Friday, 31 January 2020

Frank Brangwyn - part 8

1931 Sir Frank Brangwyn by Joseph Simpson
 etching and drypoint 44.8 x 28.8 cm

Sir Frank William Brangwyn (1867 – 1956) was an Anglo-Welsh artist, painter, water colourist, engraver, illustrator and progressive designer.
Brangwyn was an artistic jack-of-all-trades. As well as paintings and drawings, he produced designs for stained glass, furniture, ceramics, table glassware, buildings and interiors, was a lithographer and woodcutter and was a book illustrator. It has been estimated that during his lifetime Brangwyn produced over 12,000 works. His mural commissions would cover over 22,000 sq ft (2,000 m2) of canvas, he painted over 1,000 oils, over 660 mixed media works (watercolours, gouache), over 500 etchings, about 400 wood engravings and woodcuts, 280 lithographs, 40 architectural and interior designs, 230 designs for items of furniture and 20 stained glass panels and windows.
Brangwyn received some artistic training, probably from his father, and later from Arthur Heygate Mackmurdo and in the workshops of William Morris, but he was largely an autodidact without a formal artistic education. When, at the age of seventeen, one of his paintings was accepted at the Royal Academy Summer Exhibition, he was strengthened in his conviction to become an artist. Initially he painted traditional subjects about the sea and life on the seas. His 1890 canvas, Funeral At Sea won a medal of the third class at the 1891 Paris Salon. The murals for which Brangwyn was famous, and during his lifetime he was very famous indeed, were brightly coloured and crowded with details of plants and animals, although they became flatter and less flamboyant later in his life.

This is part 8 of a 13-part series on the works of Sir Frank William Brangwyn. 
For earlier works see parts 1 - 7 also.



c1920 The Hot Oven
lithograph 24.8 x 21.6 cm

1920s Shipping Scene
watercolour

1920s Venice
watercolour


1921 Old Bridge, Rome (Ponte Quattro Capi)
 etching 30.5 x 35.6 cm

1921 Pont Neuf, Paris
colour lithograph of a watercolour

1921 Pont Neuf, Paris
etching 35.5 x 22 cm
The Cleveland Museum of Art Ohio

1921 Soldier drinking wine from a bottle
study for "The Allegory of Canada's War Record" mural
coloured chalk and crayon 35.6 x 39.4 cm

1921 The Bridge, Subiano
oil on canvas 64.5 x 80.5 cm
Birmingham Museums Trust, UK

1921 The Chairing of Edmund Burke in 1774
oil on panel 54.3 x 44.8 cm
Bristol Museum and Art Gallery, UK

1921 The Drinkers
lithograph 25.2 x 20.4 cm (plate)
Fine Arts Museums of San Francisco, CA

1921 The Society of Graphic Arts Exhibition
 monochrome lithograph 75.6 x 54.5 cm
Victoria & Albert Museum, London

1921 The Swans
oil on canvas 149 x 159 cm
William Morris Gallery, London

c1921 Selfridges: A Trader, study for Selfridges dome mosaic
black chalk on paper 41.5 x 25 cm

before 1922 The Canal, Venice
oil on paper laid down on board 64 x 77 cm
1922 Cinerarias
oil on canvas 104.1 x 114.9 cm
Atkinson Art Gallery Collection,UK

1922 Sketch for Melon Stall
lithograph 24.2 x 33 cm

c1922 Foundry
lithograph 35.5 x 27 cm

1923 Arch of the Pont Neuf, Paris
etching on wove paper 55.5 x 33.8 cm
The Cleveland Museum of Art, Ohio

1923 Bookplate "Association Belge 1993"
 woodcut on Japan paper

1923 St Martin’s Bridge, Toledo
etching 65.5 x 75.7 cm

1923 Verger sanguine study
lithograph 43.2 x 30.5 cm

1923 Via Dolorosa No.3
etching 37.8 x 35.3


before 1924 Two Beggars study
lithograph 37 x 24 cm

before 1924 Two Wounded Soldiers
ink study 41 x 36.5 cm

1924 Cannon Street Station, Interior
 photogravure of etching
(The Studio Collection) 24.5 x 30 cm (plate)

1924 Exhibition of Modern Architecture
colour lithograph 75.6 x 50.5 cm
Victoria & Albert Museum, London

1924 Exhibition Poster
hand-coloured monochrome lithograph 75.8 x 55.2 cm
Victoria & Albert Museum, London

1924 Flowers and Birds 'Dahlias'
oil on canvas 122.6 x 127 cm
Dundee Art Galleries and Museums Collection, UK

1924 Gateway, Genoa
drypoint, plate-tone and spit-biting 17.6 x 14.8 cm (plate)
National Gallery of Victoria, Melbourne, Australia

