, London: The Fine Art Society,
Even Piranesi was not stronger, and he had not the variety of appeal that
( works)
makes Brangwyn a master etcher in landscape, in architecture, in dramatic
Ruins of War, Canadian War Memorials Fund, ( works) scenes from industrial life, in marines, and in sympathy with the outcast
and the poor.
Brangwyn Fourteen Examples of his Work, London: Morland Press,
Walter Shaw Sparrow,Frank Brangwyn and his Etchings in Albert Roullier
( works)
Art Gallery exhibition catalogue, c
Amelia S Levetus (compiler), Frank Brangwyn. Zwanzig Graphische
Arbeiten,Vienna: Artur Wolf Verlag, ( works)
Between and Brangwyn produced over etchings. His
Brangwyn Portfolio, London: Paul Turpin, 59 ( works)
plates were frequently deeply bitten and printed with a combination of
An English Portfolio, Bookman, ( works) raw sienna, burnt sienna and French black on buff coloured sheen paper,
the precise inking and wiping of the plate playing an important part in
The reproductions in the Brangwyn Portfolio are lithographs produced the final production, producing dramatic chiaroscuro. Many of the plates
by photomechanical means and are frequently mistaken for original were large, some over cm ( in) square. Brangwyn tended to use
works since the quality was superb. Brangwyn and his assistants further zinc plates rather than the more expensive, but traditional, copper. The
complicated matters by adding chalk to some of the prints and stencilling etchings were produced in several states, sometimes the first state having
watercolour over others, giving the impression of original works. only one impression, other editions were as many as . Brangwyn him-
Brangwyn was made an Associate and Fellow of the Royal Society of self experimented with printing processes, but for large runs employed the
PainterPrintmakers in ; founded the Society of Graphic Art in expertise of both Frederick Goulding and Mr Welch of Shepherds Bush.
, a group which exhibited both drawings and prints at the Royal Brangwyn started etching in the s but the works pre have
Institute Galleries from to ; and was an active member of the not been identified or catalogued.63 The artist must, however, have
Senefelder Club from its foundation in , succeeding Joseph Pennell attained a high standard because he exhibited some etchings at the Vth
as President in .60 Secession, Vienna in November . Brangwyn did not appear to
Brangwyn collaborated with other printmakers, for example exhibit in the UK until (Rowland Club, Cliffords Inn). Santa Maria
H GWebb and C W Moore who made wood engravings from Brangwyns Through the Rigging, c (Gaunt ) was awarded the Grand Prix at the
drawings.61 (for Webb see also cat ) Brangwyns greatest collabora- Milan International Exhibition in , and a gold medal the following
tion, however, was with Yoshijiro Urushibara, also known as Mokuchu. year at the Venice Biennale; and the nd Secession,Vienna, , displayed
Urushibara was born in Tokyo in and learnt the arts of carving and etchings and drawings by Brangwyn, Bridge of Sighs, (Gaunt )
printing woodblocks as a youth. Between and he divided his being awarded the Grand Gold Medal by the Emperor of Austria.
time between Paris and London, and gave a demonstration of Japanese In an age dedicated to Whistlerian, small scale, finely etched works,
printmaking at the Anglo-Japanese Exhibition, London, in . The Brangwyns large, dark, dramatic plates caused some critics to accuse
two men became friends and worked together on three publications.62 him of violating the medium.64 He probably confounded the same crit-
(see cat ) ics, and certainly proved the diversity of his talent in his later etchings,
many of which were very small, for example his illustrations for Jerome
and Jean Tharauds, LOmbre de la Croix (; see p ) and the Book of

Brangwyn and his assistant
Edward Trumbull at the
etching press,Temple Lodge
Studio,c , (cat d)
Job ().65 Brangwyn used copper plates for these works, some as
small as . . cm ( in).
In his catalogue William Gaunt mistakenly noted that plates
Manchester Ship Canal study, c
were destroyed when it is apparent that they were cut down and re-
Inscribed:The Opening of the Manchester Ship Canal
used.66 He also stated that plates were etched in situ, but Brangwyns Pencil on tracing paper, . cm ( in)
drawings and photograph collection would indicate otherwise. For Provenance:William Stewart and by descent
example, Gaunt stated that Blacksmiths, (Gaunt ) was etched This is a study for Brangwyns etching entitled Opening of the Manchester Ship
direct from nature without preparatory drawing, but it is obviously Canal (E), of which prints were made. Not listed in Gaunt.
taken from the Venice Biennale mural, Blacksmiths (Leeds City Art .
Gallery). Similarly, Old Hammersmith, (Gaunt ), showing Man Carrying a Block,
Queens Wharf at the end of Queen Street where Brangwyn lived, was Signed with monogram b.r.: and inscribed with lettering: .
based on a drawing taken from a photograph. Strand on the Green, No , Also inscribed (in another hand) b.c.:WdeB coll
Pencil and wash on paper, . cm ( in)
(Gaunt ) and Demolition of the Post Office, (Gaunt ) were Provenance:William de Belleroche (No); Gordon Anderson
both based on photographs.67 Two studies on one sheet for the bookplate designed for HerrVictor Singer,
The etchings depict landscapes, townscapes, Brangwyns favourite (Gaunt ) which was printed from a copper etching (see p and fn ).
bridges, windmills and city gates, industrial locations and the outcasts of
society beggars, cripples and blind people although there are few
portraits.What is immediately apparent in the etchings is the incredible
draughtsmanship and technical facility especially when dealing with
engineering, architectural and marine subjects.

LOMBRE DE LA CROIX, 1931 (B1218)
The text, written by the brothers Jerome and Jean Tharaud, was pub-
lished by Editions Lapina, Paris, , in two volumes, and was illus-
trated with Brangwyn etchings.The book describes the lives of Jews
in contemporary Europe and many of Brangwyns 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 sug-
gests that a large proportion of the etchings were based on photographs.
The etchings are not listed in Gaunt.
.
Tree-Cutters, c
Signed with monogram b.r.:FB.Also inscribed (in another hand) b.l.:WdeB Coll
Pencil and watercolour on paper, cm ( in)
Provenance:William de Belleroche; Gordon Anderson
Study for LOmbre de la Croix, Book , p (E)
.
Synagogue Interior, c
Signed with monogram b.r.:FB.Also inscribed (in another hand) b.r.:WdeB Coll
Sepia wash on tracing paper stuck to cream card, cm ( in)
Provenance:William de Belleroche (No B); Christie's, July , part Lot ;
Gordon Anderson
Study for LOmbre de la Croix, Book , p (E)
Courtyard, c
() Etching proof with pen alterations, . . cm ( in)
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, September
Ill: LOmbre de la Croix, Book , p
Verso pencil sketches and inscription See Ruskins life/of Turner dealing/
with his boy hood/Modern painters
.
Reading the Torah, c
() Signed with monogram b.r. of figure:FB.Also inscribed (in another hand) b.r.:
WdeB coll
Sanguine on cream paper, . . cm ( in)
Provenance:William de Belleroche (No A); Christie's, July , part Lot ;
Gordon Anderson
Probably drawn as study for LOmbre de la Croix but unused in final version.

.
WOODCUTS Printer, c
() Monogram in pencil c.r.:FB and inscribed b.r. below image:Minerbi/Zoir.
Brangwyns woodcuts have a manner all their own autocratic, altogether Also inscribed b.l.:WdeB Coll
arbitrary, though pregnant with magic. Blue and black ink on paper, . . cm ( in)
Provenance:William de Belleroche (NoA); Christie's, July , part Lot ;
Walter Shaw Sparrow, Prints and Drawings by Frank Brangwyn, London: John Lane,
Gordon Anderson
The Bodley Head , p Probably designed as a logo or bookplate and to be printed as a woodcut,
although the sketch depicts an etching press. Minerbi probably refers to Baron
Lionel Hirschel di Minerbi who commissioned Brangwyn to design an interior
Brangwyn produced over wood engravings and woodcuts between for the Palazzo Rezzonico in (see p ).The plans were unexecuted.
and , including bookplates and a large number of book . (illustrated below)
illustrations and head and tail pieces.68 The woodblocks vary in size from Tramp with Dogs, c
cm ( in) to cm ( in) () Original woodblock, . . cm ( in)
Between and Brangwyn produced fourteen woodcut Provenance:William de Belleroche; Gordon Anderson
Stations of the Cross with the help of William de Belleroche. The images Ill of print: Dominique Marechal, Collectie Frank Brangywn, Bruges Stedelijke Musea, ,
p ; The Silver Jubilee Festival,Ditchling,
measure cm ( in).
The woodblock is mounted with a woodcut to the reverse, printed
posthumously from the block by David Maes.
. (illustrated top right)
Design for a bookplate (recto), Figures and jugs (verso), c
() Inscribed verso:water pouring out of/jugs
Brown ink wash and crayon on paper, . cm ( in)
Probably a design for Brangwyns own bookplate, to be produced as a woodcut.
Brangwyn drew over bookplates for friends and colleagues both in the
UK and abroad (notably France and Italy). designs are undated, the remainder
dated between c and . Of the bookplate designs known to have been
printed the majority () were woodcuts.69 Many, but not all, were reproduced
in Bookplates by Frank Brangwyn RA, compiled by E Hesketh Hubbard and Eden
Phillpotts.70
The craft probably appealed to Brangwyn because bookplates were considered
at the time to be a product of democracy and afforded evidence of the spread of
education.
. (illustrated bottom right)
Design for a Bookplate, c
() Pencil and wash on lined paper, . cm ( x in)
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, September (part Lot )
Probably a design for Brangwyns own bookplate, to be produced as a woodcut.

.
Jesus Falls Below the Cross,
() Original woodblock, . . cm ( in)
Exh: Frank Brangwyn, Leeds, Bruges, Swansea,
Ill of print: Form, London: John Lane,April ; Dominique Marechal, Collectie Frank
Brangywn, Bruges Stedelijke Musea, , p
Also known as Via Dolorosa No , this was not one of a series of Stations of the
Cross, but may have been inspired by Brangwyns sadness at the destruction of
Belgium during World War .The onlookers wear contemporary clothes.The
woodblock is mounted with a woodcut to the reverse, printed posthumously
from the block by David Maes.
.
Edith Hope, c
() Lettering: t.l. and below image
Original woodblock, . . cm ( in)
Exh of print: The Old Matsukata Collection, Kobe, Japan, (No B-)
Ill of print:Walter Shaw Sparrow, Prints and Drawings by Frank Brangywn, London: John Lane,The
Bodley Head, , p ; E Hesketh Hubbard and Eden Phillpotts, Bookplates by Frank Brangywn
RA, London: Morland Press, , plate ; Dominique Marechal, Collectie Frank Brangywn,
Bruges Stedelijke Musea, , p ; The Old Matsukata Collection, Kobe, , p
Edith Hope was an Australian who studied at the London School of Art.The
figure is similar to the designs Brangwyn made for Sir Edmund and Lady Davis,
(see p ).The woodblock is mounted with a woodcut to the
reverse, printed posthumously from the block by David Maes.

. .
Mask , c Man with a Scythe, c
() Original woodblock, . . cm ( in) () Original woodblock, . . cm ( in)
Provenance:William de Belleroche; Gordon Anderson Provenance:William de Belleroche; Gordon Anderson
Ill of print:Walter Shaw Sparrow, Prints and Drawings by Frank Brangwyn, London: John Lane, Ill of print: Dominique Marechal, Collectie Frank Brangwyn, Bruges Stedelijke Musea, , p
The Bodley Head, , p ; Dominique Marechal, Collectie Frank Brangwyn, Bruges, The woodblock is mounted with a woodcut to the reverse, printed posthumously
, p
Brangwyn produced a series of mask type faces, probably inspired by Japanese
masks.The woodblock is mounted with a woodcut to the reverse, printed
posthumously from the block by David Maes.
.
Mask , c
Ill of print:Walter Shaw Sparrow, Prints and Drawings by Frank Brangwyn, London: John Lane,
The Bodley Head, , p ; Dominique Marechal, Collectie Frank Brangwyn, Bruges, ,
p ,
The woodblock is mounted with a woodcut to the reverse, printed posthumously

.
Jules Guerin, c
Inscribed below image:JULES GUERIN.Also inscribed (in another hand) b.r.:
WdeB coll and verso:No
Ink on paper stuck to card, . cm ( in)
Gordon Anderson
A study for a bookplate for Jules Guerin,NewYork (). Guerin, as Director of
the Panama-Pacific International Exposition , chose Brangwyn as one of
the mural artists (see p ).
. (illustrated below)
Woodcutter, c
Ill of print: ModernWoodcutters No , London: Morland Press, ; Dominique Marechal,
Collectie Frank Brangwyn, Bruges Stedelijke Musea, , p
.
Arab Women Carrying Jugs, c
() Original woodblock, . cm ( in)
.
Study for Arab Women Carrying Jugs, c
() Signed with monogram t.l.:FB.Also inscribed (in another hand) verso:
and WdeB Coll
Black ink, crayon and brown paint on paper, . cm ( in)
Provenance:William de Belleroche (No C); Christie's, July , part Lot ;
Gordon Anderson
.
War Sketches,
Ink and pencil sketches, on Temple Lodge headed notepaper, . . cm ( in
Sketches for three war related woodcuts, Damn theWar (), Fire ()
and Horresco ().

Circus, c
Inscribed (not in Brangwyns hand) verso:Wm de Belleroche Collection
Black ink wash on paper, . cm ( in)
Provenance:William de Belleroche (No C); Christie's, July , part Lot ;
Gordon Anderson
Study for the woodcut (V) illustrated in Emile Verhaerens Les Villes
Tentaculaires, Paris: Helleu & Sargent, .
North Wind, c
() Original woodblock, . cm ( in)
Ill of print: ModernWoodcutters No , London: Morland Press, ;Walter Shaw Sparrow,
Frank Brangwyn and his Etchings.An Appreciation, ;Walter Shaw Sparrow, Frank Brangywn and
hisWork, London: Kegan Paul,Trench,Trbner, , cover; Dominique Marechal, Collectie
Frank Brangwyn, Bruges Stedelijke Musea, , p
LEroica, c
() Lettering: // at top;/ b.r.
Original woodblock, cm ( in)
Ill of print: Dominique Marechal, Collectie Frank Brangwyn, Bruges Stedelijke Musea, , p
LEroica was an art quarterly magazine published in Milan which illustrated
Brangwyns work in .The block may have been cut by H GWebb from
Brangwyns drawing, but does not bear his usual mark H.G.W.Sc 71 (for
Webb see p ).
The image of the boy with globe was used by Brangwyn in his panel The Founding
of Tonbridge School by Sir Andrew Judd, for the Worshipful Company of Skinners,
and in an etched bookplate for Bernard Bergl.The woodblock is mounted with a
woodcut to the reverse, printed posthumously from the block by David Maes.

. (illustrated right top)
Jane Owe, c
Signed with monogram b.r.:FB and inscribed with lettering top:- //.
Also inscribed (in another hand) b.l.:WdeB coll
Ink on paper, . . cm ( in)
Gordon Anderson
A study for the bookplate Jane Owe,London () printed from a woodblock.
. (illustrated right)
Gargoyle, c
Lit and Ill of print: Dominique Marechal, Collectie Frank Brangwyn, Bruges Stedelijke Musea,
, p
A delightful character with a mix and match body comprising an owl face,
skeletal arms and a protruding stomach.The woodblock is mounted with a
woodcut to the reverse, printed posthumously from the block by David Maes. cut out and add drop
shadow
. (illustrated opposite bottom)
Press,
() Original woodblock, cm ( in)
Ill of print: ModernWoodcutters No , London: Morland Press, ;Amelia S Levutus
(compiler), Zwanzig Graphische Arbeiten,Vienna: Artur Wolf Verlag, , cover;
Dominique Marechal, Collectie Frank Brangywn, Bruges Stedelijke Musea, , p
The image depicts an etching press.The woodblock is mounted with a woodcut
to the reverse, printed posthumously from the block by David Maes.
. (illustrated apposite top)
Press Study,
Pen and crayon on paper, cm ( in)
This is the original drawing for the woodblock cat . Judging by the
technique and strong character of the following drawings, they were
probably sketches for as yet unidentified woodcuts.
. (detail on p )
Head of a Clown, c
() Signed with monogram b.l.:FB and inscribed across bottom of image: ?.
Also inscribed (in another hand) b.r.:WdeB Coll
Black ink and brush on Temple Lodge headed notepaper, cm ( in)
The face was probably intended to be printed as a woodcut as with cat .

.
Ploughing, Harvest, c
() Inscribed (not in Brangwyns hand):in Roman Numerals/capitals? and
A.F. Society founded in . Black ink and crayon on paper, cm ( in)
Gordon Anderson
This may have been a design for a logo or bookplate.
cut out
. (illustrated left)
Old Man at the Circus, c
() Signed with monogram b.r.:FB.Also inscribed (in another hand) b.l.:
and verso:Wm de Belleroche Coll. Black ink on paper, . cm ( in)
Gordon Anderson
.
Study of a Nurse and another Figure, c
() Signed with monogram c.r.:FB; inscribed:to all same size/cheap wood crossed
out, and inch.Also inscribed (in another hand) below:WdeB Coll and verso:No
Black ink and crayon on paper, . . cm ( in)
Provenance:William de Belleroche (No C/D); Christie's, July , part Lot ;
Gordon Anderson
Two images side by side, each measuring . cm, and labelled and .
. (illustrated above top)
Fishermen in a Boat, Holland, c .
() Signed in full b.r.:Frank Brangwyn.Also inscribed (in another hand) b.l.: Two Figures Carrying Bundles, c
cat WdeB coll and verso William de Belleroche Collection
Blue and black ink, pen and brush on paper, cm ( in)
Black ink on paper, . cm ( in)
Provenance:William de Belleroche (No B); Gordon Anderson
Gordon Anderson
Farmhouses, c .
() Signed with monogram b.l.:FB.Also inscribed (in another hand) verso: Three Figures Walking, c
a William de Belleroche Collection
() Signed with monogram b.r.:FB.Also inscribed (in another hand) b.l.:
Blank ink on paper, . . cm ( in)
WdeB Coll and verso:No
Black ink on back of an envelope addressed to Mrs Brangwyn,Temple Lodge,
Gordon Anderson
cm ( in)
.
Gordon Anderson
Man in the Fields Blowing Horn, c
() Signed with monogram b.l.:FB and inscribed t.c.: inch.Also inscribed .
(in another hand) b.l.:WdeB coll and verso:William de Belleroche Travellers Figures, Morocco, c
Black ink on paper, cm ( in)
() Signed with monogram twice, b.r. and b.l.:FB and inscribed t.l.:.
Also inscribed (in another hand) verso:WdeB coll
Gordon Anderson
Ink and brown crayon on paper, . . cm ( in)
Gordon Anderson

. (illustrated right) . (illustrated p )
Pole Jumper at the Circus, c Exposition Brangwyn Bruges,
() Signed with monogram b.l.:FB.Also inscribed (in another hand) verso: Inscribed in pencil below image:/Can you get it photograph [sic] reversed? I fear there is
William de Belleroche more work than/you have time for if so I/will get a friend to cut it/let me know. Lettering:
Black ink on cream paper, . cm ( in) /// Juillet a/Octobre/
Provenance:William de Belleroche (No A); Christie's, July , part Lot ; Ink and tippex on tracing paper, . cm ( in)
Gordon Anderson Provenance:William de Belleroche; Hilary Gerrish
Design for a poster to advertise the exhibition held in the Arents House,
.
Bruges in , after which Brangwyn bequeathed the works displayed to
Women Carrying Bundles on their Heads, c the city.This poster contains a self-portrait of the artist begging for alms.The
() Inscribed (not in Brangwyns hand) verso:WdeB Coll design finally chosen, illustrating a monk leafing through a portfolio, was
Black ink on paper, . cm ( in)
cut out printed from a woodcut.72
Gordon Anderson .
. Leaves from the Sketch Books of Frank Brangwyn,
Societa Nationale Dante Alighieri, () sheets of woodcut prints, . cm ( in)
() Lettering: / / . The book, with an introduction by Laurence Binyon, was published by Frank
Original woodblock, . . cm ( in) Lewis, Leigh-on-Sea, in , letterpress and cover by Ditchling Press, in an
Provenance:William de Belleroche; Gordon Anderson ordinary limited edition of copies, of which were signed and numbered.
Exh of print: Brangwyn Centenary, Cardiff,Aberystwyth, Haverfordwest, Swansea, This is No of and is signed by Urushibara.The sheets are of illustrations
Bangor, (No ) taken from Brangwyns sketch books and are reminiscent of Hokusais Manga.
Ill of print: Estella Canziani, Round Three Palace Green, London: Methuen and Co, , facing
Urushibara cut the woodblocks a keyblock and then individual blocks for each
p ; Dominique Marechal, Collectie Frank Brangwyn, Bruges Stedelijke Musea, , p
colour. He then printed the blocks by hand, without the use of a press.
Dantes head is shown in profile with Charons barque behind.The Dante Alighieri Brangwyn was obviously pleased with the results, telling A H Mackmurdos
Society was the name given to the Italian Play Centres and Schools in Britain niece, Elinor Pugh, that,my friend Urushibara the Japanese wood cutter has
of which Brangwyns friend, Francesco Enrico Canziani, was president.The just made a book of my rough notes taken from sketch books. It is wonderful
woodblock is mounted with a woodcut to the reverse, printed posthumously how he gets the look from the rough sketches.73
Design for Book Cover, c
Ink on paper, cm ( in)
The design was probably intended for the Viennese publisher Artur Wolf who
produced Zwanzig Graphische Arbeiten (see p ) and for whom Brangwyn
produced a number of designs.

