Biography Enquire about this picture£1,200

Presentation: Framed
Woodblock framed with print on verso side
Block: 6 x 4 1/8 in. (15.2 x 10.5 cm).
Print: 10 7/8 x 9 in. (27.5 x 23 cm).
Biography Enquire about this picture£750

Presentation: Framed
Woodblock cleaned, restored and framed with posthumous print on the verso side
Block: 4 1/8 x 4 3/8 in. (10.3 x 11 cm).
Print: 8 1/4 x 7 3/4 in. (21 x 19.5 cm).
Hahnemühle Natural Line Vergé paper (100 g/m²)
Biography Enquire about this picture£600

Presentation: Framed
Woodblock cleaned, restored and framed with posthumous print on the verso side
Block: 3 x 1 1/2 in. (7.6 x 3.7 cm0).
Print: 7 1/2 x 6 1/8 in. (19 x 15.5 cm).
HahnemühleNatural Line Vergé paper (100 g/m²)
Biography Enquire about this picture£600

Presentation: Framed
Woodblock cleaned, restored and framed with posthumous print on verso side
Woodblock 3 x 1 1/2 in. (7.6 x 3.7 cm).
Print 7 1/2 x 6 1/8 in. (19 x 15.5 cm).
Hahnemühle Natural Line Vergé paper (100 g/m²)
Biography Enquire about this picture£1,200

Presentation: Framed
Woodblock cleaned, restored and framed with posthumous print on verso side
Woodblock 4 1/2 x 5 3/8 in. (11.5 x 13.6 cm.)
Print 8 1/16 x 8 5/8 in. (20.5 x 22 cm.) Hahnemahle Natural Line Verge paper (100 g/m)

A rare survival, (blocks are frequently discarded, or shaved down for re-use), these blocks offer an insight into the artist's working methods. From a design point of view they are amongst Brangwyn's most direct and successful compositions and a perfect expression of the extraordinary graphic vigor with which he created work. The blocks were cut by Brangwyn himself.

We are grateful to Dr. Libby Horner for assistance. This image will appear as no. V 3601 in her forthcoming catalogue raisonne
Biography Enquire about this picture£1,200

Presentation: Framed
Wood engraving
Woodblock cleaned, restored and framed with posthumous print on verso side
Block: 2 1/2 x 1 3/4 in. (6,4 x 4,4 cm).
Print: 7 1/2 x 6 3/4 in. (19 x 17 cm).

A limited edition has been printed posthumously on HahnemühleNatural Line Vergé paper (100 g/m²)
Literature: Dominique Marechal, Frank Brangwyn, Collection Catalogue, Bruges General Bank & Stedelijk Musea 1987 p269

Biography Enquire about this picture£1,200

Presentation: Framed
Wood engraving
Woodblock cleaned, restored and framed with original print on verso side
Block: 4 x 4 1/2 in. (10,2 cm x 11,5 cm).
Print: approximately 4 3/4 x 5 1/8 in. (12 cm x 13 cm).
Literature: Dominique Marechal, Frank Brangwyn, Collection Catalogue, Bruges General Bank & Stedelijke Musea 1987 p283, Catalogus 1937, Brussels 1937 No. 106

This print was used by the Brangwyns as their Christmas card from Temple Lodge, 1919. Some cards and prints were hand coloured.
Biography Enquire about this picture£1,500

Presentation: Framed
Wood engraving
Woodblock cleaned, restored and framed with original print on verso side
Block: 7 1/2 x 12 in. (19,2 x 30,6 cm).
Print: approximately 8 x 12 in. (21 x 32 cm).

Literature: Dominique Marechal, Frank Brangwyn, Collection Catalogue, Bruges General Bank & Stedelijke Musea 1987 p127, Catalogus 1937, Brussels 1937 No. 125, Valerie De Bijser, 1955 No. 365
Biography Enquire about this picture£1,500

Presentation: Framed
Biography Enquire about this picture£1,500

Presentation: Framed
The original Lawrences end grain box wood block, cleaned, restored and framed with a period print on the verso side, signed in pencil and inscribed to Albert Belleroche.

8 x 6 in. (20 x 15.1 cm.)

Provenance: Count William de Belleroche

Brangwyn had a particular fondness for Dixmude, near Ostend. Brangwyn donated a collection of his work to the town in 1921 and was the Chairman of the English Committee for Dixmude, an organisation which sought to restore the town after the carnage of World War One.

A rare survival, (blocks are frequently discarded, or shaved down for re-use), these blocks offer an insight into the artist's working methods. From a design point of view they are amongst Brangwyn's most direct and successful compositions and a perfect expression of the extraordinary graphic vigour with which he created work. The blocks were cut by Brangwyn himself. We are grateful to Dr. Libby Horner for assistance.
Biography Enquire about this picture£1,000

Presentation: Framed
Biography Enquire about this picture£1,000

Presentation: Framed
Original Lawrence's woodblock, end grain box wood, framed with a posthumous print on the reverse.

