Enquire about this picture£1,850
Presentation: Framed
Signed in full b.l.:˜Frank Brangwyn'; also inscribed: 'glass' Pencil, pen and wash on thin paper, 76 x 50 cm (29⅞×19⅝in) Provenance: Edgar Peacock; Edgar Horns, Eastbourne, 20 September 2000
Enquire about this picture£500
Presentation: Framed
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, 20 September 2000
Clock design, 1930–1931
(cat 161), pencil, crayon and watercolour on tracing
paper, 82×123.5cm (32¼×48½in)
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Presentation: Framed
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 worked’; ‘Billiard Room/for Thurstons’ and ‘Box for cues etc’ Pencil, pen and watercolour on brown paper, sheet size 52x76cm (20½×29⅞in), design 23x43cm (9x16⅞in) Provenance: Edgar Peacock; Edgar Horns, Eastbourne, 20 September 2000; Haslam and Whiteway Exh: Haslam and Whiteway, June 2001 (Cat 6).
A scale drawing for the proposed billiard room, similar to the one illustrated in Herbert Furst’s book, The Decorative Art of Frank Brangwyn, but without the mural detail (82).
Enquire about this picture£900
Presentation: Framed
Signed in full b.c.: ‘Frank Brangwyn’
Pencil and wash on paper, 40.6×51.7cm (16×20in)
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, 20 September 2000
Exh: Frank Brangwyn, Leeds, Bruges, Swansea, 2006
Scale drawing of three decanters with added details.
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Presentation: Framed
Marks: Ashtead Potters stamp with hand painted additions: ‘Bri’ and ‘X’
Ashtead Potters plate, hand painted, 25.5cm (10in) diameter
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, 20 September 2000
This was probably a sample and may be the plate referred to in a letter from
Ashtead Potters dated 29 April 1929 which suggested that ‘instead of having the flower in solid colours which is never successful with hand painted brush work, I should like to modify it somewhat.’(88)
Enquire about this picture£800
Presentation: Framed
Marks: Ashtead Potters stamp with hand painted additions: ‘P/13’ and ‘W’
Ashtead Potters plate, hand painted, 24.5cm (9⅝in) diameter
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, 20 September 2000
Exh: Frank Brangwyn, Leeds, Bruges, Swansea, 2006
This was probably a sample plate.
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Presentation: Framed
Signed with monogram and cross c.l.: ‘FB’; also inscribed: ‘2B/light and dark B/on glaze unfired’
Pencil and watercolour on paper, 56.5×37cm (22¼×14½in)
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, 20 September 2000
The design on the top left of the sheet is a preparatory study for the Royal Doulton dinner service (Doulton number D5221)
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Presentation: Framed
pencil, crayon and watercolour on tracing paper, 82×123.5cm
(32¼×48½in)
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Presentation: Framed
pencil and watercolour on paper, 42×31.5cm (16½×12⅜in)
Enquire about this picture£1,350
Presentation: Framed
Inscribed:‘SLIP’; ‘P’; ‘PAINT BLUE / OR YELLOW’
Pencil and watercolour on thin paper, 56.2×88.4cm (22⅛×34¾in)
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, 20 September 2000
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.
Enquire about this picture£900
Presentation: Framed
Inscribed verso: ‘Saint/Lovis’
Pencil and watercolour on paper, 56×88cm (22×34⅝in)
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, 20 September 2000
Enquire about this picture£1,500
Presentation: Framed
Marks: FOLEY/ENGLISH BONE CHINA/FRANK BRANGWYN RA (facsimile of signature) / ARTIST’S/COPYRIGHT RESERVED/FIRST EDITION
Provenance: private collection
Exh: China Pottery and Glass Exhibition, Harrods, London, 22 October – 10 November 1934
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 1934. (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.
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Presentation: Framed
Inscribed with title. Pencil, pen, paint and withe chalk on grey paper,
38×52cm (15×20½in)
Provenence: from the collection of Egar Peacock
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Presentation: Framed
(detail; cat 161), pencil, crayon and paint on tracing paper, 78×200cm (30¾×78¾in)
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Presentation: Framed
Ink on paper, 13×22cm (5¼×8⅝in)
Provenance: William de Belleroche; Gordon Anderson; Hilary Gerrish
The design was probably intended for the Viennese publisher Artur Wolf who produced Zwanzig Graphische Arbeiten (see p114) and for whom Brangwyn produced a number of designs.
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Presentation: Framed
pencil, watercolour and white chalk on tracing paper, 19x18cm
(7½×7in)
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Presentation: Framed
Inscribed on board b.l.: ‘F.B. TEMPLE LODGE/HAMMERSMITH/W’
Pencil, pen and watercolour on paper mounted on board
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, 20 September 2000;
Haslam and Whiteway (cat 3)
A design for a private house with wood panelled walls and a tiled fireplace with painted mural above.
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Presentation: Framed
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 2 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, 31×224.5cm (12¼×88⅜in)
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, 20 September 2000;
Haslam and Whiteway
Exh: Haslam and Whiteway,June 2001 (cat 9)
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.