LITHOGRAPHS
Mr Brangwyns splendid design must be hailed as a sign that the poor
mans art gallery is not entirely doomed, and that we may experience
a revival in the art of the hoarding.
P G Konody,The Decorative Art of Frank Brangwyn, Magazine of Art, July ,
discussing Brangwyns poster for the Orient-Pacific Line (see p )
Brangwyn produced about lithographs between and

Brangwyn in the Ditchling (including war posters and commercial work).The size varied from
studio with his poster for the
General Relief Fund for
cm ( in) to cm ( in). Many lithographs were
Women and Children in for special editions of magazines (Neolith, The Studio); books (Verhaerens,
Spain, , (cat. i) Les Campagnes Hallucinees) and art folios (Brangwyn Portfolio, see p ).
Although the works generally depicted Brangwyns muscular men in
fields and factories, some early lithographs are unusually soft and gentle
in character, with Art Nouveau figures. Brangwyn used lithographs to
quite different effect in his war work and commercial posters and also in
the fourteen Stations of the Cross (), measuring cm (
in) (see p ). Instead of using the more traditional limestone for
the Stations of the Cross, Brangwyn used zinc plates, and commissioned
James Richardson of Warminster to print some copies on to sycamore
blocks in order to avoid the occurrence of foxing from damp church walls.
Brangwyn was one of a small but dedicated number of artists who
prepared his own stones and drew directly on the stone rather than using
transfer paper, which would be applied to a stone by an assistant. Unlike
other practitioners, Brangwyn used coarse rather than smooth surfaced
stone, mixed lithographic chalk and brush and used snakestone to add
highlights, thereby gaining a variety of tone. Although Brangwyn could
print his own proofs, most of his lithographs were printed by T R Way and
the Gouldings in Britain and probably by Clot in France, whilst The Avenue
Press, London, printed the majority of his war and commercial posters.
Although Brangwyn produced over poster designs during World
War I, of which were printed, he was not, surprisingly, an official war
artist.The compositions and details of the posters were based on mem-
ories of the Messina earthquake (see p ), news agency photographs
and the daily illustrations of destruction which appeared in The Times,

together with loans of German and British uniforms and guns from the
Association Belge, Imperial War Museum and the United States Naval Authorities.
(cat )
A large proportion of Brangwyns work during this period was given
free of charge to charitable groups, for example the Red Cross, National
Institute for the Blind (St Dunstans Hostel for Blinded Soldiers and
Sailors), Belgian and Allied Aid League and probably Orphelinat des
Armees, an American charity in aid of a French Army Orphanage.
Other clients included the National War Savings Committee, Frank Pick
of UERCL (Underground Electric Railways Company of London), the
United States Navy and various companies who desired Rolls of Honour.
Newspapers were also keen to prove their patriotism and Brangwyn
designed six recruiting posters for the Daily Chronicle (one of which car-
ried the comical notation that Daily Chronicle readers are covered
against the risks of bombardment by zeppelin or aeroplane). The
Canadian War Memorials Fund commissioned six lithographs showing
their troops in France and Belgium, and Brangwyn was involved with the
Ministry of Informations Britains Efforts and Ideals of War, producing one
design for Ideals (The Freedom of the Seas) and a series of six for Efforts,
entitled Making Sailors.
In addition to the war posters Brangwyn produced over posters for
commercial enterprises between and .The artist expressed the
desire to see more Art used in advertising, because advertising is a
tremendous force which needs handling with much more Art and com-
mon sense than it is getting at present.74 The posters are quite different
from the war production, more stylised, less emotive, bolder in outline
and frequently combine image and lettering.
Clients included London & North East Railway, London Underground,
E Pollard & Co., Royal Institute of British Architects, Stephensons Floor
Polish, The Studio magazine, Zambrene rubberless coats and the Orient-
Pacific Line (see p ). Brangwyns humanitarian concerns led him
additionally to design posters for the Abolition of Capital Punishment,
St Bartholomews Hospital (donated without charge), French Benevolent
Society, and General Relief Fund for Women and Children in Spain
(see p ).

Association Belge,
() Original zinc lithograph plate, . . cm ( in)
Ill of print: Dominique Marechal, Collectie Frank Brangwyn, Bruges Stedelijke Musea, , p
Brangwyn sent Belleroche the zinc plate as a Christmas card.
Study for Britains Call to Arms,
Charcoal on paper, . . cm ( in)
Provenance:William de Belleroche; Hilary Gerrish
Writing in ,AlfredYockney praised the poster:
This fine design makes a powerful appeal and it forms an epitome of war.
It is a subject-picture if ever there was one and gives us a story of broken
ties, patriotism, heroism, vandalism and tragedy75
Brangwyn offered the six-sheet poster design (. cm; in),
free of charge, to the Parliamentary Recruiting Committee () but they
refused it as being too stark in its portrayal of death and destruction. Frank
Pick, of the , obtained the design and created the poster War.To Arms
Citizens of the Empire, which shows the soldier without the young couple.
. (illustrated opposite top right)
War.To Arms Citizens of the Empire,
() Lithograph poster without lettering, with added colour, . . cm ( in)
BACK HIM UP: BUY WAR BONDS, 1918

() This poster was issued by the National War Savings
Committee.76 There are four known studies for the work, two of which
are listed below.
. (illustrated opposite top left)
Wounded German,
Signed with monogram t.l.:FB and inscribed b.r.:Wounded German/War Loan
Poster/.Also inscribed b.l.:Count William de Belleroche
sanguine and pencil drawing on paper, squared, . cm ( in)
.
He NeedsYour Help Now. Buy War Bonds
Watercolour over pencil, cm ( in)
Ill & Lit: Margaret Timmers (Ed), The Power of the Poster,V&A Publications, , p

STATIONS OF THE CROSS, 19341935
The Stations () were printed from zinc plates in , Brangwyn
noting in February of that year that he had two printers here most of the
week proving the plates of the Stations of the Cross.77 sets of the lith-
ographs were printed on paper and a small number printed on sycamore
(see p ). The Stations were also reproduced as The Way of the Cross
() with a foreword by G K Chesterton.
The Stations are similar in design to the Arras series () (see
cat ) and follow the tradition of the old Flemish painters, although the
costumes are contemporary. In this way Brangwyn suggested that the
tragedy of the calvary is never-ending. He included his self-portrait in
many of the plates as if seeking redemption for past wrong-doings.
. (illustrated opposite top)
Jesus Takes up His Cross (nd Station)
() Pencil on tracing paper, . . cm ( in)
Provenance: Kenneth Center78; Campbell Fine Art
Brangwyn and his dog are portrayed on the right of the drawing.
.
Jesus Meets his Afflicted Mother (th Station)
() Pencil on tracing paper, . . cm ( in)
Provenance: Kenneth Center; Campbell Fine Art
.
The Cross is Placed on the Shoulders of Simon of Cyrene (th station)
() Signed with monogram:FB
Pencil on tracing paper, . . cm ( in)
Brangwyn portrays himself as Simon of Cyrene, taking the weight of the Cross
on his shoulders and clasping the drooping Christ.
.
Jesus Falls for theThird Time (th Station)
() Signed with monogram:FB
Pencil on tracing paper, . . ( in)

Jesus Dies on the Cross (th Station)
Original zinc lithographic plate, . . cm ( in)
Provenance: Hilary Gerrish, private collection

DECORATIVE ARTS
an artists function is everything: he must be able to turn his hand to
everything, for his mission is to decorate life he should be able
to make pots and pans, doors and walls, monuments or cathedrals,
carve, paint, and do everything asked of him.
Brangwyn quote in King of the Earth with Sixpence, Daily Sketch,
October
Brangwyn stated that a designer should have imagination, taste, techni-

Design for pierced wood screen, cal knowledge and a sense of public needs79 he possessed all of these.
(detail; cat ),
pencil, crayon and paint on
He was not only a polymath but also an artistcraftsman, who could suc-
tracing paper, cm cessfully design complete and harmonious interiors and demonstrated a
( in) technical understanding of each discipline. Brangwyns exceptional
range included designs for architecture and interiors, furniture, carpets,
tapestry, ceramics, jewellery, glassware and stained glass.
Wall decoration, c
(cat )

ARCHITECTURE AND INTERIORS MAJOR ARCHITECTURAL/INTERIOR COMMISSIONS
(red lettering indicates extant):
The greatest fitness that can be achieved in the planning of a public gallery
Lansdowne House, Lansdowne Road, Kensington,
is a combination of negative rather than positive features; of virtues of
London,
omission rather than commission.This is precisely what Brangwyn has
(), bedroom interior for Sir Edmund and Lady Davis, furniture, panelling, murals,
aimed at. metalwork, lighting, dressing table set (a mural panel and some pieces of metalwork
Herbert Furst, The Decorative Art of Frank Brangwyn, London: John Lane,The exist)80 (see cat )
Bodley Head, p , discussing designs for the Kyoraku Art Museum,Tokyo
Thurston & Co, London, c
(A), design for billiard room, billiard table, furniture and murals (unidentified).
(see cat )
Brangwyn produced about architectural and interior designs, at least
of were executed.This aspect of the artists work is rarely mentioned Venice Biennale, interior of British Room,
despite being one of his most significant achievements.As with other dis- () (mural panels are in the Sam Wilson Room at Leeds City Art Gallery, the solid
oak benches now placed outside the British Pavilion in Venice) (see cat )
ciplines, Brangwyn had no formal training and it is possible that many of
the scaled drawings for various projects were produced by assistants.The Palazzo Rezzonico,Venice,
firm of Paul Turpin is known to have assisted with structural drawings for (), interior for Baron Lionel Hirschel di Minerbi, furniture and murals (unexecuted)
the Kyoraku Art Museum. However, the initial designs, the imaginative
details and the scope of the projects was entirely Brangwyns vision. Venice Biennale,
The defining features of Brangwyns interiors are, in general, (), interior of British Room (murals destroyed)
restrained backgrounds which acted as a foil to areas of decoration Temple Lodge, Queen Caroline Street, Hammersmith, studio
or paintings, line as the pre-eminent form of expression and the co- extension, c
ordination of all aspects of furnishing, producing an aesthetic whole (). Frank Alford considered it one of the largest studios in London in the s81
(Gesamtkunstwerk), a concept Brangwyn would have encountered when
working in Paris for Siegfried Bing. Gesamtkunstwerk, a unified interior, Casa Cuseni,Taormina, Sicily,
was a theory reinforced by the growing knowledge of Japanese crafts, () dining room interior (furniture, panelling, murals) and other items of furniture
for Robert Hawthorn Kitson (private ownership)
linking the desire to produce beautifully designed and hand-made
objects with the fact that, in Japan, there were no traditional barriers St Mary the Virgin, Bucklebury, Berkshire,
dividing the disciplines, thereby transcending the boundaries between () sanctuary wall decoration (extant except for mosaic reredos which has been
fine and decorative arts. The geometrical simplicity, unifying colour removed) (see p and )
schemes and lack of pattern in Brangwyns interiors, the starkness of Ghent International Exhibition, Brangwyn Room,
much of his furniture and his interest in intricate metalwork all indicate (), interior, tables, chairs, carpet; also featuring Brangwyns murals for Lloyds
Brangwyns knowledge of Japanese design Register (see p ) (a table and chair are in the Arents House, Bruges)
Horton House, Northampton,

(), lighting and murals for billiard room for George Harold Winterbottom (murals
were divided up into ten sections and are now in a private collection;William Morris
Gallery (London Borough of Waltham Forest); Graves Art Gallery, Sheffield; Dunedin
Public Art Gallery, New Zealand and Te Papa Tongarewa,Wellington, New Zealand).

The Jointure, South Street, Ditchling, Metalwork design,
c (cat ),
(), converted and extended adjoining cottages to make new studios, added double
pencil, watercolour and
storey kitchen/bedroom extension to main house, converted other cottages on land
. Inglenook and tiled fireplaces, metalwork and furniture in interior (private white chalk on tracing
ownership). (see cat ) paper, cm
( in)
Kyoraku Art Museum,Tokyo,
(), commissioned by Kojiro Matsukata, President of Kawasaki Shipping Company
(this would have been the largest museum of western art outside Europe and the
Americas but was unfortunately never built) (see cat )
Four showrooms for E Pollard & Co, London,

(),Two bedrooms, sitting and dining rooms for which Brangwyn designed
furniture, carpets, ceramics, table glassware, lighting and textiles.This was a selling
exhibition. (individual items exist) (see cat )
SS Empress of Britain, Canadian Pacific Line,

(), interior of st class dining room, the Salle Jacques Cartier, and two private
dining rooms, the Salle Wolfe and Salle Montcalm. Designs for panelling, tables, chairs,
carpet, lighting, tablecloth, clock, sideboards, gold glass buffet, murals (vessel sank after
enemy action in ). (Some items of furniture in private collection) (see cat )
Rowley Gallery, Kensington Church Street, faade,

() Gallery hit by incendiary bomb in . Carved and pierced teak panels Design for chair,
representing sawyers, painters and carpenters badly burnt but restored and in c (cat ),
private collection pencil, pen and
watercolour on grey
Brangwyn Estate, London Road, Brighton, paper, . cm
(). Brangwyn may have designed the entrance obelisks and been consulted on ( in)
general layout
. (illustrated on p and opposite)

designs for Sir Edmund and Lady Davis, c
() Mixed media designs on paper and tracing paper
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, September ;
Haslam and Whiteway
Exh: Haslam and Whiteway, June (cat , and others)
The Australian, Sir Edmund Davis, made his fortune from African mining,
married his cousin, Mary Halford, and settled in London. Most of the designs
in this group are known to have been made specifically for the Davis home,
Lansdowne House, whilst others are of the same date and possibly related.
The group includes Art Nouveau designs for a chair, marquetry inlay, fireplace
frieze, bedcovers and metalwork (see p ). Brangwyns co-ordinated design
is a perfect example of Gesamtkunstwerk.

.
Design for a Frieze, c
() Signed with monogram above:FB, inscribed b.l.:No
Pencil and watercolour on tracing paper, sheet size cm ( in),
design size cm ( in)
Haslam and Whiteway
Exh: Haslam and Whiteway, June (cat )
Thurston & Co, Billiard Room design, c
() Inscribed:slightly formed[?] with ivory and ebony inlay/Trim to be painted or
papered with plain grain paper/Fine plain iron with hand made Tiles/all metalwork iron fine . (illustrated above)
worked;Billiard Room/for Thurstons and Box for cues etc
Pencil, pen and watercolour on brown paper, sheet size cm ( in),
Fireplace design, c
design cm ( in) () Inscribed on board b.l.:.. //
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, September ; Pencil, pen and watercolour on paper mounted on board
Haslam and Whiteway Provenance: Edgar Peacock; Edgar Horns, Eastbourne, September ;
Exh: Haslam and Whiteway, June (cat ) Haslam and Whiteway (cat )
A scale drawing for the proposed billiard room, similar to the one illustrated in A design for a private house with wood panelled walls and a tiled fireplace with
Herbert Fursts book, The Decorative Art of Frank Brangwyn, but without the mural painted mural above.
detail.82

.
Venice Biennale:Study of a Man Carrying Basket,
() Signed with monogram c:FB.Also inscribed (in another hand) b.r.:WdeB Coll
Pencil, black crayon and wash on paper, squared, cm ( in)
Brangwyn designed the panelling and furniture for the British room of the
Venice Biennale together with four murals, entitled Navvies atWork, Rolling Mill,
Blacksmith and Potters.These are now installed in the Sam Wilson Room, Leeds
City Art Gallery, together with a fifth panel commissioned by Sam Wilson titled
Spinners.This, and the following drawing, were studies for the mural panels.
Venice Biennale: Study of a Man with Pickaxe,
Signed with monogram centre: and inscribed t.c.: and on trousers:
blue.Also inscribed (in another hand) b.l.:William de Belleroche Collection
Black and white chalk on buff paper, . . cm ( in)
Provenance:William de Belleroche (No ); Hilary Gerrish
Marco Jafrato was an illiterate Italian, whose name is variously spelt Jafrate,
Yafrate and Lafrate. He apparently lived in Queen Street (now Queen Caroline
Street), Hammersmith and was an ice cream and hot chestnut seller who was
employed by Brangwyn as a model and odd-job man.
.
The Jointure, Fireplace Overmantel, c
() Inscribed:this to be dead centre;this is the exact space of the brick pier;do not
finish too smooth/show chisel marks;this is exact size of Brick pier/you will notice the
difference to the other and the pillars are not the same/as the measurements are given
below/exact/cut the moulding like this/stop it so that it shows/a square panel in centre/
as at xx/do not cut the design in centre but/leave it plain
Pencil on paper, . cm ( in)
Haslam and Whiteway
Design for the fireplace overmantel in the studio extension at The Jointure.
The central logo incorporating the initials F & L B was also used elsewhere
in the house and grounds. Other designs verso.

Chair designs,
c (cat ),
pencil and watercolour
on paper, . cm
( in)

Design with apple,
c (cat ),
pen, pencil and
watercolour on paper,
cm
( in)
. (illustrated above and opposite)

Designs for E Pollard & Co, c
() Mixed media
Provenance: Edgar Peacock; Edgar Horns, Eastbourne,
September ; Haslam and Whiteway
Exh: Haslam and Whiteway, June
(cat , and others)
E Pollard & Co Ltd were well known furniture
manufacturers of the period with a showroom on
Oxford Street.These are designs and scale drawings
for the exhibition held at Pollard's from October
to November .The group includes designs
for furniture, lamps and marquetry inlay.
. (illustrated p )
Wall decoration, c
() Inscribed b.r.:Wall decoration
Pencil, pen and watercolour on paper,
. cm ( in)
Provenance: Edgar Peacock; Edgar Horns, Eastbourne,
September ; Haslam and Whiteway

Beam Casing design,
(cat ),
pencil and watercolour
on tracing paper,
. cm ( in)

Clock design,
(cat ), pencil, crayon
and watercolour on tracing
paper, . cm
( in)

Chair design,
. (illustrated above, below, opposite and on p and )
(cat ), pencil on paper,
Designs for SS Empress of Britain, . cm ( in)
() Mixed media
The Canadian Pacific liner, SS Empress of Britain, was a showcase for the best in
British design. Sir Charles Allom, Edmund Dulac, Sir John Lavery, Maurice
Grieffenhagen and Heath Robinson were all commissioned to design prestigious
public areas. Brangwyn designed complete interiors for the st class dining
room (Salle Jacques Cartier) and two private dining areas.The archive includes
designs for furniture, flooring, tablecloths, marquetry panels, metal casing for
the beams incorporating the letters C and P (Canadian Pacific) and various
designs for a clock.

