Enquire about this picture£1,000
Presentation: Framed
Inscribed with title
Red chalk on buff paper
18 x 25 cm
Enquire about this picture£1,800
Presentation: Framed
Black wash, pen and ink with cut out figures applied as collage
20 x 14 cm
Enquire about this picture£3,000
Presentation: Framed
Pencil on tracing paper, 73.7×90.2cm (29×35½in)
Provenance: Kenneth Center (78); Campbell Fine Art
This is the original drawing for the 4th Station of the Cross, one of the 14 designs published in 1936 as a set of lithographs.
The fourteen Stations were printed from zinc plates and in February 1935 Brangwyn noted that he ‘had two printers here most of the week proving the plates of the Stations of the Cross’. Some sets were printed on sycamore, whilst a further 16 sets were printed on paper. The Stations were also reproduced as The Way of the Cross in 1935 with a foreword by G K Chesterton. The Stations are similar in design to the Arras series (1920-24) 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.
Enquire about this picture£950
Presentation: Unmounted
Pen and ink with whitle highlights on paper
16 x 14 in. (40.6 x 35.6 cm.)
Enquire about this picture£900
Presentation: Unmounted
Red chalk on paper
16 x 11 in. (40.6 x 27.9 cm.)
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Presentation: Framed
Pen and wash on paper
7 x 14 1/2 in. (17.8 x 37 cm.)
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Presentation: Framed
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Presentation: Framed
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Presentation: Framed
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Presentation: Framed
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Presentation: Framed
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Presentation: Framed
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Presentation: Framed
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Presentation: Framed
Signed with monogram in pencil b.r.: ‘FB’
Brown ink and white chalk on pink paper,squared, 19.8×15.8cm (7¾×6¼in)
Provenance: William de Belleroche (No 160); Gordon Anderson
Exh: Exhibition of Works by Frank Brangwyn RA, Royal Academy of Arts, London, 1952 (No 232)
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Presentation: Framed
Inscribed below drawing: 'The Hotel at Messina/Full page'
Pencil overlaid with pen and ink on blue paper, 20.5x21.3cm (8⅛x8⅜in)
Provenance:William de Belleroche (No 151); Gordon Anderson
Exh: Exhibition ofWorksby Frank Brangwyn RA, Royal Academy of Art, London, 1952 (No 290)
Ill: William de Belleroche, Brangwyn’s Pilgrimage, London, 1948, facing p148.
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Presentation: Framed
Signed with monogram b.r.: ‘FB’ and inscribed: ‘Napier Hemy and FB’and ‘Full paper’
Pencil overlaid with pen and blue ink on paper, 25×20.7cm (9⅞×8⅛in)
Provenance:William de Belleroche (No 150); Gordon Anderson
Exh: Exhibition of Worksby Sir Frank Brangwyn RA, Royal Academy of Art, London, 1952 (No 288)
Ill: William de Belleroche, Brangwyn’s Pilgrimage, London: Chapman and Hall, 1948, facing p20
In Brangwyn’s 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 day’s work was done, he scraped his palette and wiped his scrapings on the wall. When he’d gone, I used to go and gloat over those scrapings with great joy … the colour … ooh! It was marvellous!’ (54)
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Presentation: Framed
Inscribed with title top and b.r.: ‘Temple Lodge’. Also inscribed (in another hand)
b.r.: ‘WdeB coll’
Pen and ink on paper, 10×15cm (3⅞×5⅞in)
Provenance: William de Belleroche (No 189A); Gordon Anderson
Brangwyn painted a portrait of his friend and mentor, Sir Alfred East in about 1900, and the work is in the collection of the National Portrait Gallery, London. A photograph in Brangwyn’s 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.
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Presentation: Framed
Signed with monogram b.c.: ‘FB’. Also inscribed (in another hand) verso ‘113 William de Belleroche Collection’ Red, black and white chalk and paint on cream paper, 42×41cm (16½×16⅛in)
Provenance: William de Belleroche (No 138); Gordon Anderson
This is a study for the oil painting Winter – The Seasons (Galloway 531, 02034), one of the illustrations Brangwyn produced for Eden Phillpotts’, The Girl and the Faun, London: Cecil Palmer & Hayward, 1916. The oil, which was owned by Brangwyn’s patron, Kojiro Matsukata, and was exhibited at Queen’s Gate, 1924 (No 28), is thought to have been destroyed in the Pantechnicon fire in London, 1939 (see p213 and fn 10).
