Presentation: Unmounted
Photograph taken by Paul Laib, 28.5×36.5cm (11¼×14⅜in) Brangwyn poses centre, with his assistants in the background. To the right the panels Edward III granting the Charter on 1 March 1327, and River Procession of City’s and Company’s Barges to Westminster, 1453, can be seen. The panel Harmonyin the background was placed in the Gallery.
Presentation: Unmounted
Inscribed verso: ‘FB. Mccormick [sic]. F Short’ Photograph, 7×9.5cm (2¾×3¾in) 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.
Presentation: Unmounted
Photograph, 29×23.5cm (11⅜×9¼in) William de Belleroche wrote two books about Brangwyn, Brangwyn Talks and Brangwyn’s Pilgrimage.
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?
Brangwyn was paid US$ 60,00 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,The Windmill, Primitive Fire, Industrial Fire, The NetThe Fountain. The two studies shown here are Primitive Fire and Industrial Fire.
The photograph was developed by Alfred E Sinden, the local pharmacist. This print has been cut but another print in a private collection shows part of the leg of a nude female who was lying on the floor at Brangwyn’s feet. The Arabic coffee pot at Brangwyn’s side was a favourite studio prop and is now in a private collection.
Presentation: Unmounted
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 sketch./Please return this as it is useful.’ Photograph, 15×12cm (5⅝×4¾in)
This was probably a study for the Transfiguration, Stokesley (destroyed by fire). The Arabic cloak was a favourite studio prop, and appears draped round females in studies for the British Empire panels. The photographer was William Stewart who lived in the Jointure Cottage.
Presentation: Unmounted
Photograph by The Associated Press, 19×24.5cm (7½×9⅝in)
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 Kenneth Center worked with Brangwyn for many years
Presentation: Unmounted
Photograph, 10.2×7.8cm (4×3⅛in) Ill: Walter Shaw Sparrow (Ed), The British Home of Today, London: Hodder and Stoughton, 1904, p10
Brangwyn decorated this Georgian house with 18th-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.
Presentation: Unmounted
Photograph by Thomas E J Stephenson, 24.5×29.5cm (9⅝×11⅝in)
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, 1940 (private collection).
Presentation: Unmounted
Inscribed verso (in another hand): ‘Frank Brangwyn at the door of his barn’ Photograph by Barnabys Ltd, General Press Service, 18×23cm (7⅛×9in)
Presentation: Unmounted
Inscribed: ‘To Lizzie from Frank Brangwyn’ Photograph, 18.5×24.4cm (7¼×9⅝in)
Brangwyn’s printing press can be seen in the alcove to the right of the fireplace. Brangwyn’s interiors in The Jointure hark back to William Morris’s 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.
Presentation: Unmounted
Photograph squared for transfer, 9.7×12.3 (3⅞×4⅞in)
The photograph is one of a series which are squared for transfer, and relate to the large painting Exodus (175.3 × 508 cm; 69 × 200 in) which was owned by Kojiro Matsukata, displayed at Queen’s Gate, 1924 and was probably destroyed in the Pantechnicon fire (see p213 and fn 10). The painting Exodus was also known as the Outcasting of Belgium and was based on Brangwyn’s memories of the Messina earthquake.
Presentation: Unmounted
Inscribed: ‘Men & women digging’ Photograph by J Laurent and Co, Madrid, squared for transfer and with two added compositional sketches, 24.6×33.7cm (9¾×13¼ in)
Frank Brangwyn was born in Bruges, Belgium, the son of an English father and Welsh mother. The family returned to London in 1874, Brangwyn\'s father gaining work as a designer of buildings, embroideries and furniture. Although Brangwyn appears to have had little formal education, whether academic or artistic, his earliest mentors were three of the most influential men in design at the turn of the century: Arthur Heygate Mackmurdo, William Morris and Siegfried Bing. Between 1884 and 1887 Brangwyn travelled to Kent, Cornwall and Devon, before venturing further with trips to Turkey in 1888, South Africa in 1891, Spain in 1892 and Morocco in 1893.
Brangwyn was an independent artist, an experimenter and innovator, capable of working on both large and small scale projects, ranging from murals, oil paintings, watercolours, etchings, woodcuts and lithographs to designs for architecture, interiors, stained glass, furniture, carpets, ceramics and jewellery, as well as book illustrations, bookplates and commercial posters. It is estimated that he produced over 12,000 works during his lifetime. Mural commissions included the Worshipful Company of Skinners, London (1902-09), St Aidan\'s church, Leeds (1908-16), Manitoba Legislative Building, Winnipeg, Canada (1918-21), Christ\'s Hospital, Horsham (1912-23), State Capitol, Jefferson City, USA (1915-25), the British Empire panels, Swansea (1925-32), and Rockefeller Center, New York (1930-34). Brangwyn married Lucy Ray in 1896 and took on the lease of Temple Lodge, Hammersmith, in 1900. In 1918 the artist purchased The Jointure, Ditchling, where he spent most of his time following his wife\'s death in 1924. Elected RA in 1919, knighted in 1924, holder of countless artistic awards, Brangwyn was modest about his singular achievements, regarding art as an occupation and describing himself as a designer.