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Presentation: Framed
SN: 2243
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
SN: 2261
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
SN: 2266
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)
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Presentation: Framed
SN: 2274
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
SN: 2378
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.
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Presentation: Framed
SN: 2380
Inscribed verso: ‘Saint/Lovis’
Pencil and watercolour on paper, 56×88cm (22×34⅝in)
Provenance: Edgar Peacock; Edgar Horns, Eastbourne, 20 September 2000
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Presentation: Unmounted
SN: 2382
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
SN: 2291
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
SN: 2322
(detail; cat 161), pencil, crayon and paint on tracing paper, 78×200cm (30¾×78¾in)
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Presentation: Framed
SN: 2356
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
SN: 2362
pencil, watercolour and white chalk on tracing paper, 19x18cm
(7½×7in)
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Presentation: Framed
SN: 2363
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
SN: 2365
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
SN: 2367
pen, pencil and watercolour on paper, 44×55cm (17¼×21¾in)
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Presentation: Framed
SN: 2368
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
SN: 2369
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
SN: 2372
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
SN: 2373
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
SN: 2375
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
SN: 2377
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
SN: 2379
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
SN: 2381
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
SN: 2384
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
SN: 2385
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
SN: 2386
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
SN: 2387
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
SN: 2388
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
SN: 2389
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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