.
FURNITURE AND FURNISHINGS Ladderback Carver, c
() Lightly fumed and polished oak chair with rush seat, cm
I confess to an incorrigible preference for a table that has four legs and ( in)
an abhorrence for a table that has two legs and a piece of string. Provenance: Crosby Cook and by descent; Paul Reeves
Exh: Furniture and other articles designed by Frank Brangwyn RA, E Pollard, London,
Brangwyn quoted in P Macer-Wright,About Frank Brangwyn, supplement
Ill: Furniture and other articles designed by Frank Brangwyn RA, E Pollard, London, , p
to John OLondonsWeekly, December
.
Ladderback chair, c
Between and Brangwyn produced over designs for fur- () Oak chair with rush seat, . cm ( in)
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, September ; Paul Reeves
niture and furnishings, including tables, chairs, sideboards, beds, garden
furniture, fireplaces, marquetry panels, mosaic and gesso panels, tomb-
stones, commemorative boxes, ashtrays, a University verge, a pulpit and
embroidery and textiles. About half of these designs were made.
Brangwyns approach to furniture design was firmly rooted in the Arts
and Crafts tradition, influenced by his early mentors,William Morris and
A H Mackmurdo. The artist believed in fitness of form to function,
demanded excellent craftsmanship and the appropriate material for each
project. He aimed to eliminate unnecessary moulding and applied orna-
ment which might disguise the structure. The starkness of much of
Brangwyns furniture indicates the influence of Japanese design.
Brangwyn produced designs for private commissions and also worked
for commercial enterprises. He designed dining room and bedroom
suites for Norman and Stacey c , cabinets for Thurstons c ,
J S Henry produced the Biennale furniture and Paul Turpin the fur-
niture for the Ghent Exhibition, . Between and Brangwyn
produced about designs for inlay panels which were made by
A J Rowley. Pollards manufactured about items of furniture from
Brangwyns designs between and .
.
Studio Table, c
() Wood table, cm ( in)
Provenance: Frank Brangwyn; Crosby Cook and by descent
Exh: Signed and Designed,The Country Seat, Oxfordshire,
This simple, solidly made, peg construction table was made to Brangwyns
design for his own daily use at The Jointure, Ditchling.

CARPETS, TAPESTRIES AND TEXTILES CARPET AND TAPESTRY COMMISSIONS:
(red lettering indicates extant)
Muthesius considered Brangwyn:the only artist who has designed really
Le Roi au Chantier tapestry,
modern carpets in the present day continental sense. His patterns have a
(), commissioned by Siegfried Bing for Albert Besnard (probably unexecuted,
mysterious ambiguity which is extremely attractive, but the really excellent cartoon at Leeds City Art Gallery)
thing about his carpets is the colour, which is fresh without being
startling, lush without becoming brutal. The Vine,
Hermann Muthesius, The English House, NewYork: Rizzoli International (), commissioned by Bing and exhibited in Bing's shop LArt Nouveau in and
. Probably woven by J Ginskey of Maffersdorf, Bohemia (now in Arents House,
Publications, (), p Bruges).
Various rugs were commissioned by Bing, only one of which is

Between and Brangwyn produced a number of designs for known to have survived,
carpets and tapestries of which about are known to have been made. (Muse des Arts Decoratifs, Paris ). Brangwyn also designed a carpet for La
Maison Moderne (T), the Paris gallery owned by Julius Meier-Graefe (pwu).
As early as Brangwyns involvement was such that M H Spielman
was moved to wonder whether Brangwyn has not definitely abandoned Carpet design for Ghent Exhibition,
marine for tapestry painting.83 The carpets often have a central two () Apparently one hundred carpets were produced but the dyes were not fast and
dimensional design with geometrical abstracted plant patterns, sur- the colours faded (pwu).
rounded by borders containing randomly placed motifs. They are more Design ,
akin to ethnic carpets from the Caucuses, Turkey and Central Asia than
(), shown in drawing room at Pollard exhibition, London, produced in five sizes
the classical Persian carpets admired by Morris. and manufactured by James Templeton & Co of Glasgow (a number have survived)
Design ,
Tablecloth design,
(), shown in dining room at Pollard exhibition, produced in five sizes and
(cat ), pencil and manufactured by Templeton (a number have survived) (see cat )
watercolour on paper,
. cm ( in) Six designs,
(, , , , , ) for hand tufted Donegal rugs made by Alex
Morton, Sons & Co of Carlisle and shown at Pollard exhibition (pwu)
SS Empress of Britain,
Rublino flooring manufactured by Leyland and Birmingham Rubber Company (see cat )
Wine Press tapestry,

() woven by the Edinburgh Tapestry Company (private collection)
Last Supper tapestry,

() design to have been made by Edinburgh Tapestry Company (unexecuted)

.
Rose and goose-grass, c
() Pencil and watercolour on tracing paper, . . cm ( in)
Haslam and Whiteway
Exh: Haslam and Whiteway, June (part cat )
Brangwyn produced a number of designs during his lifetime which may have
been for textiles, wallpapers or book end papers. He certainly produced
bedcover designs for Sir Edmund Davis (see cat ), tablecloth designs for
the SS Empress of Britain (see cat ), textile designs for the Pollard Exhibition
(see cat ).This design of abstracted natural forms is clearly inspired by
William Morris.

.
Carpet, Design ,
() Brangwyns monogram is woven into the carpet
Templeton Axminster carpet, . . cm
( ft, in ft)
Exh: Furniture and other articles designed by Frank Brangwyn
RA, E Pollard, London, ; Thirties, Hayward Gallery,
(cat .)
Ill: Furniture and other articles designed by Frank Brangwyn
RA, E Pollard, London, , p ; Charles Holme,
Frank Brangwyn. Designs for British Industry, The Studio,
December , p ; C E C Tattersall and S Reed, A History
of British Carpets, Leigh-on-Sea: Frank Lewis, (),
facing p ; Dan Klein, Art Deco, Hong Kong: Mandarin
Publishers Ltd, , p ; Thirties Exhibition Catalogue,
Hayward Gallery, ; Dominique Marechal, Collectie
Frank Brangwyn, Bruges Stedelijke Musea, , p ,

METALWORK AND JEWELLERY
There is something incongruous in the association of [Brangwyns] name
with such things as Jewelry
Herbert Furst, The Decorative Art of Frank Brangwyn, London: John Lane,
The Bodley Head, p
At least sheets of metalwork designs exist illustrating latches, cup-

board handles, fingerplates, ceremonial cups, lamps, a cruet stand, a
wrought iron bell and an astrolabe, dating from to the s.The
latter two items were made for Brangwyns personal enjoyment in
Ditchling and various items of ironmongery exist, either singly or
adorning furniture.
Brangwyn showed great sensitivity in his choice of metalwork for fur-
niture, using silver to harmonise with cherrywood, forged iron for oak,
and oxidized copper or hammered steel and brass for limited budget work.
Brangwyns jewellery was probably influenced by Colonna and
Brangwyn and the astrolabe,
Tiffany. Five items dating from are known to have been c , (cat. c)
made, but only one brooch has been identified.84 The items incorporated
enamels and semi-precious stones in simple settings, the designs bearing
a remarkable similarity to many of the artists drawings for ironmongery.
.
Glass beaded lampshade design, c
() Signed in full b.c.:Frank Brangwyn and inscribed:Lamp/curtain of glass beads
Pencil, pen and watercolour on card, cm ( in)
This is a scale drawing of metal lamp with glass beaded curtain. It is unknown
whether this design was ever realised.

.
Leeds University Verge: Design for orb,
() Inscribed:Meunier/ East Bury Street/Chelsea and
Pencil and watercolour on brown paper, . . cm ( in)
Haslam and Whiteway
Exh: Haslam and Whiteway, June (cat ); Frank Brangwyn, Leeds, Bruges, Swansea,
.
Leeds University Verge: Design for revserse of orb,
() Inscribed:Mace Leeds/University
Pencil and watercolour on brown paper, . . cm ( in)
Haslam and Whiteway
Exh: Haslam and Whiteway, June (cat ); Frank Brangwyn, Leeds, Bruges, Swansea,
Two designs for the verge commissioned by R H Kitson for the University of
Leeds which was constituted by Royal Charter on April .The verge
consists of a long green pole surmounted by an cm ( in) orb in silver
electrotype, the outer surface containing the arms of York, Bradford, Halifax
and Huddersfield.

CERAMICS
If it were not for buying a pot now & again life would be very dull.
Letter from Brangwyn to Kitson, April , private collection
Brangwyn was passionate about pots, as he termed them he collected

Persian, Chinese, Korean and Japanese ceramics and such items appear FB starts his collection of
pots, c (cat )
endlessly in his oils, watercolours and murals.85 Thirty large sheets of
designs have recently been discovered, dating from , and about
designs were produced commercially, mostly for Royal Doulton, but
also for Foley pottery, A J Wilkinson and Ashtead Potters.86
Brangwyn stipulated that the Royal Doulton ware should be reason-
ably 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.The most popular designs appear to have been
(Harvest) produced from , () and
() other designs were , , , , (
), (), () and ().87 Examples of
designs were sold at the Pollard Exhibition. Two further
designs depicting a fuchsia and a rose may have been produced as sam-
ples, having no design numbers.
Brangwyn produced designs for Ashtead Potters (see cat , ,
and ) in (cream jugs, tea pots and cups and saucers were sold
at the Pollard Exhibition); a bone china tea set for Foley Pottery c
(see cat ); and Iris tableware for Clarice Cliffs Bizarre range at A J
Wilkinson in .
Brangwyn also produced designs for ceramic tiles, some of which are
reminiscent of the stencil designs he placed on the exterior of Siegfried
Bings shop LArt Nouveau in Paris (see cat ), and probably similar to
the black and white panels which were to be placed on the exterior of
the Kyoraku Art Museum,Tokyo.

.
Art Nouveau Tile Design, c
() Pencil and watercolour on brown paper, cm ( in)
Haslam and Whiteway
Exh: Haslam and Whiteway, June (part cat )
Stencil designs closely related to those Brangwyn painted on the exterior walls
of Siegfried Bings shop LArt Nouveau (see p ).
.
Tile Panel,
Signed t.r.:Frank Brangwyn/The Jointure Ditchling/England and inscribed:/square
and tiles to the/back and /tiles for the/flat part these/other tiles to/be plain but
with a quality/of the white on the red/like the tiles sent/to me some time/ago
Pencil and watercolour on paper, . . cm ( in)
The tiles were probably intended as a backsplash to a wash unit, and the long
inscription has been translated into German on the sheet.

. .
Ashtead Potters Plate (flower), c Ashtead Potters Plate (abstract), c
() Marks: Ashtead Potters stamp with hand painted additions:Bri and X () Marks: Ashtead Potters stamp with hand painted additions:P/ and W
Ashtead Potters plate, hand painted, . cm ( in) diameter Ashtead Potters plate, hand painted, . cm ( in) diameter
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, September Provenance: Edgar Peacock; Edgar Horns, Eastbourne, September
This was probably a sample and may be the plate referred to in a letter from Exh: Frank Brangwyn, Leeds, Bruges, Swansea,
Ashtead Potters dated April which suggested that instead of having the This was probably a sample plate.
flower in solid colours which is never successful with hand painted brush work,
I should like to modify it somewhat.88
cut out
cut out

Sheet of plate designs, c
() Signed with monogram and cross c.l.:FB; also inscribed:
/light and dark /on glaze unfired
Pencil and watercolour on paper, . cm ( in)
The design on the top left of the sheet is a preparatory study for the Royal
Doulton dinner service (Doulton number )
.
Blue and White Plate Designs, c
() Signed with monogram twice t.c.:FB and inscribed:/ Tints;tint and make
of red or/Buff Clay grey and white glaze/with roght[?] painter or Blue
Pencil and watercolour on paper, . . cm ( in)
Various plate designs including one for Ashtead Potters Plate (abstract), (cat ).
Sheet of Coffeepot and Jug Designs, c
() Signed in full b.l.:Frank Brangwyn; also inscribed:glass
Pencil, pen and wash on thin paper, cm ( in)

Sheet of Jug designs, c
() Inscribed:;; /
Pencil and watercolour on thin paper, . . cm ( in)
The drawing of a jug top centre with cross section below is a study for the
cream jug produced by Ashtead Potters and displayed at the Pollard Exhibition.

Sheet of plate designs (bird), c
() Pencil and watercolour on paper, . cm ( in)
The stylised bird on one of the plates is similar to one carved into a roundel on
the door to Brangwyns bedroom at The Jointure, Ditchling.
Sheet of plate designs (Eat Slowly, Fear God), c
() Inscribed: ;Eat Slow and fear God;Thank God/eat slowly;
[?] of ;Pottery and Pottery
Pencil, chalk and watercolour on paper, . . cm ( in)

Sheet of plate designs (weeping lion), c
() Inscribed verso:Saint/Lovis
Pencil and watercolour on paper, cm ( in)
cut out

.
Foley bone china tea service, c
() Marks: / / (facsimile of
signature)// /
Exh: China Pottery and Glass Exhibition, Harrods, London, October November
The Foley and Royal Staffordshire Potteries invited a number of distinguished
British artists to create contemporary ceramic designs which were then
entrusted to Clarice Cliff and her assistants.The results, revealing a definitely
English type of contemporary and modern design and [possessing] a freshness
of outlook and originality of treatment which is altogether delightful, were
displayed at a special exhibition at Harrods in .89 This set, comprising six
cups and saucers, six plates, milk jug, sugar bowl and two serving dishes, is
thought to be unique.
Other artists involved included Angelica Bell,Vanessa Bell, Clarice Cliff,
Duncan Grant, Barbara Hepworth, Dame Laura Knight, Paul Nash, Dod
Proctor, Eric Ravilious and Graham Sutherland.
GLASSWARE
Brangwyns designs for glassware, probably dated , included
tumblers, wine glasses, fruit bowls and decanters.90 Four designs for
wine glasses, two decanters with stopper, a plain jug with cover and a
claret jug were produced by James Powell & Sons (Whitefriars) for the
Pollard exhibition. Unfortunately no pieces are known to have sur-
vived, but since the glass is not marked or signed in any way, it may be
possible that Brangwyn glassware exists but has not been recognized as
such, or may have been attributed to Philip Webb or Thomas Graham
Jackson, whose designs Brangwyn emulated.
.
Decanter and assorted Glass Designs, c
() Signed in full b.l.:Frank Brangwyn and inscribed b.r.:glass
Pencil, pen and watercolour on paper, . cm ( in)
Scale drawings for one tumbler, two wine glasses, two decanters
and vase with handle detail.
.
Decanter and Fruit Bowl Designs, c
() Signed in full b.c.:Frank Brangwyn and inscribed b.c.:glass
Pencil and wash on paper, cm ( in)

Glass and Tumbler Designs, c
() Signed in full b.l.:Frank Brangwyn
Pencil and watercolour on paper, . cm ( in)
Scale drawings for four wine glasses and five tumblers.
Three Decanters, c
() Signed in full b.c.:Frank Brangwyn
Pencil and wash on paper, . . cm ( in)
Scale drawing of three decanters with added details.
Wine Glasses, c
() Signed in full, b.l.:Frank Brangwyn and inscribed verso:Powell has made
some glass designed by Sir[?] Jackson and Philip Webb who was with Morris
Pencil and wash on paper, . . cm ( in)
Scale drawings of eleven wine glasses and one tumbler plus small pencil sketches.

STAINED GLASS
Brangwyns own painterly mannerisms [were reflected] too strongly for
the glass to be finally agreeable.
John Piper,Stained Glass.Art or Anti-Art?, , discussing the east window, cut out (within gold
Bucklebury, included as Appendix in June Osborne, John Piper and Stained Glass, frame)
Stroud: Sutton Publishing, , p
Brangwyn is known to have designed stained glass panels and win-

dows, his first designs dating from and his last, forty years later in StWinifreds design, c
(cat )
. In general he treated the window as a whole, not as separate lights;
he was economical in the use of leading; favoured plating glass, a tech-
nique whereby layers of different coloured glass are sandwiched together
within wide leads to produce unusual colour effects; used rich saturated
colours and multicoloured glass.
Brangwyns designs were probably influenced by his father (who
designed some stained glass windows); the stained glass produced by
Morris & Co; and the work of Louis Comfort Tiffany for whom Brangwyn
produced six designs in .
STAINED GLASS COMMISSIONS (red lettering indicates extant):
Designs for six glass panels,

Three of which are known to have been produced by the Tiffany Glass Decorating
Company.The Baptism of Christ (), measuring . . cm ( in), was
one of the largest panels ever produced by Tiffany and had to be made in two sections
(now at Baltimore Museum of Art, USA). It was exhibited at the Grafton Gallery,
London, in .A second work exhibited was titled Music (pwu). Child with Gourds
() was installed in the living room at Lauretton Hall, which represented a gallery
of Louis Comfort Tiffanys favourite windows (now at Charles Hosmer Morse Museum
of American Art, Florida). Other designs, , , and .
St Mary the Virgin, Bucklebury, Berkshire,

(), east window and two lancets in chancel (commissioned by Mrs Webley-Parry,
executed by James Silvester Sparrow)

St Mary the Virgin, Bucklebury,
(), north aisle window, a memorial to Mrs Webley-Parry (commissioned by her
daughter Lady Webley-Parry-Pryse)
United Reformed Church, Abington Avenue, Northampton,
(), four light east window, memorial to those of the parish who had fallen in World
War (commissioned by Frederick Edward Fitness, executed by Paul Turpin)
St Winifreds, Manaton, Devon,

(), three light south aisle window, memorial to Esmond Moore Hunt
(commissioned by his father Cecil Arthur Hunt, executed by Silvester Sparrow;
cat )91
St Patricks, Dublin,
(), three light window, a memorial to Edward Cecil Guiness, st Earl of Iveagh
(executed by Alexander Strachan)
St Andrew & St Patrick, Elveden, Suffolk,

() four light window at west end of north aisle, a memorial to Iveagh (executed by
Alexander Strachan)
St Andrs Abbey, Zevenkerken, Belgium,

() single lancet in Holy Cross chapel, and five double lancets in Chapter-Hall
. (illustrated p )
St Winifreds design, c
Signed with monogram b.r.:FB and verso:Centre boy singing and varied notes on colours.
Also inscribed (in another hand) verso:Design par Brangwyn ../William de Belleroche
Watercolour on paper, cm ( in)
Study for the stained glass window at St Winifreds, Manaton, Devon (),
a memorial window commissioned by Brangwyns friend Cecil A Hunt, in
memory of his son Esmond Moore Hunt, who died on February , aged .
. (illustrated above and opposite)
Design for a Cardinal (Boniface), c
Watercolour, squared, . . cm ( in)
This is one of the designs Brangwyn produced for the Chapter-Hall in St Andrs
Abbey, Zevenkerken. Each window is dominated by a single figure, in this case
St Boniface.The cartoon follows the iconography of 16th- to 18th-century artists,
depicting the Saint with mitre and staff blessing two crippled men.92

STREET DECORATIONS
We are apt on occasions of national rejoicing to decorate our streets as
women without taste dress themselves when they wish to be smart.
Artists and the Coronation, The Times, March 93
Brangwyn disliked having to deal with committees, and therefore found

his involvement with street decorations for the Coronation of George V
in , extremely frustrating, concluding that the Coronation business
may go the devil, as usual people do not want anything decent.94 He felt
that he had wasted considerable time and money on the project, but had
learnt a salutary lesson in the process that no one was interested in
good design. Despite this, he produced designs for a projected Peace
Pageant in .
.
Peace Pageant,
() Watercolour and pencil on tracing paper, . cm ( in)
Provenance:William Stewart, and by descent
This design shows one of Brangwyns suggestions for a Peace Pageant to be
held on the Thames.Two other drawings from the series were illustrated in the
Architectural Review, December , which noted with regret that these splendid
suggestions were not adopted in the actual pageant.95 The other schemes
involved Neptune riding a dolphin and Tritons with cornucopia, the figures
to be in gilt and two and a half times life size, the dolphins and Tritons to be
mounted on motor launches.