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Presentation: Framed
Signed with monogram b.l.: ‘FB’. Also inscribed (in another hand) b.r.: ‘WdeB Coll’and verso: ‘89 William de Belleroche Collection 31’
Coloured crayon and ink on brown paper, 21×20.5cm (8¼×8⅛in)
Provenance: William de Belleroche (No 84); Christie’s, 18 July 1961, part Lot 35; GordonAnderson
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Presentation: Framed
Signed with monogram b.l.: ‘FB’. Also inscribed (in another hand) b.r.: ‘WdeB Coll’
Sanguine drawing on paper, 45×63.5cm (17¾×25in)
Provenance: William de Belleroche; Gordon Anderson; Hilary Gerrish
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Presentation: Framed
Signed with monogram b.r.: ‘FB’ and inscribed b.r.: ‘St Aidans, Leeds’. Also inscribed (in another hand) b.r.: ‘WdeB Coll’ and verso: ‘115 William de Belleroche Collection’
Red chalk on cream paper, squared, 48.5×34.5cm (19⅛×13⅝in)
Provenance: William de Belleroche (No 122); Gordon Anderson; Hilary Gerrish
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Presentation: Framed
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 55’ and verso: ‘123 William de Belleroche Collection’
Sanguine and blue crayon heightened with white on buff paper, 54.7×36.6cm (21½×14⅜in)
Provenance: William de Belleroche (No 123); Gordon Anderson; Hilary Gerrish
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Presentation: Framed
Oil on canvas, 421.6×68.6cm (166×27in)
Provenance: Crosby Cook, and by descent
Some of Brangwyn’s finest studies are those he made for the British Empire panels. He told his friend RH 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)
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Presentation: Framed
Signed with monogram b.r.: ‘FB’
Brown, red and white chalk on brown paper, squared, 38.2×25.6cm (15×10⅛in)
Provenance:William de Belleroche (No 161); Gordon Anderson
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Presentation: Framed
Signed with monogram b.r.: ‘FB’
Brown chalk on cream wove paper, squared, 41.5×28.5cm (16¼×11¼in)
Provenance: William de Belleroche (No158); Gordon Anderson
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Presentation: Framed
Signed with monogram b.r.: ‘FB’ and inscribed centre: ‘red line’. Also inscribed (in another hand) b.l.: ‘WdeBColl’ and verso: ’68 William de Belleroche Collection’ and ‘90’
Blue and black crayon, wash on paper, 50.6×35cm (19⅞×13¾in)
Provenance: William de Belleroche; Gordon Anderson; Hilary Gerrish
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Presentation: Framed
Pastel on buff paper, 43×60.6cm (16⅞×23⅞in)
Provenance: Royal Bank of Scotland
Ill: Walter Shaw Sparrow, A Book of Bridges, London: John Lane, The Bodley Head, 1915, facing p220
The sketch was made from a photographic study,with the addition of extra barges and the youths. (51)
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Presentation: Framed
Signed in black b.r.: ‘F Brangwyn’ and monogram in white b.r.: ‘FB’(see p.258)
Pastel and conté crayon on paper, 54.5×52.5cm (21½×20⅝in)
Provenance: private collection
Ill: Nero and Modern Time (52)
This composition, with its angularity and striking palette shows Brangwyn’s adept response to Vorticism, but with a characteristically decorative slant.
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Presentation: Framed
Pen,ink and wash with scratching out on card primed with gesso, 46×39.5cm (18⅛×15⅝in)
Provenance: William de Belleroche (No 274); Gordon Anderson
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Presentation: Framed
Pen and ink drawing on paper, 6.4×15.2cm
Provenance: William de Belleroche; Private Collection
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Presentation: Framed
Inscribed ‘model’. Also inscribed (in another hand): ‘snake charmer’
Pen and wash on paper, 22×21.5cm (8¾×8½in)
Provenance:William de Belleroche (No 147); Gordon Anderson
Exh: Exhibition of Works by Frank Brangwyn RA, Royal Academy of Art, London, 1952 (No 287 )
Ill: William de Belleroche, Brangwyn’s Pilgrimage, London, 1948, facing p170
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Presentation: Framed
Inscribed b.r.: ‘river steamer/the penny Steamboat/full page’
Pen and pencil on paper, 26×20cm (10¼×7⅞in)
Provenance: William de Belleroche (No 149); Christie's, 18 July 1961, part Lot 65; Gordon Anderson
Exh: Exhibition of Works of Sir Frank Brangwyn RA, Royal Academy of Art, London, 1952 (No 262)
Ill: William de Belleroche, Brangwyn’s Pilgrimage, London: Chapman and Hall, 1948, facing p10
In Brangwyn’s 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)
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Presentation: Framed
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, 22.5×17.4cm (8⅞×6⅞in)
Provenance: William de Belleroche (No 22); Christie's, 18 July 1961, part Lot 63; Gordon Anderson
Ill: William de Belleroche, Brangwyn’s Pilgrimage, London: Chapman and Hall,1948, facing p8
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.’