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Presentation: Framed
pen, pencil and watercolour on paper, 44×55cm (17¼×21¾in)
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Presentation: Framed
Lightly fumed and polished oak chair with rush seat, 107×82×44cm (41⅛×32¼×17¼in)
Provenance: Crosby Cook and by descent; Paul Reeves
Exh: Furniture and other articles designed by Frank Brangwyn RA, E Pollard, London, 1930
Ill: Furniture and other articles designed by Frank Brangwyn RA, E Pollard, London, 1930 p17
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Presentation: Framed
Oak chair with rush seat, 97×50.5×41cm (38¼×19⅞×16⅛in)
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, 20 September 2000; Paul Reeves
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Presentation: Framed
Pencil and watercolour on tracing paper, 67.5×50.5cm (26⅝×19⅞in)
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, 20 September 2000;
Haslam and Whiteway
Exh: Haslam and Whiteway,June 2001 (part cat 22)
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 152), tablecloth designs for the SSEmpress of Britain (see cat 161), textile designs for the Pollard Exhibition (see cat 159). This design of abstracted natural forms is clearly inspired by William Morris.
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Presentation: Framed
Brangwyn’s monogram is woven into the carpet Templeton Axminster carpet, 289.6×274.3cm (9ft,6in×9ft)
Provenance: private collection
Exh: Furniture and other articles designed by Frank Brangwyn
RA, E Pollard, London, 1930; Thirties, Hayward Gallery,
1979 (cat 2.1)
Ill: Furniture and other articles designed by Frank Brangwyn
RA, E Pollard, London, 1930, p17; Charles Holme,
‘Frank Brangwyn. Designs for British Industry’, The Studio,
December 1930, p443; C E C Tattersall and S Reed, A History
of British Carpets, Leigh-on-Sea: Frank Lewis, 1966 (1934),
facing p161; Dan Klein, Art Deco, Hong Kong: Mandarin
Publishers Ltd, 1974, p21; Thirties Exhibition Catalogue, Hayward Gallery, 1979; Dominique Marechal, Collectie Frank Brangwyn, Bruges Stedelijke Musea, 1987, p95, 115
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Presentation: Framed
Signed in full b.c.: ‘Frank Brangwyn’ and inscribed: ‘Lamp/curtain of glass beads’
Pencil, pen and watercolour on card, 38×25cm (15×9⅞in)
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, 20 September 2000
This is a scale drawing of metal lamp with glass beaded curtain. It is unknown whether this design was ever realized.
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Presentation: Framed
Inscribed: ‘Meunier/1East Bury Street/Chelsea’and ‘49’
Pencil and watercolour on brown paper, 55.9×38.1cm (22×15in)
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, 20 September 2000; Haslam and Whiteway
Exh: Haslam and Whiteway, June 2001 (cat 8); Frank Brangwyn, Leeds, Bruges, Swans
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Presentation: Framed
Signed t.r.: ‘Frank Brangwyn/The Jointure Ditchling/England’ and inscribed: ‘5¼/square’ and ’15 tiles to the/back and 15/tiles for the/flat part these/other 15tiles 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, 35.3×79.5cm (13⅞×31¼in)
Provenance: Hilary Gerrish
The tiles were probably intended as a backsplash to a wash unit,and the long
inscription has been translated into German on the sheet.
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Presentation: Framed
Pencil and watercolour on paper, 50×56.5cm (19¾×22¼in)
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, 20 September 2000
Exh: Frank Brangwyn, Leeds, Bruges, Swansea, 2006
The stylised bird on one of the plates is similar to one carved into a roundel on the door to Brangwyn’s bedroom at The Jointure, Ditchling.
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Presentation: Framed
Inscribed: ‘EAT SLOWLY &’ ; ‘Eat Slow and fear God’; ‘Thank God/eat slowly’; ‘[?] of SEASONS’; ‘Pottery’ and ‘Pottery’
Pencil, chalk and watercolour on paper, 56.4×87.7cm (22¼×34½in)
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, 20 September 2000
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Presentation: Framed
Signed in full b.c.: ‘Frank Brangwyn’ and inscribed b.c.: ‘glass’
Pencil and wash on paper, 50×76cm (19⅝×29⅞in)
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, 20 September 2000
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Presentation: Framed
Signed in full b.l.: ‘Frank Brangwyn’ and inscribed b.r.: ‘glass’
Pencil, pen and watercolour on paper, 127×191.8cm (50×75½in)
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, 20 September 2000
Scale drawings for one tumbler, two wine glasses, two decanters and vase with handle detail.
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Presentation: Framed
Signed in full b.l.: ‘Frank Brangwyn’
Pencil and watercolour on paper, 42×53.5cm (16½×21⅛in)
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, 20 September 2000
Scale drawings for four wine glasses and five tumblers.
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Presentation: Framed
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, 40.6×50.2cm (16×19⅞in)
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, 20 September 2000
Exh: Frank Brangwyn, Leeds, Bruges, Swansea, 2006
Scale drawings of eleven wine glasses and one tumbler plus small pencil sketches.
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Presentation: Framed
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 16.2.38/William de Belleroche’
Watercolour on paper, 16×11cm (6½×4¼in)
Provenance: William de Belleroche (No 123A); Gordon Anderson
Study for the stained glass window at St Winifred’s, Manaton, Devon (G1869), a memorial window commissioned by Brangwyn’s friend Cecil A Hunt, in memory of his son Esmond Moore Hunt, who died on 7 February 1927, aged 19.
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Presentation: Framed
Watercolour, squared, 48.3×15.9cm (19×6¼in)
Provenance: William de Belleroche (No 72); Gordon Anderson
This is one of the designs Brangwyn produced for the Chapter-Hall in StAndré’s 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)
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Presentation: Framed
Watercolour and pencil on tracing paper, 51.5×92cm (20¼×36⅛in)
Provenance: William Stewart, and by descent
This design shows one of Brangwyn’s suggestions for a Peace Pageant to be held on the Thames. Two other drawings from the series were illustrated in the Architectural Review, December 1919, 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.
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Presentation: Framed
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