PHOTOGRAPHY
[Brangwyn] appreciated the value of photography as do all good artists.
My test of a painter is his attitude to photography.The really good ones do
not fear its competition but welcome the artistphotographer and
appreciate what he is doing.
Alvin Langdon Coburn quoted in H & A Gernsheim (Eds), Alvin Langdon Coburn,
Photographer, London: Faber and Faber, , p
Brangwyns personal photography was greatly influenced by Alvin Langdon

Branwgyn, c Coburn, the American symbolist photographer, whose conception of
(detail; cat d)
craftsmanly ideal brought him back to London in to join Frank
Brangwyn,96 and who photographed and published reproductions of
Brangwyns Thameside and Venetian work in .
At least , photographic prints which used to belong to Brangwyn
(but not necessarily taken by him) are in various private collections.
These can be categorized as snapshots of Brangwyn and his friends, dat-
ing back to ; a record of murals in various stages of completion and
finished works; topographical photographs (about ), marine images
(roughly ) and photographs of figures posing (over ). Many of the
townscapes and naval images and about half of the modelled studies can
be positively identified with completed works, demonstrating the remark-
able degree to which Brangwyn employed photography. Brangwyns first
known use of a photograph was for the lithograph Unloading Oranges,
London Bridge ().
Brangwyn was himself a competent photographer and the aesthetic
quality of his work shows to advantage when compared to photographs
taken by his assistants which tend to be quite pedestrian and utilitarian.
Brangwyn was probably inspired by photographs supplied by magazines
like The Graphic which he was expected to reproduce faithfully in gri-
saille (see p ).Although he owned a hand-held camera loaded with

format Kodak film which he generally used for outdoor work, he pre-
ferred a tripod mounted camera with glass plates for interior shots.
Brangwyns entire collection of photographs was in black and white, sur-
prising, considering his appreciation of colour:97
We had a splendid procession here the finest I have seen like an
Van Eyck magnificent in colour in the wind and rain unfortunately
I had no camera with me. Men in deep green robes carrying a great
golden figure then after men in a strange red colour struggling
with heavy banners in the wind very fair.98
The provenance of all the photographs is Edgar Peacock unless other-
wise stated (cat l).99
.
Press Agency Photographs of Brangwyn
Nine photographs of Brangwyn taken for official publication.
[a] Frank Brangwyn ARA,
(Illustrated on p ) Photograph by Paul Laib, . cm ( in)
Ill: The Graphic, February
This photograph was taken on the occasion of Brangwyn becoming an
Associate of the Royal Academy (see p ).
[b] Brangwyn in his Temple Lodge Studio, c
(Illustrated right) Photograph by Elliott & Fry, . cm ( in)
[c] Brangwyn in the Hall of Temple Lodge, Hammersmith, c

(Illustrated opposite) Photograph, . . cm ( in)
Ill:Walter Shaw Sparrow (Ed), The British Home of Today, London:
Hodder and Stoughton, , p
Brangwyn decorated this Georgian house with th-century English
furniture, Oriental furniture and ceramics, and Persian rugs.The pierced
brass pendant lamp hanging from the ceiling was designed by Brangwyn
and is now in a private collection.
[d] Brangwyn, c
(Detail p ) Photograph, . cm ( in)
[e] Brangwyn and the astrolabe, c

(Illustrated on p ) Photograph by Keystone View Company, cm ( in)

.
Informal Photographs of Brangwyn
Seventeen photographs of Brangwyn at The Jointure, Ditchling.
[a] The back of The Jointure, Ditchling, c
Photograph, . cm ( )
[b] Brangwyn in his Dining Room, Ditchling, c
(Illustrated below) Inscribed:To Lizzie from Frank Brangwyn
Photograph, . . cm ( in)
Brangwyns printing press can be seen in the alcove to the right of the
fireplace. Brangwyns interiors in The Jointure hark back to William
Morriss ideal of a bookcase, chairs, and maybe a carpet, with the obvious
addition of pots, which he knew to be useful and believed to be beautiful.
His dining room had whitewashed walls, a quarry tiled floor and the
fireplace surround was of tiles and brick with a wood mantelpiece.
[c] Brangwyn in the garden, Ditchling, with back of house prior to
extension, c
[d] Brangwyn and Hollyhocks, c
Photograph, . cm ( in)
[f ] Brangwyn in the studio,The Jointure, Ditchling, c

Inscribed:Sincerely yours/Frank Brangwyn and verso:
Please return these/photographs to/F Brangywn/The Jointure/Ditchling/Sussex
[g] Brangwyn in the Studio,The Jointure, Ditchling,

(Detail on p ) Photograph by Thomas E J Stephenson, . . cm ( in)
The photograph shows Brangwyn standing in front of a cast of the head of
Moses by Michelangelo, next to the boiler in his studio.The image is squared
for transfer and was used as a study for the drawing, Portrait of the Artist,
(private collection).
[h] Brangwyn in Ditchling, c
(Illustrated above) Inscribed verso (in another hand):Frank Brangwyn at the door of his barn
Photograph by Barnabys Ltd, General Press Service, cm ( in)
[i] Brangwyn in his Spanish Leather Chair, c

Photograph by Allan Chappelow, . . ( )
Chappelow wrote an article about Brangwyn in which appeared in the
Daily Mail, entitled The Rebel.

[e] A Brangwyn dog
Photograph, cm ( )
[f ] Double exposure of parts of the Studio, Ditchling, c
[g] Brangwyn and a cherub in the garden, Ditchling, c

(Illustrated opposite) Photograph, . cm ( in)
[h] Brangwyn and a cherub in the garden, Ditchling, May
Inscribed verso:Ditchling/May
[i] Brangwyn chuckling, c

[j] Brangwyn wearing Panama hat, c

[k] Brangwyn smoking in the garden, Ditchling, c
Signed:Frank Brangwyn on newspaper on bench at Brangwyns side
[l] Brangwyn in the garden, Ditchling, seen through leafy arch. c
[m] Brangwyn in the garden, Ditchling, with dog, c

[n] Brangwyn opening the door, October

Inscribed (in another hand) verso:Oct /Whats that you say? A Barrington?
[o] Brangwyn with arms crossed, c

[p] Brangwyn with Panama hat, c

[q] Brangwyn, c

.
Photographs of Brangwyn, friends and family
Twelve photographs of Brangwyn, his wife Lucy and friends
[a] Frank Short,A D McCormick and Brangwyn, c
(Detail on p ) Inscribed verso:FB. Mccormick [sic]. F Short
One of a series of photographs taken in the yard of the Manresa Studios,
Chelsea, which were used by Frank Short for an article he was illustrating
for the Manchester Guardian regarding Naval Volunteers.
[b] Brangwyn and friends in deckchairs,The Jointure, Ditchling, c
[c] Lucy Brangwyn, cat and cherub, c

[d] Lizzie and Edgar Peacock, Hammersmith,
(Illustrated on p ) Photograph by C Marshall, . cm ( in)
[e] Brangwyn and Dean Cornwell, c

(Illustrated on p ) Inscribed:FB & Cornwall [sic]
Photograph by Sport and General Press Agency, . cm ( in)
The America artist, Dean Cornwell, spent a few years working with
Brangwyn in preparation for the commission he had been given to decorate
the rotunda of the Los Angeles Public Library (see p ).
[f ] Brangwyn, Frank Short and Matthew B Walker, c
Inscribed verso:FB/Sir Frank Short/Matt Walker
Photograph, mounted on card, . cm ( in)
This may be the occasion referred to in a letter to M B Walker, dated
September :It is most kind of you to have taken me to see Short
& to have used your time. anyway you may be sure I enjoyed it and your
company.100 Sir Frank Short and Brangwyn were neighbours in Chelsea
(see above) but lost contact before being reintroduced by M B Walker
who was a collector of Modern British and earlier Midlands artists work,
and was instrumental in persuading Brangwyn to donate a number of
works to the art gallery in Wolverhampton.
[g] A Birthday party,
(Illustrated p ) Inscribed:Frank Brangwyn May
Seated round the dining table at The Jointure, Ditchling, are Walter Spradbery,
Brangwyn and Arthur Heygate Mackmurdo. Mackmurdo was Brangwyns
first artistic mentor, but the two had lost contact until being reintroduced

by Walter Spradbery.The three men were instrumental in establishing the
William Morris Gallery in Walthamstow.The photograph is framed by
Alfred Stiles, Brangwyns favoured framer.
[h] Brangwyn with refugee children in his cottage, c
Signed in pencil b.r.:Frank Brangwyn
Photograph, cm ( in)
[i] Lizzie Peacock, Brangwyn and William de Belleroche,

(Illustrated on p top) Photograph, . cm ( in)
William de Belleroche wrote two books about Brangwyn, Brangwyn Talks
and Brangwyns Pilgrimage (see p ).
[j] Brangwyn and William de Belleroche,
(Illustrated on p bottom) Inscribed:Frank Brangwyn to/Edgar Peacock/
Photograph, . cm ( in))
[k] Frank Brangwyn and friend, c
[l] William de Belleroche with Studies for Man the Creator and
Man the Master, c
(Illustrated on p ) Photograph, . cm ( in)
Provenance:William de Belleroche, Gordon Anderson .
Brangwyn at Work and Works in Situ
Nine photographs of Brangwyn working in his studios together with
images of works in progress and completed works.
[a] Brangwyn in Temple Lodge Studio, c
(Illustrated on p ) Photograph, . . cm ( in)
Brangwyn stands at the back of the studio with access to the garden.
Picture frames, a press and a weaving loom feature in the photograph.
There is no evidence to date that Brangwyn wove fabrics, but perhaps he
was following in the footsteps of his one time employer,William Morris?
[b] Brangwyn and his assistants putting the finishing touches to the
Skinners Hall murals, c
(Illustrated on p ) Photograph taken by Paul Laib, . . cm ( in)
Brangwyn poses centre, with his assistants in the background.To the right
the panels Edward III granting the Charter on March , and River Procession
of Citys and Companys Barges toWestminster,, can be seen.The panel
Harmony in the background was placed in the Gallery (see p ).

[c] Canadian Grand Trunk Railway Offices, Cockspur Street, [d] Brangwyn and his assistant Edward Trumbull at the etching press,
London, c Temple Lodge Studio, c
Inscribed (not in Brangwyns hand) verso:Grand Trunk Railway Office/Decorations Inscribed verso:FB &/Trumbull
of Frank Brangwyn/ for full fee Photograph by Paul Laib, . cm ( in)
Photograph, . . cm ( in) Edward D Trumbull was one of many American artists who travelled to
The subject matter of Brangwyns mural was The Introduction of European England to work with Frank Brangwyn (see p ).
Civilization into the Country of the Red Indian.Against a rolling panorama
divided by vertical tree trunks, Brangwyn created scenes showing Red [e] Brangwyn and his etching press,Temple Lodge Studio, c
Indians at peace before the advent of the railroad, prospectors, planning (Illustrated on p ) Photograph, . . cm ( in))
the railway, Europeans felling trees, and finally a viaduct and a train. [f ] Brangwyn with studies for the Panama-Pacific International
The photograph is significant because it shows the original location of
Exposition, c
the mural in Cockspur Street, London.The mural is now in the Ottawa
(Illustrated on p ) Photograph, . cm ( in)
Conference Center, Canada.
Brangwyn was paid US$ , to paint eight panels for the Court of the
Ages (also known as the Court of Abundance).The panels represented
earth, air, fire and water and the titles were, Fruit Pickers,Dancing the Grapes,
The Hunters,TheWindmill,Primitive Fire,Industrial Fire,The Net and The
Fountain.The two studies shown here are Primitive Fire and Industrial Fire.

[g] Brangwyn and Kenneth Center, c
(Illustrated on cover and on p ) Photograph by The Associated Press,
. cm ( in)
Brangwyn is seen working on the canvas for Man the Master and Servant of the
Machine for the RCA Building, Rockefeller Center.This was probably
photographed in one of the Exhibition Galleries at Brighton (see p )
Kenneth Center worked with Brangwyn for many years (see p ).
[h] Brangwyn with the Rockefeller Mural,Man the Creator,
c
(Illustrated on p and detail opposite) Photograph, . . cm ( in)
This was probably photographed in one of the Exhibition Galleries at
Brighton (see above).
[i] Brangwyn in the Ditchling studio with his poster for the General
Relief Fund for Women and Children in Spain,
(Illustrated on p ) Inscribed (not in Brangwyns hand):Arthur E Praill //
and verso:With all Good Wishes for May from Arthur E Praill.101
Photograph by A E Praill, . . cm ( in)

. [a] Aerial view of museum
Photographs of Kyoraku Art Gallery Designs Photograph, . cm ( in)
In Brangwyn was commissioned by the Japanese industrialist, Kojiro [b] Main entrance of museum
Matsukata, to design an art gallery to house his vast collection of (Illustrated opposite top) Photograph, . cm ( x in)
European and American paintings.The gallery, which would have been the [c] Garden between main building and annex
largest museum of western art outside Europe and the Americas, was to (Illustrated opposite bottom) Photograph, . . cm ( in)
have been situated the suburb of Azabu overlooking Tokyo City and har-
[d] Entrance Hall of museum
bour. Unfortunately the design was never realised as a result of a severe
earthquake which hit Tokyo, September , the closure of the #
Bank in Japan, and the collapse of the Kawasaki Shipping Company. None
of the drawings shown below have been discovered, and these photographs .
are therefore important as a record of Brangwyns design, (see p ) Photographs of Queens Gate Exhibition,
These two photographs show the exhibition of Brangwyns work organ-
ised by Barbizon House and held at Queens Gate, in . Many
of the works shown belonged to Kojiro Matsukata and were probably
destroyed in the Pantechnicon fire (see fn ). For example the four small
works on the right hand side of Room represent The Seasons, Spring,
Summer, Autumn and Winter, all c (see cat ). The long painting on
the right of Room is Exodus, c (see p )
These are the only known photographic record of this important
exhibition.
[a] Room , Exhibition of Paintings, Drawings & Etchings by Frank
Brangwyn RA, Queens Gate, London,
(Illustrated p ) Inscribed (not in Brangwyns hand) below:Room
/ Queensgate, /, ,
Photograph by A C Cooper, mounted on card, . cm ( in))
[b] Room , Exhibition of Paintings, Drawings & Etchings by Frank
Brangwyn RA, Queens Gate, London,
Inscribed above:Nearly all this picture were burnt destroyed [sic].Also inscribed (in
another hand) below:Room / Queensgate,
/. .
Photograph by A C Cooper, mounted on card, . cm ( in)

.
Photographs of Brangwyn posing as model
Nine photographs of Brangwyn posing for his own works, probably
taken by his assistants.
Modelled photographs saved the artist time and money and were in
effect an extension of his sketchbook. Early images of models were shot
against the confused background of a studio, later studies were taken
against a plain background which made the outlines clearer. Brangwyn
squared up the chosen photographic images and often added sketches,
props and aide memoires to the print itself.
[a] Brangwyn as Schoolmaster, c
(Illustrated opposite right) Photograph, . . cm ( in)
Probably an early study for one of the second stage Skinners panels,
Education (see p ).
[b] Brangwyn with book, c
Brangwyns pose is similar to those of two schoolchildren in the Skinners
panel, Education. Other known images indicate that Brangwyn would adopt
the pose he required, an assistant would take a photograph which would
then be used to show the final model the position required.
The following five photographs were probably taken during the same
[c] Brangwyn, Revelry pose, c photographic session.
(Detail on p ) Photograph, . cm ( in)
The photograph was developed by Alfred E Sinden, the local pharmacist.
[e] Brangwyn posing as Jesus, c
This print has been cut but another print in a private collection shows part Photograph, . . cm ( in)
of the leg of a nude female who was lying on the floor at Brangwyns feet. [f ] Brangwyn Posing as Jesus, c
The Arabic coffee pot at Brangwyns side was a favourite studio prop and Photograph, . cm ( in)
is now in a private collection.
[g] Brangwyn with Sword, c
[d] Brangwyn posing as Jesus, c
(Illustrated opposite left) Inscribed verso:This is taken by Steward[sic]. Do you prefer
that our Lord should be looking down on his Diseples[sic] or looking up like the [h] Brangwyn praying, c
sketch./Please return this as it is useful. Photograph, . cm ( in)
Photograph, cm ( in)
This was probably a study for the Transfiguration, Stokesley (destroyed by [i] Brangwyn seated at table, c
fire).The Arabic cloak was a favourite studio prop, and appears draped Photograph, . cm ( in)
round females in studies for the British Empire panels.The photographer
was William Stewart who lived in the Jointure Cottage.

[b] Exodus study, c
Photograph squared for transfer and numbered, . . cm ( in)
[c] Study for SS Empress of Britain mural, c

Photograph squared for transfer, . . cm ( in)
The photograph shows Ditchling residents, Mrs Morley (dressed as a
nurse) and her sons Jack (in the tin bath) and Dick (the wriggling baby
on her lap).A series of photographs of the family were taken and one was
later used as a study for The Childhood of St Francis, c , a drawing
now in the Ashmolean Museum, Oxford.
[d] Study for SS Empress of Britain mural, c
(Illustrated p ) Photograph, squared for transfer, . . cm ( in)
Another photograph of Mrs Morley with Dick. For more information on
SS Empress of Britain see cat .
[e] Man with Barrel, c
(Illustrated below) Photograph, . . cm ( in)
[f ] Woman with toddler, c
Photograph squared for transfer, . cm ( in)
.
Photographs of Hammersmith and Ditchling inhabitants posing
as models
Six photographs showing Brangwyns neighbours in London and
Ditchling, posing. Some of the photographs are squared for transfer.
[a] Exodus study, c
(Illustrated above) Photograph squared for transfer, . . ( in)
The photograph is one of a series which are squared for transfer, and relate
to the large painting Exodus (. cm; in) which was owned
by Kojiro Matsukata, displayed at Queens Gate, and was probably
destroyed in the Pantechnicon fire (see p and fn ).The painting Exodus
was also known as the Outcasting of Belgium and was based on Brangwyns
memories of the Messina earthquake (see p ).