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Presentation: Framed
Original woodblock, 7.5×20 cm (3×7⅞in)
Provenance: William de Belleroche; Gordon Anderson
The woodblock is mounted with a woodcut to the reverse, printed posthumously from the block by David Maes.
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Presentation: Framed
Inscribed (not in Brangwyn’s hand) verso: ‘57 Wm de Belleroche Collection’
Black ink wash on paper, 6×32.5cm (2⅜×12¾in)
Provenance: William de Belleroche (No 72C); Christie's, 18 July 1961, part Lot 9; GordonAnderson
Study for the woodcut (V3183) illustrated in Emile Verhaeren’s LesVilles
Tentaculaires, Paris: Helleu & Sargent, 1919.
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Presentation: Framed
Pen and crayon on paper, 11×13cm (4¼×5⅛in)
Provenance: William de Belleroche; Gordon Anderson
This is the original drawing for the woodblock cat124. Judging by the technique and strong character of the following 13 drawings, they were probably sketches for as yet unidentified woodcuts.
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Presentation: Framed
Signed with monogram b.l.: ‘FB’. Also inscribed (in another hand) verso: ‘124a William de Belleroche Collection’
Blank ink on paper, 8.3×23.7cm (3¼×9¼in)
Provenance:William de Belleroche (No 71A); Christie's, 18 July 1961, part Lot 11; Gordon Anderson
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Presentation: Framed
Signed in full b.r.: ‘Frank Brangwyn’. Also inscribed (in another hand) b.l.: ‘cat 559 WdeB coll’ and verso ‘126 William de Belleroche Collection’
Blue and black ink, pen and brush on paper, 17×19cm (6⅝×3½in)
Provenance: William de Belleroche (No 65B); Gordon Anderson
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Presentation: Framed
Signed with monogram b.r.: ‘FB’. Also inscribed (in another hand) b.l.: ‘54’
and verso: ‘Wm de Belleroche Coll’. Black ink on paper, 11×4.5cm (4¼×1¾in)
Provenance: William de Belleroche (No 72B); Christie's, 18 July 1961, part Lot 9; GordonAnderson
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Presentation: Framed
Signed with monogram b.l.: ‘FB’. Also inscribed (in another hand) verso:
‘William de Belleroche’
Black ink on cream paper, 11×4.5cm (4¼×1¾in)
Provenance: William de Belleroche (No 72A); Christie's, 18 July 1961, part Lot 9; GordonAnderson
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Presentation: Framed
Charcoal on paper, 68.6×86.4cm (27×34in)
Provenance: William de Belleroche; Hilary Gerrish
Writing in 1915, Alfred Yockney 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 tragedy’ (75)
Brangwyn offered the six-sheet poster design (100.3 × 151cm; 39½ × 59½in), free of charge, to the Parliamentary Recruiting Committee (prc) but they refused it as being too stark in its portrayal of death and destruction. Frank Pick, of the UERCL, obtained the design and created the poster War. To Arms Citizens of the Empire,which shows the soldier without the young couple.
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Presentation: Framed
Signed with monogram centre: ‘FB’and inscribed t.c.:‘MARCO YAFRAT’ and on trousers: ‘blue’. Also inscribed (in another hand) b.l.: ‘William de Belleroche Collection’
Black and white chalk on buff paper, 50.4×63.5cm (19¾×25in)
Provenance: William de Belleroche (No 104); 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.
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Presentation: Framed
Signed with monogram b.l.: ‘FB’ and inscribed with title below
Provenance: William de Belleroche (No 179); Gordon Anderson
Pencil and blue ink on paper, 22.5×18cm (8⅞×7⅛in)
Ill: William de Belleroche, Brangwyn’s Pilgrimage, London: Chapman and Hall, 1948, facing p6
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Presentation: Framed
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, 24.7×19cm (9¾×7½in)
Provenance: William de Belleroche (No 143); Gordon Anderson
Exh: Exhibition of Works by Frank Brangwyn RA, Royal Academy of Art, London, 1952 (No 268)
Ill:William de Belleroche, Brangwyn’s Pilgrimage, London, 1948, facing p 12.
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Presentation: Framed
Signed with monogram b.r.: ‘FB’ and title below: ‘a Modern picture’
Pencil on paper, 15.9×10.2cm (6¼×4in)
ProvenanceWilliam de Belleroche, private collection
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