Count William de Belleroche; private collection since 1968
Horner, ref 3606

Biography Enquire about this picture£1,200

Presentation: Framed
Original Lawrence's woodblock, end grain box wood, framed with a posthumous print on the reverse.
3 x 1 1/2 in. (7.7 x 3.6 cm.)
Count William de Belleroche; private collection since 1968
Horner, ref 3606
Biography Sold

Presentation: Framed
Woodblock framed with print on the verso side
Block: 3 1/2 x 3 in. (9 x 7.6 cm).
Print: 8 1/4 x 7 3/4 in. (21 x 19.5 cm).
Biography Sold

Presentation: Framed
Biography Sold

Presentation: Framed
Biography Sold

Presentation: Framed

Original woodblock.
Provenance: from the collection of William de Belleroche.
Biography Sold

Presentation: Framed
Original woodblock, 11.6x10.4 cm (4⅝x4¼ in)
Provenance: William de Belleroche; Gordon Anderson
III of print: Dominique Marechal, Collectie Frank Brangwyn, Bruges Stedelijke Musea, 1987, p 260, The Silver Festival, Ditchling, 1977

The woodblock is mounted with a woodcut to the reverse, printed posthumously from the block by David Maes.

Biography Sold

Presentation: Framed
Lettering: ‘EX LIBRIS’t.l. and ‘EDITH HOPE’ below image
Original woodblock, 11.5×6.3cm (4½×2½in)
Provenance: William de Belleroche; Gordon Anderson
Exh of print: The Old Matsukata Collection, Kobe, Japan, 1989 (No B-27)
Ill of print: Walter Shaw Sparrow, Prints and Drawings by Frank Brangywn, London: John Lane, The Bodley Head, 1919, p86; E Hesketh Hubbard and Eden Phillpotts, Bookplates by Frank Brangywn RA, London: Morland Press, 1920, plate 45; Dominique Marechal, Collectie Frank Brangywn, Bruges Stedelijke Musea, 1987, p147; The Old Matsukata Collection, Kobe, 1989, p100

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, 1899 – 1900 (see p148). The woodblock is mounted with a woodcut to the reverse,printed posthumously from the block by David Maes.
Biography Sold

Presentation: Framed
Original woodblock, 6.3×4.3cm (2½×1⅝in)
Provenance: William de Belleroche; Gordon Anderson
Ill of print: Walter Shaw Sparrow, Prints and Drawings by Frank Brangwyn, London: John Lane, The Bodley Head, 1919, p34; Dominique Marechal, Collectie Frank Brangwyn, Bruges, 1987, p269

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.
Biography Sold

Presentation: Framed
Original woodblock, 6.3×4.5cm (2½×1¾in)
Provenance: William de Belleroche; Gordon Anderson
Ill of print: Walter Shaw Sparrow, Prints and Drawings by Frank Brangwyn, London: John Lane, The Bodley Head, 1919, p114; Dominique Marechal, Collectie Frank Brangwyn, Bruges, 1987, p15, 269

The woodblock is mounted with a woodcut to the reverse,printed posthumously from the block by David Maes.
Biography Sold

Presentation: Framed
Original woodblock, 6.5x5.2 cm (2½x2⅛ in)
Provenance: William de Belleroche; Gordon Anderson
III of print: Dominique Marechal, Collectie Frank Brangwyn, Bruges Stedelijke Musea, 1987, p265

The woodblock is mounted with a woodcut to the reverse, printed posthumously from the block by David Maes.
Biography Sold

Presentation: Framed
Original woodblock, 19.3×13cm (7⅝×5⅛in)
Provenance: William de Belleroche; Gordon Anderson
Ill of print: Modern Woodcutters No 2, London: Morland Press, 1920; Walter Shaw Sparrow, Frank Brangwyn and his Etchings. An Appreciation, 1912; Walter Shaw Sparrow, Frank Brangywn and his Work, London: Kegan Paul,Trench, Trübner, 1915, cover; Dominique Marechal, Collectie Frank Brangwyn, Bruges Stedelijke Musea, 1987, p137

The woodblock is mounted with a woodcut to the reverse,printed posthumously from the block by David Maes
Biography Sold

Presentation: Framed
Original woodblock, 11×13cm (4¼×5⅛in)
Provenance: William de Belleroche; Gordon Anderson
Ill of print: Modern Woodcutters No 2, London: Morland Press, 1920; Amelia S Levutus (compiler), Zwanzig Graphische Arbeiten, Vienna: Artur Wolf Verlag, 1921, cover; Dominique Marechal, Collectie Frank Brangywn, Bruges Stedelijke Musea, 1987, p130

The image depicts an etching press.The woodblock is mounted with a woodcut to the reverse,printed posthumously from the block by David Maes.

Biography Sold

Presentation: Framed
Original zinc lithographic plate, 76.2×81.3cm (30×32in)
Provenance: Hilary Gerrish, private collection
Biography Sold

Presentation: Framed
Original Lawrence's woodblocks, end grain box wood
3 x 1 1/2 in. (7.7 x 3.6 cm.)
Provenance: Count William de Belleroche; private collection since 1968
Literature: Horner, ref 3606

Thumbnail panels:

Frank Brangwyn [blocks plates] 1867-1956

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.