.
Topographical photographs
photographs and postcards many of which were subsequently illus-
trated in Shaw Sparrows Book of Bridges and Barmans The Bridge.102
Walter Shaw Sparrow arranged for photographs of bridges to be sent to
Brangwyn as inspiration for the Book of Bridges published by John Lane,
The Bodley Head, ; friends were given precise instructions regard-
ing views Brangwyn wanted of foreign destinations; associates sent him
postcards of attractive scenes; and Brangwyn often commissioned pro-
fessional photographers for specific projects. More than once, Brangwyn
actually traced the image for his final drawing, others were squared up
and figures, trees or horses and carts added for interest and scale, indi-
cating how he manipulated the image for his pictorial purposes.
[a] Old Kew Bridge, c
Photograph, squared for transfer and with added sketch, . . cm ( in)
The photograph was used as a study for the oil painting Old Kew Bridge,
c (), now in Leeds City Art Gallery.
[b] Taormina, Sicily,
Inscribed (not in Brangwyns hand) verso:-- and
Photograph by W von Glden, squared for transfer, . cm ( in)
This photograph was taken by the German, Baron Wilhelm von Glden,
who settled in Taormina and to whom Brangwyn was introduced by [f ] Cappiano, Italy, the bridge and castle (th-century), c
R H Kitson. Photograph by Alinari, with suggested frame and added sketch, . . cm
( in)
[c] Dixmude, the Canal of Handzaeme, c
Inscribed:Water Color[sic] [g] Dixmude, th-century Pont de lallee, c
Postcard, squared for transfer and with added sketches, . cm ( in) Postcard, squared for transfer, cm ( in)
The postcard was a study for the watercolour, De Beerstbrug, (Bunt ),
[h] France, Pont-Saint-Esprit, c
in the collection of the Diksmuide Stedelijk Museum, Belgium, which was
used as an illustration for Christian Barmans book, The Bridge (facing p ) Postcard, with added pencil marks, cm ( in)
[d] Albi, the Tarn River, [i] French coastal town, c

Postcard, squared for transfer, cm ( in) Post card, squared for transfer, cm ( in)
Postcard addressed to Frank Brangwyn at Temple Lodge, with message: [j] Ivrea, Italy, c
We expect to finish up here What a joyous place Our weather has been Photograph by Alinari, with suggested frame, . . cm ( in)
very good nearly all the time.We stayed at Villefranche de Ruerque which
has a wonderful tower and arcaded Place. Our kindest rememberances,
[k] London, the Embankment, c
Douglas Wells.103 (Illustrated above) Photograph, squared for transfer, . . cm ( in)
[e] Bruges, Gate St Croix, c [l] London, the Thames, c

Coloured postcard with added sketches of trees, . . cm ( in) Photograph, squared for transfer, . . cm ( in)

[m] Motelupo, Italy, c
Photograph by Alinari, with suggested frame and added sketch, . . cm
( in)
[n] Narni, Italy, th-century bridge, c

Inscribed (not in Brangwyns hand) verso:Photographic fee / and Thirteenth
Century Bridge near Narni over the/Nera, mended primitively with timber/Alinari
photo and W Shaw Sparrow/ Ridgmount gardens/WC
Photograph by Alinari, with added sketch, . cm ( in)
[o] Nrnberg, Germany, c

Photograph by Christof Mller, squared for transfer, . . cm ( in)
[p] Pavia, Italy, Ponte sul Ticino, c

Photograph by Brogi, with suggested frame, . . cm ( in)
[q] Perugia, Italy, S Giovannis Bridge, c

Photograph by Alinari, central section squared for transfer, . cm ( in)
[r] Perugia, Italy, the Via Appia, c

Inscribed:GO./moonlight/donkey flight
Photograph by Alinari, with suggested frame and added sketch, . . cm
( in)
[s] Piedmont, Italy, Pont S Martin, c

(Illustrated p top) Photograph by Alinari, squared for transfer,
. . cm ( in)
[t] Rome, Italy, bridge and castle S Angelo, c
Photograph by Alinari, with added sketch, . . cm ( in)
[u] Rome, Italy, Ponte Rotto, c

Photograph by Alinari, with added lines and sketches verso, . cm ( in) [x] Sospel, France, bridge over the Bevera (), c
The photograph was used as a study for the watercolour, Rome,Ponte Rotto, Inscribed (not in Brangwyns hand) verso:Gothic Bridge at Sospel over the Bevera,
c (Bunt ), pwu, and also the etching Rome, Ponte Rotto, France/Neurdein, photo,W Shaw-Sparrow/ Ridgmount Gardens/WC and
(Gaunt ). Photograph with added sketch t.r., . . cm ( in)
The photograph was used as a study for the pen and ink drawing, Defensive
[v] Rome, Italy, Ponte Vittoria Emanuele II, c Bridge at Sospel, c , which was used to illustrate Walter Shaw Sparrows
(Illustrated opposite) Inscribed t.l.:Dark Book of Bridges (p ).
Photograph by Alinari, with added sketches, . . cm ( in)
[y] Subiaco, Italy, Ponte Francesco, c
[w] Salamanca, Spain, c Photograph by Alinari, . cm (. in)
Inscribed:Long/Shape and Men Sawing Photograph squared for transfer and with added sketches by Brangwyn
Photograph by J Laurent and Co, Madrid, with suggested frame and added sketches,
The photograph was used as a study for the etching Bridge,Subacio [sic],
. . cm ( in)
(Gaunt ) and also for the pen and ink drawing, Ponte Francesco,
Subiaco, c which was used as an illustration for Christian Barmans
book, The Bridge (p )

[z] Teruel, Spain, Aquaduct, c
(Illustrated opposite bottom) Inscribed:Men & women digging
Photograph by J Laurent and Co, Madrid, squared for transfer and with two added
compositional sketches, . . cm ( in)
[aa] Toledo, Spain, c

Post card, squared for transfer and with paint spatters, . . cm ( in)
[bb] Toledo, Spain, St Martins Bridge, c
Inscribed verso:FB/Toledo/San Martin
Photograph, squared for transfer, cm ( in)
[cc] Unknown bridge, c

Photograph mounted on card, squared for transfer and numbered, . cm
( in)
[dd] Unknown bridge, c
Photograph, squared for transfer, . cm ( in)
[ee] Unknown scene, c

Inscribed:boats
Photograph with added sketch, cm ( in)
[ff] Urbino, Italy, c
Inscribed:Farm
Photograph by Alinari, with added sketch, . . cm ( in)

CHRONOLOGY

Guillaume Francois is born at . in the morning Probably visited Sandwich again.
at Rue du Vieux Bourg, No. , Bruges. His Waterlogged is accepted by RA.
godfather is Moseigneur de Boon,a great character Paints ceiling at Pownall Hall, Cheshire to Herbert
he had a lovely brick-paved garden a fine place Hornes design.
like a painting by De Braekeleer (see cat ).104

Living in a Queen Square, Bloomsbury
Family returns to England, Richmond Gardens, Probably visited Rye,Yarmouth, Fowey.
Shepherds Bush, London. Watercolour, Sunday, is accepted by RA.

Family move to Grange Gardens, Shepherds Bush. Probably visited Mevagissey, Cornwall.
Travels to Morocco and Turkey.
Barkstrippers is accepted by RA.
Mackmurdo introduces Brangwyn to William Morris,
who gives the young man employment at Queen
Square, London. Moves into Wentworth Studios, Chelsea
Probably visited St Ives, Cornwall.
Three oils accepted by RA including When we were
Stays at Admiral Owen pub, Sandwich, Kent. boys together.

Living at Newman Street, London (shared with Moves into Trafalgar Studios, Chelsea and retains
Ben Creswick). lease until .
Travels to Spain for two weeks in the Spring and later
in the year travels to Turkey, and Romania. Possibly
Living in Shepherds Bush Green. Probably in travelled to Walberswick and Brighton.Also Antwerp
Whitby,Yorkshire. and the Danube.
A Bit on the Esk near Whitby is accepted by RA. Paints Funeral at Sea.
Young Brangwyn with his Godfather at Bruges, c (cat )

Elected member of the Royal Society of British
Artists.
Starts producing illustrations for The Graphic
magazine.

Rents Stratford Studios, Kensington and retains
lease until . Sails to South Africa with William
Hunt, the trip being paid for by Larkin (may have
left late ).Visited Madeira and probably made
short trip to west Africa. In a Spanish Home, c () (cat )
May also have visited Spain and Italy in .
In March has first one-man exhibition, at Royal
Arcade Gallery, Old Bond Street, entitled From the
Scheldt to the Danube (see cat ). Probably in Morocco with Dudley Hardy and Henry
Ganz.

Travels to Spain with Arthur Melville.
A house full of Spaniards, smoke and animals.A low Travels to Picardy with Phil May and his wife.
bench ran round the large open fireplace; we sat In Paris for Bing commission.
down, and the wine-skin was passed round as Trade on the Beach is bought by the French
though we were the acquaintances of years, not Government.
minutes.The wine-skin, be it noted, required plenty Paints murals on exterior of Bings LArt Nouveau
of replenishing from the barrel in the corner (see Gallery in Paris, together with two large panels for
cat ).105 the interior.
Exhibition of South African paintings opens in March Employs unknown assistant.
at Larkins Japanese Gallery, New Bond Street.
Becomes member of the Institute of Oil Painters.
During the s produces illustrations for The Travels to Spain with Alfred East (see cat ).
Idler,Pall Mall,Scribners,Maclures,The Century,Colliers Marries Lucy Annie Ray on January at the
Weekly,andThe Cambridge Press. Registry Office, St Georges, Hanover Square. Lucy
was years old, Brangwyn . Brangwyn travels to
Assisi and Venice alone.Takes Lucy to Longpr in
Travels to Morocco with Dudley Hardy. the autumn.
In the [old] days in Tangier strange people of title The Blood of the Grape is accepted by the RA.
(!) used to turn up, but I take it the place is quite Designs The Vine carpet for Bing.
respectable now (see cat ).106
In February Buccaneers is exhibited at the
Grafton Gallery. Still resident at Stratford St in March.
Becomes corresponding member of Munich Paints The Dogana,Venice.
Frank Brangwyn ARA, (cat. a) Secession. Becomes founder member of the Vienna Secession.

Awarded Gold Medal at Munich International Probably went to Paris July, returning to London of Brangwyns etchings displayed at Barcelona Travels to Kitsons house in Taormina to paint
Art Exhibition. August. International Exhibition where they are awarded frescoes (February).
Starts the London School of Art in Stratford Road, a special diploma. FAS holds exhibition of Messina works in November.
Kensington with J M Swan and C PTownsley. One man exhibition of Brangwyns work held in
Designs stained glass panels for Tiffany, displayed A S Covey and William Nicholson help with Rome, and another at the Gross-Berliner
at the Grafton Gallery, London. lectures. Builds studio at Temple Lodge. Kuntstausstellung.
Elected an Associate of the Royal Academy (see Suffers from colitis, collapses with exhaustion, Member of the Genreal Fine Art Committee,
p ). and gives up teaching. Japan-British Exhibition, London.
Leases Temple Lodge, Queen Street, A L Coburn assists Brangwyn in studio. Brangwyns attend LSA summer school in Furnes Awarded Austrian State Gold medal for Art.
Hammersmith. A S Covey works with Brangwyn until c and Bruges where Lucy breaks ankle. Elected member of Royal British Colonial Society
Probably visited Southwold/Walberswick area of Probably travelled to St Ives, Cornwall with East of Artists.
Suffolk with Lucy. to escape November fog (without Lucy).
Commissioned to design interiors for E J Daviss Probably stayed at Hotel de France, Hesdin, The Return of the Messengers of the Promised Land
bedroom and music room at Lansdowne Road, Pas de Calais. accepted by RA. Brangwyn and Lucy holiday in Spain in May and
Notting Hill. Designs British Rooms at Venice Biennale.Awarded Paints The Rajahs Birthday. return to the Lot in the autumn. Lucy ill in April.
Commissioned to paint Royal Exchange mural, gold medal. Begins Lloyds Register of Shipping panels, Helps design street decoration for Coronation
completed . Designs verge for Leeds University, completed . completed . of King George V.
Gains silver medal at Paris Exhibtion. Takes summer school to Nieuport, Belgium. Begins murals for St Aidans Church, Leeds, Commissioned to paint murals for Cuyahoga
Painted the watercolour The Orange Market. completed . County Court House, Ohio, completed
Created Chevalier of the Order of the Crown of Italy.
In Bruges,August and probably September.Visited The Crown Prince of Sweden visits Temple Lodge.
Created Chevalier of the Legion of Honour Ghent sometime in year. Travels to R H Kitsons house at Taormina, Sicily Assistant: probably Trumbull.
(promoted to Officier in ). Etching Santa Maria della Salute awarded Grand Prix without Lucy.
Designed Billiard Room interior for Thurston & Co of the Milan Exhibition. Messina was fine and impressive after the
Commissioned to paint Skinners hall murals, Summer school held in Bruges. earthquake. It was lighted up with great electric Breaks a rib in January.
completed . Designs interiors for the Palazzo Rezzonico,Venice lights and the deep shadows with the deep night Brangwyn and Lucy spend two weeks in Paris in
(unexecuted). sky was wonderful and with the fires of the the spring. Brangwyn returns with severe cold and
Paints Venetian Funeral. encampments of the homeless and the soldiers suffering from rheumatism and depression.
Visited Barnard Castle, Co Durham, in September Elected corresponding member of Society of it was grand (see cat ).107 Probably visited Parthenay in August,Airvault
without Lucy. Illustrators, USA, and member of Asociacion de Visited Furnes , probably staying at Grand in September with Lucy.
Paints Queen Elizabeth Going Aboard the Golden Hind. Artistas Espanoles. Hotel Rogne. An exhibition of Brangwyns etchings is held at
One-man exhibition in Amsterdam. Designs dining room interior for Kitson and makes the Galerie Durand-Ruel in Paris.
Associate and Fellow of Royal Society of Painter- sketches of scenes of devastation from Messina Paints Il Palazzo dei Camerlenghi,The Doges Palace
Etchers & Engravers. Travels to Montreuil, and is in Venice for about three earthquake. and Library,andThe Mockers.
weeks from March without Lucy.Visits Begins murals for Canadian Grand Trunk Railway Commissioned to paint murals in chapel at Christs
Winchelsea October. offices, London, completed . Hospital, Horsham, completed .
Elizabeth Berry (see p ) joins household, and Designs British Rooms at Venice Biennale.Awarded Designs stained glass windows for St Marys,
returns a few years later as Lizzie Peacock, a widow, gold medal for etching. Bucklebury East window crucifixion and two
remaining with Brangwyn until his death.Visited Paints Blakes Return after the Capture of the Plate Ships. Lucy has fit in Paris in September.They take holiday small lights in chancel.
Alfred East in St Ives in January, without Lucy. early October with Douglas and Madelaine Wells Gains gold medal at Berlin Salon.
(LSA students) at St Cirq la Popie, France. Assistant: A TTrue until

Brangwyns paintings form part of an exhibition
Visits Meaux either or . Presents complete set of etchings to the at the Brooklyn Museum, USA. Ill in June.
Has influenza (probably April). Luxembourg, Paris. Elected to the Institute of France. Produces the Stations of the Cross for Father Ryans
Designs British Room at Ghent Exhibition, displaying Stomach pains during summer. Starts designs for Kyoraku Art Museum,Tokyo Leper Mission, South Africa.
the murals for Lloyds Register of Shipping. Starts work on murals for State Capitol, for Kojiro Matsukata (unexecuted). President of Society of Graphic Artists.
Paints large oil for the Carpenters Company. Jefferson City, Missouri, completed . Poster Put Strength in the Final Blow. Assistant: Laurence Bradshaw to c.
Becomes corresponding member of Prussian Royal Poster Kitcheners Appeal.
Academy, member of Kniglichen Akademie der The German poster magazine Das Plakat includes
Knste, Berlin and President of the RBA. seven-page article on Brangwyns posters. Complains of stomach pains August. Seriously ill early this year.
The RA make Brangwyn a full member. Further gift of plates, etchings and lithographs to
Creates Peace Pageant decorations. Albertina.
Presents his first gift to a Gallery, the Albertina in Designs billiard room at Horton House, Produces The Ruins ofWar for Canadian War Council member of Pastel Society (incorporating
Vienna (valued at then). Northampton for Captain Winterbottom. Memorials Fund. the Pencil Society).
Designs murals for the Panama-Pacific International Work is completed on the mosaic murals at Created Commander of Order of Leopold.
Exposition, San Francisco. St Aidans Church, Leeds.
Poster Britains Call to Arms. The Poulterers Shop exhibited at Royal Academy Lucy dies from broncho pneumonia on December.
Etchings displayed at NewYork Public Library. and purchased by the Chantry Bequest for the Household animals Jock,Tiddles, a rabbit Her sister with her when she died.
Brangwyn Room at Venice Biennale. Tate Gallery. and a tortoise. Finishes work on, but does not complete, the Arras
Elected Honorary member of Royal Scottish At Ditchling May June and late August. Stations of the Cross.
Academy. Paints The Swans. Exhibition of prints at FAS.
Assistant: J A Murphy until Brangwyn and Lucy take holiday in England, Designs stained glass window for the United Exhibition at Queens Gate is opened in May by
spending a month in Falmouth, then stay in Reformed Church, Northampton. Ramsay MacDonald, P.M.
Coombe Wood, Ditchling (September). Starts the Society of Graphic Art and resigns as RE. Creates backdrop for Pageant of Empire,Wembley.
In November discover The Jointure, Ditchling, Created Officer of Legion of Honour. Name entered on Hammersmiths Roll of Honour.
for sale. Elected Associate of the Academie Royale de Belgique. Member of jury on painting,VIIIth Olympiad, Paris.
Designs a further window for St Marys, Assistant: Frank Alford to .
Bucklebury Nativity.
Becomes President of Senefelder Club, London Presents Cardiff with about watercolours and a
Italy makes Brangwyn a Commander of the Italian Suggests three to four week motoring trip with collection of etchings.
order of St Maurice and St Lazarus, and Brangwyn E P Dawbarn of FAS to France, postponed. Starts work on the British Empire panels,
responds with a gift of a collection of his etchings. Suffers from stomach complaints and heart flutters completed .
RSW. February December. Exhibition of Brangwyns etchings at the
Assistant: a Frenchman works in studio in November. In Ditchling March, June, July Whitechapel Art Gallery.
September and sometime in October. Exhibition of Brangwyns work at the Vose
All FBs specimens - some very costly were all Galleries in Boston, USA.
In January Brangwyn and Lucy buy The Jointure, obtained by a scheme of swapping rather than Elected Honorary Fellow of Incorporated
Ditchling. Brangwyn appears to spend most of his actual money expenditure (see cat ).108 Institute of British Decorators.
time here until early . Complains of illness Starts work on mosaic dome for Selfridges Assistant: Edward Kenneth Center to .
February. (unexecuted).
Starts lunette for Manitoba Legislative Building, Becomes Associate of The Royal Watercolour
Making a Deal for the pots from Syrene, c () (cat ) Winnipeg, completed . Society (ARWS). Assistant: Dean Cornwell to or .

Designs Egyptian setting for Chelsea Arts Ball. Awarded gold medal by Society of Manufacturers
Elected member of the Academie Royale des Beaux- and Commerce.
Arts,Antwerp.

Suffers severe attack of sciatica.
Ill January and June August. Receives Albert Medal of Royal Society of Arts for
Designs stained glass window for St Winifreds, services to decorative and commercial art.
Manaton, Devon. University of Wales make Brangwyn an Honorary
Assistant Scatalo returns to Italy. Doctor of Laws.

Visits Venice in July. Blood poisoning in March, complains of rheumatism.
Suffers from bronchitis in November. The British Empire panels are displayed at the Ideal
Presents Netherlands with gift of over etchings Home Exhibition, Olympia.
and lithographs. Exhibitions of Brangwyns works held at the Ferens
Assistant: Reginald S Lewis to April with Art Gallery, Hull, and Wolverhampton Art Gallery.
certainty, probably longer. Brangwyn designs exterior for Rowley Gallery,
Created Commander of Order of Oranje Nassau. Kensington Church Street.