1924 Old Bridge, Hankow
drypoint, plate-tone and spit-biting 17.4 x 14.9 cm (plate)
National Gallery of Victoria, Melbourne, Australia

1924 Ponte Rotto
oil on canvas 49.5 x 75 cm
Museum of New Zealand, Wellington, NZ

1924 Ponte Rotto, Rome
etching 53 x 71 cm

1924 Porta Capua, Naples
etching, drypoint, plate-tone and spit-biting
15.1 x 14.7 cm (plate)
National Gallery of Victoria, Melbourne, Australia

1924 Scaffolding, South Kensington, London
 etching and drypoint 17.4 x 12.7 cm (plate)
Fine Arts Museums of San Francisco, CA

1924 Scotland East Coast Route
lithographic print advertisement 17 x 11 cm

1924 Sisteron, France
etching and drypoint 15 x 12.2 cm (plate)
Fine Arts Museums of San Francisco, CA

1924 Still Life
oil on canvas 51 x 61 cm
Wolverhampton Art Gallery, UK

1924 The Knife Grinder
copper etching 17.5 x 25 cm

1924 The Skittles Match
lithograph 21.5 x 18 cm

c1924 Ruins of a Roman Bridge over the Loire at
 Brives-Charensac
colour wood block print 33 x 50.8 cm
Victoria & Albert Museum, London

c1924 Scaffolding, South Kensington, London
 etching 48.3 x 53.4 cm (plate)

1923 Windmills by Frank Brangwyn and Hayter Preston
published by The Bodley Head, London:


Front Cover

Endpapers

Frontispiece
Kvarmen, Sweden

Title Page

A Sussex Mill

Molen de Koker, Zaandam

Mills, Öland

Montreuil-sur-Mer

Barking Mill

Last of Ramsgate Mill

Winchelsea Mill

The Mills of Crijitano

Furnes, Belgium

A Pumping Mill, Holland

A Kentish Mill

St. Bennett's Abbey Mill

Crowborough

Cologne

1920s-30s Ceramics:


Brangwyn was passionate about ceramics – he collected examples of Persian, Chinese, Korean and Japanese ware and such items appear endlessly in his oils, watercolours and murals.  Sheets of designs - discovered in the collection of Edgar Peacock in 2004 - have greatly added to the knowledge of what Brangwyn produced and for whom.  
His commercial designs were mostly for Royal Doulton, but also for Foley pottery, A J Wilkinson, and Ashtead Potters. Brangwyn stipulated that the Royal Doulton ware should be reasonably priced, have the appearance of hand thrown pottery, and that the painters should be allowed a certain freedom of expression, resulting in every item being slightly different. 
In addition to the Royal Doulton trademark each item bore the legend ‘Designed by Frank Brangwyn RA’ and /or ‘Brangwyn Ware’. Brangwyn also produced designs for Ashtead Potters and Iris tableware for Clarice Cliff’s Bizarre range at A J Wilkinson.  He also produced designs for ceramic tiles.

1920s-30s Royal Doulton bowl/plate
clear glazed earthenware with underglaze painted and sgraffito decoration 24.8 cm diameter
 Museum of New Zealand, Wellington, NZ

1920s-30s Royal Doulton side plate
clear glazed earthenware with underglaze painted and sgraffito decoration 19 cm diameter
Museum of New Zealand, Wellington, NZ

c1930 Ashtead Potters plate
hand painted 24.5 cm diameter

1930c Ashtead Potters plate
hand painted 25.5 cm diameter


Royal Doulton plate
24.5 cm diameter



Note: More Royal Doulton ceramics featured in Part 9 of this series.