Vice-President of Incorporated Association of Roger (brown terrier mongrel) joins family.
Architects and Surveyors. Stations of the Cross printed from sycamore blocks
completed.
Designs for murals, Guildhall, Hull (unexecuted)
Ill July. The British Empire panels are installed in the
The Pollard Exhibition, showing Brangwyns Swansea Guildhall in time for the opening by
designs for furniture, carpets, lamps, crockery the Duke of Kent on October.
and glass opens in October, produced by Pollard, Designs the Christmas edition cover for the
Mortons,Templetons, Louis Dernier & Hamlyn, Radio Times.
Royal Doulton,Ashtead Pottery, James Powell
(Whitefriars).
Begins murals for RCA Building, Rockefeller Gives etchings and lithographs to Brighton Art
Center, NewYork, completed . Gallery.
Designs three dining room interiors for SS Empress Brangwyn, Spradbery and Mackmurdo get together
of Britain, completed . to discuss the William Morris Gallery,Walthamstow
(see cat g, illustrated above).
Ill May and November, has R-ray in December.
Presents Birmingham with drawings. Designs lunette for Odhams Press, London,
Designs stained glass window for St Patricks, completed .
Dublin Charity.
Lizzie and Edgar Peacock,Hammersmith,, (cat d)

Has rheumatism and housemaids knee in January, Has about refugee children in cottage in autumn.
neuritis in hand in March, torn leg muscle in June At end of year William de Belleroche gives
and bronchitis in October. collection of Brangwyn and Albert Belleroche work
The Brangwyn Museum in Bruges is opened on to Orange, France.
July. Brangwyn is created Grand Officer of the
Order of Leopold II, Belgium, and created Citoyen
dHonneur de Bruges (the third time the award had Buys Dovers House, Chipping Campden
been given). (Griggs house).
Restored an old cottage.
this Ex [sic] is rather a matter of sentiment on
Feels sad and ill.
my part, a great many of the works which will be
Completes woodcut Stations of the Cross with
shown are large drawings of religious subjects109
William de Belleroche.
The entire collection of works, presented by
Mr Brangwyn as a mark of his affection for the city
of his birth, will have a permanent home in the Travels to Chipping Campden for a week.This is
Hotel Arents, which is part of the Gruuthuuse, the last time he leaves Ditchling.
and will henceforth be known as the Museum Knighted, but never actually goes to Buckingham
Brangwyn. An account of the ceremony will be Palace to be officially dubbed.
broadcast from Bruges in French and English at Starts drawings for a Life of St Francis, completed
about half past (see cat ).110 (unpublished).
A Birthday party,, (cat g)

Gives up lease on Temple Lodge this year or . Bladder problems early .
Complains of neuralgia in August. Value of his gifts to Galleries estimated in excess of
Starts Stations of the Cross in oil and The Last Supper for , ( prices). Self portrait arrives at the Uffizi Gallery in Florence Dies at The Jointure on June, the cause of death
Marist College, Middlesborough, completed years after it was requested. being senile arteriosclerosis. Lizzie Peacock was
President of the Society of Graphic Arts. with him. He was interred at St Marys Cemetry,
Designs stained glass window for St Andrew and Designs TheWine Press and The Last Supper tapestries Kensal Green, London. Left , before tax.
St Peter, Elveden, Suffolk. for the Dovecot Studios, Edinburgh (only the first The William Morris Gallery is officially opened in
named woven). October by Clement Atlee, P.M.
Paints The Last Supper and Transfiguration for
Restores cottages in grounds of The Jointure. St Josephs, Stokesley.
Builds gas-proof chamber in case of air raids. First retrospective of a living artist held at the RA.
Has shingles in December. Becomes Honorary Member of The Royal
Designs small Crucifixion window and ten single In January has septic toe and septic fingers. Watercolour Society.
lancets for St Andries monastery outside Bruges. Completes tapestry design TheWine Press, woven by
President of International Corporation of Arts. the Dovecot Studios, Edinburgh.

Produces etchings for The Book of Job.

BRANGWYNS STUDIO ASSISTANTS ALVIN LANGDON COBURN 1904
the occasion of lowering of one of his enormous
American symbolist photographer. Coburn learnt
It was not without some foreboding on that dreary February day that I called at his Hammersmith mural paintings which he had fixed to a great
wood engraving and composition from the Master
pole rather like ships mast and this was sus-
studio. However, with his cordial welcome my anxieties faded. Upon seeing my sketch he smiled, whilst the latter must have mentally absorbed the
pended from hooks in the ceiling sailors blocks.
then said, This is a saucy bit, my boy. I interpreted this as complimentary. photographic techniques of the former.
Brangwyn was very keen on everything to do
Peter Helck (see p ) in letter to Georgia Riley, February , recalling his meeting in with ships riggings. On that occasion I was At one time I took up wood-engraving with
(private collection)111 hanging on the end of the rope while Lefrate, a Brangwyn, and the box-wood of which the blocks
model, an enormous man of about stone, are made is an exceptionally hard kind of wood.
was hanging on the other. Suddenly something You hold the block in your left hand and engrave
went wrong, the hook came out of the ceiling it with a very sharp implement held in the right
Brangwyn had a succession of assistants during his Perhaps surprisingly Brangwyn did not create,
and I shot up while the picture came down. hand. With the beginner this instrument is apt
long career, some of these men benefiting from his through his own influence, a generation of painters
Brangwyn, with absolute astonishment was gaz- to slip, and this indeed happened to me: it sank
influence, others notably escaping it to develop their who might logically have been known as School of
ing at my performance with awe and at the same deep into the flesh between my thumb and first
own style, and a few leaving their mark on Brangwyn Brangwyn.
time with annoyance and finally managed to finger! Brangwyn roared with laughter, and
himself. Some of these assistants may have been
ejaculate What the hell are you doing up there? escorted me to the bath-tub where I could bleed
more in the nature of part-time pupils and Brangwyn FRANK ALFORD 19181922
I said Hanging on. If I let go the picture will in peace, assuring me that I was now duly initi-
had no qualms about engaging the help of friends Welsh artist, architect and property developer.
come crashing to the ground. Well for Gods ated into the craft of wood-engraving. Coburn,
and acquaintances when the need arose. In keeping He assisted with Jefferson City, Selfridges, South
sake stay there, stay there. And there I was c , quoted in H & A Gernsheim (Ed), Alvin
with his philosophy of life, Brangwyn appears to African Stations of the Cross, and Japanese Art Gallery.
without any support for my feet hanging on Langdon Coburn. Photographer, London: Faber and
have treated the young men as equals, encouraging Alford wrote an interesting diary whilst working for
with my two hands on a very harsh sisal rope. Faber, , p
their talents, engaging them in topical discussion Brangwyn, and his ability and aptitude earned him the
Not a very nice experience.117 (Laurence
and local gossip, and making them do everything accolade of the best assistant I ever had.115
Bradshaw, unpublished notes, private collection)
from opening the door to collecting prescriptions, DEAN CORNWELL 19261930
Many times am I called to his bedroom to con-
taking messages and producing working drawings or American illustrator. Assisted with Skinners murals
sult about the work in the studio, and each time
completing paintings. In return they gained techni- EDWARD KENNETH CENTER 19251939 (second series) and British Empire panels. Cornwell
I am impressed by the bad, stubborn, selfish,
cal knowledge and instruction in the practical side Scottish artist. Assisted with British Empire and was a close friend and travelling companion of
naughty schoolboy type of individual lying there
of mural painting, etching, lithography and wood Rockefeller Center murals. Center was particularly Helck and was advised by the latter to study with
in bed.116
engraving.The young men were probably chosen for useful because he could imitate the Masters work Brangwyn in preparation for his mural project, the
an ability to enlarge from scaled drawings and, more faultlessly. He also acted as a model, took photo- rotunda of the Los Angeles Public Library, .
importantly, a painterly technique which was com- LAURENCE ENDERSON BRADSHAW graphs and painted much of the upper sections of The finished murals are a pastiche of Brangwyn
parable with Brangwyns skills necessary for assist- 1922c 1924 mural work particularly the Rockefeller panels. motifs.
ing the artist with his vast mural works. English artist and sculptor. Bradshaw may also have
I remember the day some ambassadors came
Brangwyns prestige abroad is shown by the num- worked briefly for Brangwyn in before rejoin- ARTHUR SINCLAIR COVEY 1904 c 1908
to honour him. He was so thrilled he started
ber of young American students who travelled to the ing him in . He assisted with Christs Hospital American journalist. It is not apparent what role
dancing on the lawn, and the ambassadors
UK for the opportunity to study with the artist. For murals. Bradshaw was one of the few artists to escape Covey played, apart from accompanying Brangwyn
hooted with laughter. (E K Center, quoted in My
example, Peter Helck recalled being one of scores Brangwyns stylistic devices, realising that he needed on trips abroad and penning admiring articles about
old boss was a real master Evening Argus,
of young artists who worshipped Frank Brangwyn, to develop his own style. Bradshaw designed the the Master. He may have helped with London School
December )
then enjoying world fame. I had seen his eight gor- Karl Marx Memorial in Highgate. of Art classes.113
geous murals at the Panama-Pacific Expo in San
One of the most dreadful experiences I had
Francisco in . This was an unforgettable expe-
when I was working with Frank Brangwyn was
rience, its impact still with me today.112

ELIJAH ALBERT COX 19251932 WILLIAM STEWART 19461956
English. Assisted with the British Empire panels. Scottish scene painter and writer. Stewart lived in
Cox was a neighbour of Brangwyns in Ditchling the Jointure Cottage during this period, and although
and must have worked as a collaborator rather not an assistant, did some remedial work on Christs
than assistant since he was an established artist in his Hospital murals and helped Walter Spradbery with
own right. negotiations for the Water House (William Morris
Gallery, London Borough of Waltham Forest).
PETER C HELCK c 1920
American. Fisk Tires (USA) commissioned Brangwyn ALLEN TUPPER TRUE 19121914
to produce a billboard poster design and Helck (an American. Previously studied with American illus-
artist and admirer of Brangwyn) was sent to the UK trator Howard Pyle. Helped with Panama-Pacific
to mediate and ensure that Brangwyn complied. Exposition panels, and was later chosen to paint the
four small domes at Jefferson City, to complement
FRANCIS (FRANK) WILFRED LAWSON 1921 Brangwyns murals. Brangwyn held Trues art in
English. An established illustrator and social realist high regard.114
artist, he appeared to use Brangwyns studio in
return for favours, notably finding portraits of Pitt EDWARD D TRUMBULL 1911
(whatever generation) and Edmund Burke. American.Trumbell appears in various photographs
which show Brangwyn experimenting with his
REGINALD S LEWIS printing press in the Temple Lodge studio.Whatever
1928 April 1929 (possibly longer) qualities Trumbell may have had as an artist were
Assisted with British Empire panels. forgotten when Brangwyn subsequently discovered
that Trumbull was a bigamist.
J A MURPHY 1915 Trumbull produced five mural panels for the
American. Brangwyn wrote to A T True that he con- Insurance Company of North America Building,
sidered Murphy argumentative and a humbug. John Street, New York, in .
Brangwyn and Dean Cornwell,c , (cat e)

MAJOR EXHIBITIONS AND SELECTED CRITICAL REACTION
Walker Art Gallery, Liverpool. First known record Larkins Japanese Gallery, London. Exhibition of
To see this painting here, among so many works that lack the energy and effectiveness that seems to
of Brangwyn exhibiting a work. Brangwyn and William Hunts South African
come naturally to even the inferior French painter, is to understand why Sir Frank Brangwyn was for
paintings.
so long the only British artist whose name was known to foreigners. [The artists took in] hand the illustration of
Describing Brangwyns The Prodigal Son (pwu) at the Summer Exhibition,The Royal Academy, The Times, May Summer Exhibition, Royal Academy of Art, London.
scenery in all of its varied detail, and the native
Brangwyns first exhibit at the Academy, A Bit on the
races in their ordinary life and occupations
Esk (pwu).
the result has been a very marked success the
studies by Mr Brangwyn show the result of
rapid sketching, and are evidently painted from
Between and , when the artist was still ited at the Salon des Artistes Franais (, , Summer Exhibition, Royal Academy of Art, London.
nature directly (Chronicle of Art May,
only years old, Brangwyn participated in more and ) before switching allegiance to the Home ( Art Gallery of Toronto) hung above line and
Magazine of Art, December , pxxxi).
than exhibitions in the UK, Europe, New more avant-garde Socit Nationale in . After Minutes are Like Hours (pwu) hung on line, although
Zealand and the USA. By the time he died in Brangwyn exhibited far more in Europe, one critic noted that the latter was:
Brangwyns work had been shown in more than where his work was highly acclaimed, than in the
so indifferently painted, drawn and composed
exhibitions of which over were one man shows, United Kingdom where it was not. Worlds Colombian Exposition, Chicago (commem-
that we fail to see what claim it can have to a
and from has been displayed in a further The Fine Art Society, London were agents for orating the th anniversary of the landing of
place on the line (The Royal Academy, ,
exhibitions including one man shows. Brangwyns work during his lifetime and published Columbus). Convict Ship (pwu) awarded gold medal,
Art Journal, p ).
Brangwyn exhibited regularly at the Royal his etchings. D Croal Thomson of Barbizon House, Pilots Puerto de los Pasajes (Art Institute of Chicago)
Academy, London, from to , showing London also acted for Brangwyn and displayed his awarded bronze medal and purchased for the Art
some works, with British Artists from to works in about exhibitions. Brangwyn designed Institute of Chicago.
(about works) and at the Grosvenor the covers for the yearly Barbizon House Record (March) From the Scheldt to the Danube, Royal Arcade
Gallery in and . In Paris he initially exhib- from to . Gallery, London. First one man show.
Paris Salon, France. Trade on the Beach (Muse
Mr Brangwyn has simply revelled in the ever
dOrsay) purchased by French Government for the
varied aspect of the sea under different condi-
Luxembourg.
tions of light and weather, and latitude. He has a
fine sense of colour, and a graphic grasp of a
Summer Exhibition, Royal Academy of Arts, London.
scene this is an unpretentious exhibition, but
Blood of the Grape (pwu) skyed despite one critic stat-
it is full of pictorial interest (Sunday Times,
ing that the work:
March ).
shows this powerful artist in a very favourable
light he has painted it in just the large, simple
(April) Paris Salon, France. Funeral at Sea (Glasgow
manner best calculated to make effective its
Art Gallery and Museum) awarded medal of rd class.
vigour and freedom from restraint (Pictures of
the Year, The Graphic, May ).
Summer exhibition, Royal Academy of Art, London.
Salvage (pwu) and Assistance (National Gallery of
South Africa) both skyed.
Artist,Model and Patron, c (cat ) Munich International Art Exhibition, Germany.
Scoffers (Art Gallery of New South Wales, Sydney)
awarded gold medal.

Biennale, Venice, Italy. St Simon Stylites purchased
by Galleria Civica dArte Moderna,Venice. Exposition Universelle, Paris.Awarded silver medal. International Exhibition, Amsterdam, Netherlands. ( January February) XXXIInd Secession
Santa Maria della Salute (Te Papa Tongarewa, Well- Exhibition,Vienna,Austria.Three rooms devoted to
Paris World Fair, France. Market at Bushire (pwu) ington, New Zealand) awarded gold medal. Brangwyns drawings and etchings, works. Bridge
awarded silver medal. Royal Society of PainterEtchers, London. Among of Sighs (Gaunt ) awarded Grand Gold Medal by
the few exceptional performances the vigorous Milan International Exhibition, Milan, Italy. Santa the Emperor of Austria.
Summer Exhibition, Royal Academy of Art, London. and broadly handled subjects by Mr Frank Brangwyn Maria through the Rigging (Gaunt ) awarded Grand
Dogana, Venice (William Morris Gallery, London (Royal Society of PainterEtchers, The Graphic, Prix.
Borough of Waltham Forest) skyed. February , p ). (November) Watercolours and Etchings by Frank
Brangwyn, The Fine Art Society, London. One man
Summer Exhibition, Royal Academy of Art, London. Barcelona International Exhibition, Spain, etch- selling exhibition of works inspired by Brangwyns
Paris Salon, France. Baptism of Christ (stained glass The Departure of Sir James Lancaster for the East Indies, ings, awarded a special diploma. visit to Messina in following the earthquake in
panel made by Tiffany to Brangwyns design) (one of Skinners Hall panels). December .
awarded medal (Baltimore Museum of Art, USA). Etchings by Frank Brangwyn ARA, Rembrandt Gallery,
The election of Mr Brangwyn (as ARA) is alto- A refreshing atmosphere of virility and pur-
London. One man selling exhibition, etchings
gether admirable. Here we have a painter who is poseful intention (Studio-Talk, The Studio,
Summer Exhibition, Royal Academy of Art, London. priced guineas.
not so much a painter as a designer, a master of December ).
Golden Horn (also known as Off Galata, pwu) and The
colour, of composition, whose pictures suggest
Story (pwu) both skyed. The critics commented on Biennale,Venice, Italy. Brangwyn again designed the
ordered riot and splendid repose. If ever the
the works as follows: British Room. Santa Maria through the Rigging (Gaunt LXXX Espozione Internazionale di belle Arte della
Academy selected a young genius who is marked
) awarded gold medal. Societa Artistica Amatori e Cultori di Belle Arti,
Golden Horn: It is breezy, animated, and alive, out for greatness, Mr Brangwyn is the man as
Rome, Italy. One room dedicated to Brangwyn con-
not a merely formal record of obvious facts foreign countries have already recognised (The If Whistler has in his symphonies shown to the
taining works.
the work of an artist who sees things in his own New Associates of the Royal Academy, The world how great is the musical quality possessed
way and has the courage to declare his beliefs Graphic, February , p ). by harmonious colour, then Brangwyn has in his
Exposition Universalle, Brussels, Belgium.Awarded
openly and sincerely (A Record of Art in turn shown clearly how much actual music may
Diploma, st class.
, The Studio, p ).
be expressed by the juxtaposition of line and
mass as well as by colour. (Arthur S Covey,
Biennale,Venice, Italy. Brangwyn designed the British Chile Centenary International Art Exhibition, Chile.
The Story: contained no niggling detail, no The Venice Exhibition: Mr Brangwyns
Room and was awarded a gold medal. Melons (also Awarded bronze medal.
attempt at shallow prettiness. It is big in feeling, Decorative Panels in the British Section, The
known as Poponi) acquired for the Gallerie Civica
Studio, June )
big in touch (Frank Rinder, The Art of Frank
Brangwyn, Art Journal, March , p ).
dArte Moderna,Venice.
Ninety-one etchings by Frank Brangwyn, The Fine Art
Laverys remarks are somewhat amusing of
Exhibition of Works of Art,Amsterdam, Netherlands. Society, London. One man selling show
course it is his game to say everything is from
Kunstausstellung Secession, Horticultural Society, Awarded gold medal.
Vienna, Austria. First exhibition of the Vienna
Glasgow. FB did this kind of thing before

Secession.
Glasgow knew that it had a school of design but
no matter it is the Scotch way (Letter from
( January February) Exposition Frank Brangwyn,
March, Cabinet Pictures and Etchings by Frank La Galerie dArt Decoratif, Paris. One man show,
Brangwyn to Kitson discussing Laverys com-
ments on the Biennale, April , pri-
Brangwyn, The Fine Art Society, London. One man works, etchings and lithographs.
LArt Nouveau, Grafton Gallery, London. Organ- selling exhibition.
vate collection118).
ised by Siegfried Bing and featuring two Brangwyn (June) Etchings by Frank Brangwyn, Rowleys Fine Art
designed glass panels executed by Tiffany Glass Dec- Dealers, Manchester. One man selling show,
orating Company. Brangwyn also designed the poster. works, prices ranged from guineas.

Berlin Academy, Germany. Brass Shop (cat ) awarded British Arts and Crafts Exhibition, Paris ( October November) Furniture and other arti-
gold medal. st Exhibition of Decorative Art, Monza, Italy cles designed by Frank Brangwyn RA, E Pollard & Co
XI Biennale, Venice, Italy. One room devoted to Ltd, London. One man selling show of Brangwyns
Frank Brangwyn, Galerie Ernst Arnold, Dresden and Brangwyns work. designs for decorative arts, opened by Sir John
Breslau. One man show, works, etchings and ( May July), Exhibition of Paintings, Drawings & Lavery. items of furniture made by E Pollard &
lithographs. Etchings by Frank Brangwyn RA, Queens Gate, Co Ltd priced . ceramics made at the
rd Spring Exhibition Watercolours, Drawings and London. Organized by Barbizon House in the home Royal Doulton Potteries. ceramics made by
Pastels by Frank Brangwyn, Cartwright Memorial of Mrs Coutts Michie and the first art exhibition to Ashtead Potters Ltd. glassware designs made by
Ghent International Exhibition, Belgium. Brangwyn Hall, Bradford. One man selling exhibition, be opened by a British Prime Minister, James Ramsey James Powell & Sons (Whitefriars) Ltd. Two car-
designed the Brangwyn Room incorporating the works from . MacDonald. One man show, works, oils, water- pets, five different sizes, made by James Templeton
murals painted for Lloyds Register of Shipping. colours, drawings, etchings. The galleries were & Co, Donegal hand-tuft carpets made by Alex
(July) Drawings of Bridges etc by Frank Brangwyn ARA, opened free to the public on Sunday afternoons.The Morton Sons & Co. lamps made by Louis Dernier
Mr Brangwyn makes a personal appeal: you
Whitworth Institute, Manchester. One man show, exhibition lasted seven weeks and about , & Hamlyn Ltd.The exhibition was described as:
take him or you leave him: and the consequence
works. people attended (see cat ). Ramsey MacDonald
is that his work provokes an individual senti- modern without displaying any of the irritating
considered that:
ment of pleasure or dislike that gives to either qualities of much recent modern household
( September October), Exhibition of Original
feeling something of added strength and value, [Brangwyn symbolized] the fundamental and equipment and furniture. It is strong and virile
Etchings by Frank Brangwyn, Albert Roulliers Art
and shames one out of the ordinary stock-in- eternal verities of the struggles of humanity, not in design (Art and Household Decoration: Mr
Galleries, Chicago, USA. One man show, works.
trade banalities of praise or blame (Gerald C in the persons of dead people, but in the persons Brangwyns Designs, The Times, October ).
Siordet Mr Brangwyns Tempera Paintings at Brangwyn shocks the too delicate connoisseur. of his own generation (Opening speech at the
the Ghent Exhibition, The Studio, June ). (Walter Shaw Sparrow,Frank Brangwyn and his
Etchings, foreword to exhibition catalogue).
Exhibition).

( July September) Exhibition of Studies and
(April) Etched Works by Frank Brangwyn ARA, RPE, Drawings for the Royal Gallery House of Lords by Frank
Robertson and Moffat, Fine Art Gallery, Melbourne, (November) Exhibition of Drawings of Belgian and War ( October November) Exhibition in Upper Brangwyn RA, Brighton Art Gallery. One man show,
Australia. One man selling show, works priced Lithographs by Frank Brangwyn ARA, The Fine Art Gallery of Drawings and Etchings by Frank Brangwyn RA sketches.
guineas. Society, London. One man show. RE, Whitechapel Art Gallery, London. One man
show, works Daily Mail Ideal Home Exhibition, Olympia, London.
A reconstruction of the Royal Gallery, Houses of
Panama Pacific Exposition, San Francisco, USA. ( October Christmas) Tragedy of Dixmude, ( March) Robert Vose Art Galleries, Boston, Parliament housed the British Empire panels.
Eight murals for the Court of the Ages (also known Belgrave Road, London. Organised with the help of USA. One man show.
as the Court of Abundance). Brangwyn also sent Brangwyn to commemorate Dixmude as it was December, Exhibition of Works by Frank Brangwyn RA,
over etchings to the art section for which he before the war. Ferens Art Gallery, Kingston upon Hull. One man
gained a Medal of Honour. Swansea National Eisteddfod, various venues. show, works, oils, etchings and lithographs and a
etchings at the Glynn Vivian Art Gallery, priced loan exhibition of drawings from M B Walker.
Modern in feeling, the designs are linked up
(March April) Drawings in Chalk and Charcoal by guineas.
with the best works of the Renaissance schools
Frank Brangwyn RA, Barbizon House, London. One
of Florence and Umbria by reason of their
intrinsic power of execution, arrangement, and
man show, works. ( October ) Deffret Francis Art Gallery,
August, IVth International Exhibition of Decorative Swansea. Brangwyns sketches and cartoons for the
spacing of individual figures (Arthur Finch,
(December January ) Brangwyn Ausstellung, and Industrial Modern Arts, Monza, Italy British Empire panels, works lent by Brangwyn,
Mural Paintings by Frank Brangwyn ARA, The
Vienna, Austria. One man show, works, etch- by C H Bland. The studies lent by Brangwyn
Studio, November ).
ings, lithographs, drawings. were purchased by Swansea Council for the nominal

sum of in . In his acknowledgement of
the cheque, Brangywn stated that he was very (October) Oils, watercolours and drawings by Frank
happy that these studies have found a home and that Brangwyn, The Fine Art Society, London. One man
they will be shown in the same buildings the Panels show, works.
will make them far more important.119
(October) Etchings by Frank Brangwyn, The Fine Art
(December January ) Exhibition of drawings Society, London. One man show.
and paintings by Frank Brangwyn from the collections of
M B Walker and David Walker, Dudley Art Gallery Exhibition of Works by Sir Frank Brangwyn RA, Diploma
Gallery, Royal Academy of Art, London; Brighton
Art Gallery.The first ever retrospective awarded by
( September October, then August the Royal Academy to a living artist, works,
September ) Etchings and Lithographs by Frank oils, watercolours, drawings, etchings.
Brangwyn RA LLD, Brighton Public Art Gallery,
The RA wants to make a show of my work in
loaned to Cheltenham and Hereford before return-
The Diploma Gallery: after the Leonardo di
ing to Brighton. One man show of works
Vinci show. very kind of them but very silly to
donated to Brighton Art Gallery by Brangwyn in
show it after L di Vinci as it will be like showing
return for using the Exhibition Gallery to complete
a grain of dust after a feast of pine apples and
his Rockefeller Center murals. Opened by Hilaire
grapes? (Brangwyn writing to Eleanor Pugh,
Belloc.
April , William Morris Gallery (London
Borough of Waltham Forest)).
Schilderijen, Waterverfschilderijen, Teekeningen en Etsen
By a wise and admirable choice the Royal
van Frank Brangwyn, Brangwyn Museum (now Arents
Academy has followed the Leonardo Exhibition
House), Bruges, Belgium. Inaugural one man show,
in its Diploma Galleries with one of the works
oils, woodcuts, drawings, watercolours, etchings,
of Frank Brangwyn. No other living con-
works.
temporary artist could sustain the challenge of
such an occasion; but in the presence of Frank
Brangwyn it is the Old Masters of the
( March) LOeuvre dIllustration du Maitre Anglais
Renaissance which come to mind (Perspex,
Frank Brangwyn, Muse du Livre, Brussels, Belgium.
Current Shows and Comments, Apollo,
One man show, woodcuts, etchings, lithographs,
November ).
book illustrations, works.

( July September) Brangwyn, Worthing Art ( December) Oil Paintings, Water-Colours and
Gallery. One man show, works, oils, water- Drawings by Sir Frank Brangwyn RA, National Museum
colours, drawings, etchings, lithographs. Opened by of Wales, Cardiff. One man show, works.
Sir Gerald Kelly PRA.
( October December ) Exhibition of Paintings
by Sir Frank Brangwyn RA from the Collection of Count Exposition Brangwyn Bruges, (cat )

William de Belleroche, Ferens Art Gallery, Kingston
names to conjure with, Daily Telegraph,
upon Hull. One man show, works. ( June December) Frank Brangwyn Centen- ( April June) Frank Brangwyn: Artist and Collector,
December )
ary, National Museum of Wales, Cardiff, National Fitzwilliam Museum, Cambridge.
Drawings and Etchings: Sir Frank Brangwyn RA, Arts Library of Wales, Aberystwyth; Pembrokeshire
Council, London. One man show, works. County Museum, Haverfordwest; Glynn Vivian Art
Gallery in Swansea and Bangor Art Gallery. One April July , The Art of Frank Brangwyn, ( January March) Frank Brangwyn ,
man show, works, oils, watercolours, drawings, Brighton Polytechnic; The Fine Art Society, Bourne Fine Art, London and Edinburgh; Peter
( July August) Exhibition of Works by Sir Frank etchings, lithographs, woodcuts London; Graves Art Gallery, Sheffield. One man Haworth, Chester. One man show.
Brangwyn, Usher Gallery, Lincoln. One man show, show, works, oils, watercolours, drawings, etch-
opened by the Belgian Ambassador. ( October November) Frank Brangwyn: A ings, furniture, ceramics. ( April October) Loans retrospective, Arents
Centenary Contribution, The Fine Art Society, House, Bruges, Belgium. One man show,
London. One man show, oils, watercolours, draw-
The sheer dash and ebullience evince a tem-
perament very rare in British painting. (John
works, oils, posters, furniture, ceramics, carpet,
Memorial Exhibition, Buckhurst Hill and Knighton ings, prints. watercolour, woodcuts, etchings, book illustrations,
Russell Taylor, Implications of decorative
Community Centre, Essex. One man show organ- bookplates.
Augustus John was never as fine as this. Yet respectability, The Times, June )
ised by Brangwyns friend Walter Spradbery and the
today he is admired, and Brangwyn is forgotten. The present exhibition confirms that
only known exhibition marking Brangwyns death.
It is all very stupid. (Terence Mullaly, Odd Fall [Brangwyn] still successively charms, provokes, Brangwyn was one of the greatest draughtsmen
from Favour of Frank Brangwyn, Daily Telegraph,
October ).
exhilarates and overwhelms. Rosemary Treble,
The Art of Frank Brangwyn, Burlington
of architecture. His huge, deeply bitten, dark
etchings convey the sublime grandeur of a wide
(May) Sir Frank Brangwyn RA. A Collection of Early
Magazine, June variety of buildings, from Roman bridges and
Drawings, The Leicester Galleries, London. One
man show, works. medieval cathedrals to Victorian railway ter-
mini, but always animated by the presence of
( April May) Frank Brangwyn. Brugge & West- ( April May) The Art of Frank Brangwyn, the
Besides loving painting, I have very much loved ordinary working people for whom Brangwyn
Vlaanderen, Stedelijke Musea, Bruges. One man Etchings, Jointure Studios, Ditchling, Sussex. One
watching cricket.There were great cricketers in had real sympathy (Gavin Stamp, Bruges
show, works, etchings, woodcuts. man show, works.
the old days, and one of the finest of them was remembers Frank Brangwyn, The Daily
Telegraph, September ).
Archie Maclaren. When he drove through the
covers it was a most majestic and splendid thing

( March) Sir Frank Brangwyn RA, Upper Sir Frank Brangwyn RA. Studien fur die British Empire
to see. Brangwyns drawings give me exactly the
same thrill (Sir Gerald Kelly PPRA in preface to
Grosvenor Galleries, London. One man show, Panels, Manheim, Germany. One man show, works.
works. ( May June) Frank Brangwyn .
catalogue).
Exposition de Gravures, Festival de Melle, France. One
Prints and Drawings, Sir Frank Brangwyn, Victoria Art man show, works.
(DecemberJanuary ), Sir Frank Brangwyn RA Gallery, Bath. One man show.
( June) Sir Frank Brangwyn RA: Paintings and , Kaplan Gallery, London. One man show,
Watercolours from the Collection of Count William de works, oils, watercolours, drawings, etchings. ( January February) Frank Brangwyn, Building Sir Frank Brangwyn RA.Drawings,prints and designs from
Belleroche, The Fine Art Society, London. One man Centre Gallery, London. One man selling show, the permanent collection of Scarborough Art Gallery,
[The exhibition] does him both a service and a
show, works. works, . touring exhibition. works.
disservice. It makes it clear that not only was he
very much a child of his times but also that he
was an extremely inconsistent artist. Yet the
( November December) Paintings, Drawings
( March April) Brangwyn , Upper and Etchings by Frank Brangwyn, Building Centre An Exhibition of Prints by Sir Frank Brangwyn, William
best things in this exhibition are drawings and
Grosvenor Galleries, London. One man show, Gallery, London. One man selling show, works, Morris Gallery (London Borough of Waltham
etchings. Above all he is assured a place in the
works, oils, watercolours, drawings. . Forest), London. One man show.
history of etching. (Terence Mullaly, Three

QUOTATIONS
Frank Brangwyn Exhibition, Haslam and Whiteway, ( March April) Frank Brangwyn. A Mission to
London. One man selling show. Decorate Life,The Fine Art Society in association with
Liss Fine Art, London. One man show.
( May August) Frank Brangwyn,War Graphics,
Arents House, Bruges, Belgium. One man show ( April January ) Frank Brangwyn, Leeds
City Art Gallery; Arents House, Bruges, Belgium;
Glynn Vivian Art Gallery, Swansea. Retrospective
The Radio City Murals, William Morris Gallery marking the th anniversary of Brangwyns death.
(London Borough of Waltham Forest), London. One man show.
One man show BRANGWYN ON ART AND ARTISTS
October , Brangwyn, The Millinery Works in
( June August) Brangwyn: Globetrotter, Arents association with Moss Galleries, London. One man I thought of starting a new school of painting.
House, Bruges, Belgium. One man show show. We have had the Post Impressionists the Cubists
the Futurists the Vorticists etc I thought the
Aeroists would be quite the thing for the silly fools
at the moment. Paint dropped from the top of a
house on to a canvas and perhaps a broken bottle
dropped on top of all this would no doubt go strong.
Letter from Brangwyn to Helen Wilson, July .
Benthall family letters (see cat )
Andrea del Sarto was the only artist who could

really paint Christ
Brangwyn quoted in Grace Ellison,Frank Brangwyn,
Evening News, April
Ive no patience with your modern artist with his

golf and his prancing about in fashionable Society.
Its all too darned self-conscious.
Brangwyn quoted in My Ideal Model says Mr Frank
Brangwyn, Evening News, April
Anyway one still gets a lot of fun out of painting

bad pictures etc which is more or less the fashion
these days.
Letter from Brangwyn to Mrs Benthall, September
Room ,Exhibition of Paintings,Drawings & Etchings by Frank Brangwyn RA, Queens Gate, London, , (cat a) , Benthall family letters A Modern Picture, c (cat )

That old swat Leonardo and his flying machine etc Russell Flint he is a good chap, but far too clever. ARTISTS ON BRANGWYN I looked again at the Brangwyns. It was like looking
etc all of no use to man.The invention of such Letter from Brangwyn to Arthur Henry Knighton- at my own face at something so familiar that it was
things, substitutes and poisons of what use? Hammond, September , British Library Young Frank Brangwyn (the best eye for grand part of me. Nothing surprised. I had carried away
Letter from Brangwyn to Elinor Pugh, October , (/) effects and colour out I think) he has more no illusions.They were exactly the same. In each one
William Morris Gallery (London Borough of Waltham originality than most. were the same details which particularly pleased or
Forest) () Rich men buy paintings for two reasons: selfish G FWatts corresponding with Briton Riviere, October displeased me, and the same sacred thoughts and
pleasure and investment.At the back of their minds , quoted in Franklin Gould Veronica, GFWatts.The fantasies which I had left there years ago when
My chief pleasure now is to read the lives of the there is the thought: When I get tired of a painting,or if Last GreatVictorian,Yale University Press , p I had stared at them day after day for eight years.
Victorian painters etc. there is no doubt, whatever Im hard up,Ill sell the thing at a profit. But that isnt Keith Vaughan recalling the murals at Christs Hospital,
the Moderns say, that these men and women were art.Thats prostitution, old chap. One of the most interesting times was when the Horsham, September , Journals ,
the best this old Earth has seen. Quoting Brangwyn in,No, Not too old at , Evening short winter afternoons drew to a close and it became London: John Murray, , p
Letter from Brangwyn to Eleanor Pugh, September Standard, too dark to see colours, a few chosen spirits would
,William Morris Gallery (London Borough of sit round the stove to listen to FB tell stories of his Brangwyns work was an important factor in
Waltham Forest) () Art that is an end in itself, art that does not serve wanderings, while we listened spellbound. freeing British art from conventional shackles.
some function, is apt to be damned rubbish. Alvin Langdon Coburn, More Men of Mark, Faber and Sir Charles Wheeler PRA and others, Letters to the
I see the SK Museum is showing a big Ex of Picasso Brangwyn quoted in No, Not too Old at , Evening Faber, , p , talking about his time with Editor, The Times, June
etc. it is all worry as it will be a bad example for Standard, Brangwyn c
the young. The Schwitters show. Some of the most beautiful
Letter from Brangwyn to Walter Spradbery, December So much of modern art seems meaningless marks Probably one of the first artists of yesterday to art objects Ive seen in years. I came away tingling.
, private collection which you can hang upside down no colour or introduce this juxtaposition [of red and blue] into Stared with envy and desire to emulate. Mostly
form.Young people today are more clever, but have his early paintings. done between . Had I seen these instead
The Director of the Tate has just bought a picture? they anything to say! Kandinsky, Uber das geistige in der Kunst, of Brangwyn, what sort of artist should I be?
[sic] by Chaggal [sic] the Russian Jew, for It is Brangwyn quoted in Frank Godfrey,The Evening of Keith Vaughan, Journals , John Murray, ,
disgraceful, that such a work should be bought and Frank Brangwyn, News Chronicle, October October , p
shown in a National Gallery a very bad influence No artist surpasses him in design, in virility of
for the public.What they can see in it is beyond me treatment, or in colour. No one shows more To be perfectly honest I found his colour sense
no colour, design, composition or meaning other courage in tackling a subject on a colossal scale; lacking balance in many of his paintings [but] really
than what the silly fools write about. nothing in art or nature appals him. thrilled to the enormous energy in his etchings.
Letter from Brangwyn to Elinor Pugh, March , Joseph Simpson RBA,Art in the Business Palace, Letter from Ralph Steadman to Winifred Wright,
William Morris Gallery (London Borough of Waltham Weekly Dispatch, April March , private collection
Forest) ()
Art to him was merely the medium for expressing
It is sad if true that one hears Munnings is giving the serious side of human life. Hence he was always
up the headship of the RA without him I fear it will drawn to depict those basic industries upon which
go to the devil.What has come to the world when a our life depended as for example his drawing of
man like Picasso is named in same category as the shipping industry of our navies & courts[?] the
Michael Angelo? pictures of the iron, steel and coal industries, with
Letter from Brangwyn to Arthur Henry Knighton- their necessary chimneys, scaffolds etc, so much
Hammond, April , British Library condemned by the dilletanti.
(BLA/) A H Mackmurdo, unpublished notes on Brangwyn,
c , private collection

FACSIMILES OF BRANGWYNS SIGNATURE AND MONOGRAM ENDNOTES
As a young man, Brangwyn understood the value of William de Belleroche, Brangwyn Talks, London: Letter from Brangwyn to Mackmurdo, November
publicity and his early work, especially illustrations Chapman & Hall, .William de Belleroche, ,William Morris Gallery (London Borough of
produced for The Graphic were signed in large capi- Brangwyns Pilgrimage, London: Chapman & Hall, Waltham Forest).
tal letters. By the mid s Brangwyns popularity .The collection included oils, Varied references including James Little,Frank
Gulur, () (see cat ),signed, dated and titled watercolours, over drawings, woodcuts, Brangwyn and his Art, The Studio, October ,
was growing and his signature became more modest b.r. in red: 'F Brangwyn Gulur' lithographs, and etchings (information from p ; P G Konody,The Decorative Designs of Mr
important works were generally signed with his Belleroches catalogue of works, private collection). Frank Brangwyn, Magazine of Art, May , p ;
monogram and occasionally the date, but in general Brangwyn had no children and his wife, Lucy, had Walter Shaw Sparrow, Prints and Drawings by Frank
the artist appeared to be fairly relaxed about signa- died in .Will dated March . Brangwyn, London, John Lane, , p ;Swansea
tures. Many of the later works were unsigned. For an updated version of the DNB see DNB on line Receives what the House of Lords rejected,
In one instance Brangwyn instructed his assis- with corrections suggested by Libby Horner. Illustrated London News, October .
tant, Frank Alford, to sign a painting on his behalf. Wyndham Lewis, Blast, June , p. Kandinsky The dome was never executed because the London
Fishermen in a Boat,Holland, c () (see described Brangwyn as probably one of the first County Council feared that the excessive weight of
The Chairing of Edmund Burke, known as the Bristol cat ), signed in full b.r.: 'Frank Brangwyn' artists of yesterday to introduce this juxtaposition the planned mosaic mural might damage the
job, was a large oil commissioned and given to the [of red and blue] into his early paintings.W underground railway (see p ).The British Empire
City Art Gallery, Bristol, by Sir Thomas Lennard. Kandinsky,Uber das geistige in der Kunst, , panels were rejected by the Fine Art Commission and
On June , Alford wrote in his diary that: quoted in K C Lindsay and P Vergo, Kandinsky. are now in the Guildhall, Swansea (see p ).
The Bristol job left Temple Lodge this morning CompleteWritings on Art,Vol (-), . The gallery, commissioned by Kojiro Matsukata, was
after having been here for over years. FB was in Brangwyn was modest about his achievements and not built. On September Tokyo and the
disliked social events. He did not attend the opening economy were both affected by the Great Kanto
the garden whilst preparations for packing were
of the prestigious exhibition of his works, organised earthquake. Four years later the Kawasaki Shipping
being made, when I went to remind him of the usual by D Croal Thomson of Barbizon House in , Company (of which Matsukata was Senior Executive)
FB with which he signs his work. The reply despite the fact that it was the first British Art began to suffer in the general post-war recession (see
was put it on for me so I put on FB at Exhibition to be opened by a Prime Minister. (see p and ).
which he did not even trouble to look after I had p ) Nor did he attend the Royal Academy Letter from Brangwyn to Elinor Pugh, October
done it.120 exhibition the first ever retrospective awarded to a ,William Morris Gallery (London Borough of
William de Belleroche obviously felt that the living artist (see p ).When knighted in the Waltham Forest) (J).The Pantechnicon was a five
artist refused to travel to the Palace and felt that the storey building owned by the Seth Brothers Limited
Brangwyn works he collected would benefit com-
great pleasure I have is that ones friends get more fun and housed at least works which formed part of
mercially from a monogram or signature and per- Carrara Quarrying, c () (see cat ), signed in out of this job than FB any way the honour lays in the the Matsukata collection. Matsukata had shipped
suaded the artist to add these retrospectively. black b.r.: 'F Brangwyn' and monogram in white b.r.: 'FB fact that Churchill thought of one in the midst of all about works by various artists to Japan in
his bother and troubles. Letter from Brangwyn to M and but the % import duty had persuaded
B Walker, January , Birmingham Museum and him to leave the remainder in London and Paris.
Art Gallery (No ). For example, Tarifa,Spain, is listed as Bunt and
Galloway . Many of Brangwyns paintings were of

similar size, subject and title, and, without a defining (Brangwyn Dead; Muralist was , NewYork Times, Errant Don Quixote of the Mancha, London: Gibbings & These books include: George Emslie, The Last of the
image, Lewis obviously experienced problems and June ). Co, ( volumes) and . Brangwyn produced WoodenWalls of England, Leigh-on-Sea: Frank Lewis,
double catalogued works, for example Venetian See Libby Horner,Brangwyn and the Japanese monochrome illustrations for the book. ;William de Belleroche, Brangwyn Talks, London:
Galleon (Galloway ) is listed as possibly the same Connection, The Decorative Arts Society, Journal , See p . Chapman & Hall, (see cat );William de
as no (see p ). , p . T J Larkin was a member of the Japanese Fine Art Belleroche, Brangwyns Pilgrimage, London: Chapman
Clifford Musgrave,Sir Frank Brangwyn RA, The For more information on the commission see Roger Association founded in Japan in and established & Hall, (see cat ); Herbert E Julyan, Sixty
Studio,April , p . Alford and Libby Horner (Eds), Brangwyn in his in London in , with the aim of supplying a fine Years of Yachts, London: Hutchinson & Co, .
Brangwyn described Keims process as follows:Glass Studio.The Diary of his Assistant Frank Alford, Guildford: collection of Japanese art work to the cognoscenti. Brangwyn also drew in excess of pen and ink and
medium, silicate of potash, if done direct on the wall Roger Alford, , numerous pages. The Japanese Gallery was originally situated on the wash drawings for a projected Life of St Francis.The
will last as long as the building.You can paint on the wet Franklin, one of Brangwyns regular models, was st floor, Grafton Street, moving to King Street, book, which was to have been published by Frank
wall in the pure colour mixed with water, and when apparently a tramp and odd-job man.The artist St James after three years, and then to New Bond Lewis, was abandoned because Brangwyn got quite
dry spray the silicate of potash over the lot. The produced a portrait of the man in (Arents Street in . In Larkin was enrolled as a carried away and made all the illustrations much
effect is very light and stands the sun which oil will not House, Bruges). member of the Japan Society in London and proposed more elaborate than was intended and producing
do.You can get the colours and the stuff in Munich. It is The NewYork Times quoted an offer of , from Brangwyn for membership in December . them facsimile was too costly. Letter from Lewis to
called Keims mineral colour. Letter from Brangwyn the USA (Brangwyn Dead; Muralist Was , New Brangwyn,Letters from Artists to Artists Spain, Ashmolean Museum, August [?] (last digit
to Allen Tupper True, September .Allen York Times, June ). The Studio,Vol , p . missing, but letter must have been sent prior to
Tupper True and True Family Papers, , Swansea Receives what the House of Lords Edward Hutton, The Pageant ofVenice, London: John when Lewis published the catalogue of Brangwyns
Archives of American Art, Smithsonian Institution. Rejected, Illustrated London News, October . Lane,The Bodley Head, . watercolours), Ashmolean Museum.The St Francis
Later Sir Thomas Lane Devitt. Devitt was Senior Attributed to Sir John Barbirolli. The Graphic, May , p . drawings were, on average, about . cm ( in)
Partner in Devitt and Moore, President Equitable Letter from Brangwyn to R H Kitson, January Alford and Horner, op cit, p . square.
Life Assurance Company, President of the UK , private collection. Letter from Brangwyn to R H Kitson, October Letter from Brangwyn to William de Belleroche,
Chamber of Shipping , Chairman of the General Published by Helleu and Sargent in Paris, . , private collection. May , private collection.
Shipowners Society and President of the Institute Rather at a loss to find a suitable interpretation, the Shaw Sparrow, Frank Brangwyn and hisWork, London: Brangwyn quoted in My Ideal Model says Frank
of Marine Engineers . He registered among artist turned to the journalist, Philip Macer-Wright, Kegan Paul,Trench,Trbner, p . Brangwyn, Evening News, April .
his interests travelling and a love of art. who evolved the following titles: () Man labouring Royal Academy of Art, London, book D. Photograph in private collection.
Brangwyns Big Picture, NewYork Times, November painfully with his own hands;living precariously and Photographs in private collection. Nero and Modern Time was a book about Whiteheads,
.The article, dated November , states that adventurously,with courage,fortitude and the indomitable Alford and Horner, op cit, p .The NewYork Times illustrated by Brangwyn and William Walcot. It was
the panel had just been completed.This may have been will to survive,() Man the creator and master of the tool. gives the name of the model, an Italian ice-cream probably published by Whiteheads, and is undated.
misleading information from Brangwyn in an effort to Strengthening the foundations and multiplying the comforts vendor, as Gerva (Seeks Christlike Face, NewYork Photograph in private collection.
escape censure from patrons. of his abiding place,() Man the master and servant of the Times, October ). William de Belleroche, Brangwyns Pilgrimage,
Robert Hawthorne Kitson described himself as pupil, machine;harnessing to his will the forces of the material Herbert Furst, The Decorative Art of Frank Brangwyn, London: Chapman and Hall, , p .
friend and patron of Brangwyn.The Kitson family world,mechanizing labour and adding thereto the promise London: John Lane,The Bodley Head, , facing William de Belleroche, Brangwyns Pilgrimage, op cit,
owned the Leeds engineering firm based at the of leisure,() Mans ultimate destiny depends not on p . For other series of Stations of the Cross see p . p .
Airedale Foundry. Robert was brought up at Elmet whether he can learn new lessons or make new discoveries, Martin Hardie,The Technique of Water-Colour, This includes covers and illustrations for over
Hall, Roundhay Leeds, studied at Cambridge and was but on his acceptance of the lesson taught close upon two The Studio, October , p ; Percy V Bradshaw, books and catalogues and posters for commercial
a member of the Leeds Art Gallery Committee from thousand years ago. Water-Colour.A Truly English Art, London:The Studio enterprises.
.Although not a parishioner of the RCA Building Bars Jesus from Mural, NewYork Times, Publications, nd. Alford and Horner, op cit, p .
church, Kitsons aunt was the wife of Rev Arthur September . For further information see David Boswell and This folio consists of reproductions of the pastel and
Swayne, vicar of St Aidans . E Kenneth Center was one of Brangwyns assistants Corinne Miller, Cotmania & Mr Kitson, Leeds City Art chalk studies Brangwyn made for Lloyds Register of
In the NewYork Times quoted the size of the (see p ). Galleries, . Shipping, (see p ).
panels as seventeen square feet each. (R M Hood, Photograph in collection of Paul Cava Fine Art, USA. The earthquake occurred on December and For this particular enterprise, Brangwyn chose
Architect, Home on the Rex after Conferring with Lane Edward William (translator), Arabian Nights, Brangwyn travelled to Sicily to see his friend items which he felt were representative of his work,
Painters in Europe, NewYork Times, December London: Gibbings & Co, ( volumes). In R H Kitson in . including etchings, lithographs and
). On June the newspaper stated that Gibbings produced sets of the monochrome Letter from Brangwyn to Martin Hardie,Victoria and reproductions of water colours and drawings.
the mural was on a canvas measuring ft.There illustrations without text, printed on Japanese Albert Museum, February (V&A. The Senefelder Club was founded in by Joseph
are four murals and, judging from the proportions, it vellum. Cervantes (translated by Thomas Shelton), MA//B) The proposed book was not published. Pennell,A S Hatrick and F E Jackson, as an exhibiting
would appear that each measures ft. Don Quixote.The History of theValorous andWitty Knight- Private collection. society for lithographers. It was named after the

German,Alois Senefelder, who first realised the Published by Morland Press, London, . Photographs of the Pollard Exhibition rooms Alford and Horner, Brangwyn in His Studio, op cit,
possibilities of stone printing in (lithography is The image shown in Marechals catalogue (.), illustrate glassware, but designs were not known to p , diary entry April .
Greek for stone printing). p does not include the lettering All Inghilterra. exist until sheets of glass designs were auctioned Letter from Brangwyn to A H Mackmurdo,
For example the book Belgium by Hugh Stokes, London: Dominique Marechal, Collectie Frank Brangwyn, at Edgar Horns, Eastbourne, September . February ,William Morris Gallery.
Kegan Paul,Trench,Trbner & Co Ltd, , which Bruges Stedelijke Musea, , p (./). Cecil Hunt was a university friend of R H Kitson and Special correspondent,A Brangwyn Museum. Bruges
contains woodcuts by Webb, Moore and Brangwyn. Letter from Brangwyn to Elinor Pugh, May , the pair studied under Brangwyn at the London and her Glorious Son,The Times, July .
Laurence Binyon, Bruges, London: Morland Press, William Morris Gallery Gallery (London Borough of School of Art. See entry for Peter Helck, c .
; TenWoodcuts byYoshijiro Urushibara, London: Waltham Forest) (J). Boniface, although born in Devon, England, became Letter from Peter Helck to Georgia Riley,
John Lane, ; Leaves from the Sketch Books of Frank Percy V Bradshaw, Art in Advertising, London:The a monk and apostle of Frisia and Germany, being February , private collection.
Brangwyn, Leigh-on-Sea: Frank Lewis, . Press Art School, p . consecrated as Archbishop in by Gregory III. In Brangwyn apparently agreed with J M Swan
We do know that Brangwyn gave Selwyn Image an AlfredYockney, discussing Britains Call to Arms in Some He was killed by pagans in . to open up a teaching school.The London School of
etching lesson in about , the latter artist Recent London Posters, The Studio, January . The writer considered it an excellent idea to involve Art was set up at the Stratford Avenue Studios,
recalling,the head of a boy in brown ink stuck It is discussed in detail in Ruth Walton,Four in such writers as Brangwyn and W B Richmond with Kensington with an American, Channel P Townsley,
down on a page of my sketch-books done in the Focus, in Timmers Margaret (Ed), The Power of the preparations for the Coronation street decorations. as administrator.Apart from Brangwyn, Swan, and
first and only lesson I ever had, you gave it me do you Poster,V&A Publications, , p . Letter from Brangwyn to R H Kitson, April , Townsley, teachers included Niels M Lund,William
remember I wonder, one Sunday afternoon in that Letter from Brangwyn to M B Walker, February private collection. Nicholson and the Australian artist, John Longstaff.
up-stairs room of yours in Newman Street! , Birmingham Art Gallery. The Peace Decorations, Architectural Review, Alfred Hayward, George Lambert and Joseph
Mackmurdo A H (Ed), Selwyn Image Letters, London: Kenneth Center was one of Brangwyns assistants December . Simpson may have taught at the school. Students
G Richards, , p . Brangwyn shared a flat with (see p ). Mike Weaver, Alvin Langdon Coburn,Symbolist included Robert H Kitson, Nina Hamnett, Cecil
Benjamin Creswick at Newman Street in . The StudioYearbook , foreword by Brangwyn, p . Photographer , NewYork, , p . Hunt, Ralph Knott and Bernard Leach.
Guichard Kenneth M, British Etchers , Murals in private collection, metalwork in Victoria Fixed colour photographs were introduced as early as Correspondence with True in Smithsonian Archives
London, Robin Garton, , p . and Albert Museum. and good colour images could be developed in of American Art.
Jerome and Jean Tharaud, LOmbre de la Croix, Paris: Alford and Horner, op cit, p . the early s. Alford and Horner, op cit, p .
Editions Lapina, . Book of Job, Leigh-on-Sea: Published by John Lane,The Bodley Head, London, Letter from Brangwyn to Kitson, August , Alford and Horner, op cit, p .
Frank Lewis, . , facing p . private collection.This scene may have been the Lefrate may be Marco Jafrato (see p ).
William Gaunt, The Etchings of Frank Brangwyn RA, M H Spielman,An Artistic Causerie, The Graphic, inspiration for The Penitents Procession,Furnes. Brangwyn hated typical British exhibition rooms
London:The Studio Limited, . For example, June , p . The photographs and postcards were auctioned at which he described as,red and stuffy, over hung,
Gaunt stated that the plate for Pont Neuf,Paris,No , private collection. Edgar Horns, Eastbourne, September . crowded like the RA. Letter from Brangwyn to
(Gaunt ) was destroyed. In fact it was The sheer scale of Brangwyns collection is displayed Letter from Brangwyn to M B Walker, September Kitson, undated, private collection.
repeatedly cut to produce Buttress of Pont Neuf (Gaunt by the fact that the Fitzwilliam Museum, Cambridge, , Birmingham City Art Gallery (). unknown Swansea newspaper cutting,
),Buttress of Pont Neuf (small) (Gaunt A),Study has about pieces of Chinese, Korean and Japanese Reginald G Praill was Manager of the Avenue Press Mr Brangwyns cheque, July .
of Figures (Gaunt ),Underground Railway (Gaunt pottery from the Brangwyn collection which were which printed most of Brangwyns war and commercial Alford and Horner, op cit, p .
) and Arch of Pont Neuf,Paris. (Gaunt ). purchased in with money bequeathed to the posters.A E Praill may have been a relation.
Photographs in private collection. museum by Dr J W L Glaisher. In Glaishers Walter Shaw Sparrow, A Book of Bridges, London: John
These can be found in various publications including: money was spent purchasing a further items of Lane,The Bodley Head, . Christian Barman, The
A W Kinglake, Eothen, London: Sampson Low, Persian pottery from Brangwyn. Bridge, London: John Lane,The Bodley Head, .
Marston and Co Ltd, ; Hugh Stokes, Belgium, The existence of these designs was unknown until Douglas and Madeline Wells studied under Brangwyn
London, Kegan Paul,Trench,Trbner, ;Walter they were auctioned at Edgar Horns, Eastbourne, at the London School of Art.
Shaw Sparrow, Prints and Drawings by Frank Brangwyn, September . William de Belleroche, Brangwyns Pilgrimage,
London: John Lane,The Bodley Head, ; Emile These are Royal Doulton design numbers. London, , p .
Verhaeren, LesVilles Tentaculaires, Paris: Helleu and Letter from A J Moore, Manager,Ashtead Potters to Frank Brangwyn,Letters from Artists to Artists
Sargent, and Les Campagnes Hallucinees, Paris: R S Lewis, c/o The Jointure, April , Liss Fine Sketching Grounds. No Spain, The Studio,April
Helleu and Sargent, ; Hayter Preston, Windmills, Art. R S Lewis was one of Brangwyns assistants .
London: John Lane,The Bodley Head, . (see p ). Letter from Brangwyn to H R Wilson, January
Ten of the printed designs were copper plate Harrods Exhibition Catalogue illustrated in Greg , Benthall family letters.
etchings, one was from a zinc plate (p ), and four Stevenson, Art Deco Ceramics, Princes Risborough, Letter from Brangwyn to Elinor Pugh, November
bookplates were produced as lithographs. , p . ,William Morris Gallery.

I looked again at the Brangwyns. It was like looking at my own face at something so familiar that it was
part of me. Nothing surprised. I had carried away no illusions.They were exactly the same. In each one
were the same details which particularly pleased or displeased me, and the same sacred thoughts and
fantasies which I had left there three years ago when I had starred at them day after day for eight years.
Keith Vaughan, Journals , John Murray, September , p , on the murals for Christs
Hospital, Horsham
Cover: Brangwyn and Kenneth Center,

c (cat g)
Inside cover: Decanter and assorted Glass Designs,
c (detail; cat )
p : Design for a bookplate, c (detail; cat )
p : Gathering Grapes, c (cat )
p : Head of a Chimpanzee, (cat )
Text Dr Libby Horner
Designed by Matt Hervey

Catalogue printed in Italy by EBS
All photography by Glynn Clarkson except:

Bonhams: cat
Simon Chapman: cat ,
A.C. Cooper: cat ,
Ricard Holttum: cat , , , , , , ,
Hugh Kelly: cat , , , , , ,
, ,

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Frank Brangwyn

A Mission to Decorate Life

An artists function is everything:he must be able

The Brangwyn Handbook

Brangwyn has never fitted comfortably into accounts of th-century

Brangwyn received his first mural commission in when he was only

Great Hall of The Worshipful Company of Skinners, Dowgate Hill,

Canadian Grand Trunk Railway Offices, Cockspur Street, London

Committee Luncheon Room of Lloyds Register of Shipping,

Court of the Ages, Panama-Pacific International Exposition, San

Manitoba Legislative Building,Winnipeg, Canada,

Stations of the Cross for Leper Mission, South Africa (now

Chapel, Christs Hospital, Horsham, Sussex,

Dome decoration, Selfridges, Oxford Street, London,

Stations of the Cross,Arras Cathedral,

State Capitol, Jefferson City, USA,

British Empire Panels,

British cities including Birmingham, Cardiff and London attempted to .

The earliest known Brangwyn oil is dated (Leaving Harbour, private

Brangwyn produced over works in watercolour, gouache and mixed

The following sketches form part of a series produced as illustrations,

. (* illustrated clockwise from top left)

The earliest surviving pencil sketch by Brangwyn is dated (Portrait

Brangwyn believed fervently that art should be available to all, regard-

Brangwyn produced about lithographs between and

BACK HIM UP: BUY WAR BONDS, 1918

. (illustrated opposite bottom)

Brangwyn stated that a designer should have imagination, taste, techni-

Horton House, Northampton,

Four showrooms for E Pollard & Co, London,

SS Empress of Britain, Canadian Pacific Line,

Rowley Gallery, Kensington Church Street, faade,

. (illustrated on p and opposite)

. (illustrated above and opposite)

Various rugs were commissioned by Bing, only one of which is

Wine Press tapestry,

Last Supper tapestry,

At least sheets of metalwork designs exist illustrating latches, cup-

Brangwyn was passionate about pots, as he termed them he collected

. (illustrated opposite bottom)

. (illustrated opposite bottom)

Brangwyn is known to have designed stained glass panels and win-

STAINED GLASS COMMISSIONS (red lettering indicates extant):

Designs for six glass panels,

St Mary the Virgin, Bucklebury, Berkshire,

St Winifreds, Manaton, Devon,

St Andrew & St Patrick, Elveden, Suffolk,

St Andrs Abbey, Zevenkerken, Belgium,

Brangwyn disliked having to deal with committees, and therefore found

Brangwyns personal photography was greatly influenced by Alvin Langdon

[c] Brangwyn in the Hall of Temple Lodge, Hammersmith, c

[e] Brangwyn and the astrolabe, c

[f ] Brangwyn in the studio,The Jointure, Ditchling, c

[g] Brangwyn in the Studio,The Jointure, Ditchling,

[i] Brangwyn in his Spanish Leather Chair, c

[g] Brangwyn and a cherub in the garden, Ditchling, c

[i] Brangwyn chuckling, c

[j] Brangwyn wearing Panama hat, c

[m] Brangwyn in the garden, Ditchling, with dog, c

[n] Brangwyn opening the door, October