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‘Unloading the Barges’ by Sir Frank Brangwyn

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    Located in Lincoln, GB
    Antique map of Lincoln Measures: 65 x 72cm A beautifully colourful antique map showing the Heraldic Arms for those 'noble families that have bor...
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  • Jan van de Vaart Portrait of a Lady
    Located in Lincoln, GB
    Jan van de Vaart was a Dutch painter and draughtsman of portraits, landscapes, still life's, and trompe-lioeil paintings, and a mezzotint artist who was active in England for most of...
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    Jan van de Vaart Portrait of a Lady
    $25,599 Sale Price
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  • Samuel David Colkett A Norfolk Landscape
    Located in Lincoln, GB
    Samuel David Colkett (1806-1863) A Norfolk landscape Oil on canvas. Size: 53 x 63cm original frame. Samuel David Colkett was born in 1806 in Norwic...
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  • Dennis Pierre Bergeret, Still Life with Parakeet
    Located in Lincoln, GB
    Oil on canvas, signed, 44 x 55 inches canvas, 50 x 61 inches frame Dennis Pierre Bergeret was born at Villeparisis in 1846. He trained under Eugene Isabey, Jules Lefebvre and Leon B...
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  • Beautiful Display Cabinet in the Style of Mayhew and Ince
    Located in Lincoln, GB
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  • A Carrara Marble Bust of the first Duke of Wellington, Arthur Wellesley
    Located in Lincoln, GB
    A CARRARA MARBLE BUST OF ARTHUR WELLESLEY, 1ST DUKE OF WELLINGTON, DATED 1854 Signed on the back and dated 1854 13 deep x 22 wide x 29.5 high inches
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  • Pair of 1930s Art Deco Decorative Marquetry Panels by Frank Brangwyn
    By Frank Brangwyn
    Located in Vienna, AT
    In this listing you will find a pair of ravishing Art Deco decorative wood intarsia panels. The artist Sir Frank Brangwyn for Rowley used a variety of woods in several shades of brow...
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  • Antique Architectural Press Cathedral Cityscape Etching After Frank Brangwyn
    By Frank Brangwyn
    Located in Dayton, OH
    "Antique cityscape print “From an Etching by Frank Brangwyn, R.A. A.D. 1922 by The architectural Press. “Frank Brangwyn was born in 1867 in Bruges, Belgium. His family moved back to London in 1875 where he attended school until 1879, when he left as much out of boredom as necessity. His father worked as an architect, muralist, and in other arts-related crafts. Frank helped around the studio and continued his own artistic education by copying drawings at what was to become the Victoria and Albert Museum. His abilities attracted the notice of more established artists and at the age of 15 he was working for William Morris getting rudimentary training and preparing designs for many aspects of Morris' Arts and Crafts output. In 1885, with nothing much more than youthful enthusiasm, he submitted a painting to the Royal Academy Summer Exhibition and was accepted - at the age of 17. Spurred by this success he rented a studio and began a period of productive poverty. With little money, his early work revolved around the sea where traditional subjects for British art were moored and made docile models. This is considered his """"""""grey"""""""" period and the limited palette may be due as much to limited funds as to artistic intent. His 1890 canvas, """"""""Funeral At Sea"""""""" is typical of this period and won a Gold Medal at the 1891 Paris Salon. The young artist was making waves. In 1888, he worked on a freighter for passage to the Near East of Istanbul and the Black Sea. Orientalism was a major force in European art at the time and Brangwyn was as seduced as many artists were with the colors and light of the Mediterranean and African coasts. These trips brought a new palette to his work and something new to British art. The Buccaneers, at right, is from 1892 and the difference between it and his """"""""grey"""""""" period is dramatic. Just as we have movie critics today, art critics proliferated during the 19th century. Walter Shaw Sparrow, in his excellent """"""""Frank Brangwyn and His Work"""""""", devotes several chapters to the reaction of these critics to Brangwyn's art. Opinions were as varied as the two styles shown here, but what is most interesting is the degree of attention being paid to the work of a self-taught 25-year old. Whatever their views of his work, he was not being taken lightly. Not surprisingly, the bright hues and intense light of his new style were not appreciated by the establishment. To put his work in historic perspective, this was a period of Impressionism, Art Nouveau, and the Munich and Vienna Secessions. In British art, Sargent, Whistler, Waterhouse and Draper were popular. Lord Leighton, Burne-Jones and Alma-Tadema were still active. Brangwyn was following none of these men and the critics were at a loss as to how to pigeonhole him. The continental critics in France, Munich and Vienna had no such trouble. He was seen as a most modern and successful artist from the beginning. For his part, Brangwyn followed his own muse and in doing so found himself at the vanguard of the art world. In 1892 he began working as the designer for the new art magazine, """"""""The Graphic"""""""". In 1895 he was asked to paint murals for the notorious gallery, L'Art Nouveau, in Paris. He won medals for his work in Munich and Paris. At the age of 30, while Britain puzzled over how to evaluate his work, the rest of the world viewed him as the definition of modern British art. He illustrated books: """"""""Don Quixote...
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    Vintage 1920s Prints

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  • Sir Frank Brangwyn Designed for Pollards Storefitters Framed Poster
    By Frank Brangwyn
    Located in Norwich, GB
    A colour lithographic framed poster, printed by the Avenue Press, London and designed by Sir Frank Brangwyn (1867-1956) for Pollards Storefitters. Circa 1930. Printed initials in ...
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  • Etching by Frank Brangwyn "The Storm No 2"
    By Frank Brangwyn
    Located in East Geelong, VIC
    At the bottom left of this etching by Frank Brangwyn (1867-1956) is the title, written in pencil, " The Storm No 2".  It is also known as the "Hay Harvesters". On the bottom right is...
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  • 17th Century Painting from the Circle of Sir Peter Paul Rubens
    Located in Miami, FL
    Original 17th century painting attributed to the Circle of Sir Peter Paul Rubens as confirmed by Christies London. This beautiful work of art i...
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  • 1814 SIR WILLIAM BEECHEY CIRCLE OIL PAINTING ROBERT 4TH EARL OF BUCKINGHAMSHiRE
    Located in GB
    Wimbledon-Furniture Wimbledon-Furniture is delighted to offer for sale this stunning oil painting portrait, signed to the bottom left Robert 5th Earl of Buckinghamshire 1814 and printed to the back “prepared by Roberson & Miller 51 Long Acre London” the painting is the circle of Sir William Beechey Please note the delivery fee listed is just a guide, it covers within the M25 only for the UK and local Europe only for international, if you would like an accurate quote please send me your postcode and I’ll provide you with the exact price A very attractive portrait of Robert seated at his desk in rather stately looking attire. The frame is the original gilt wood and quite an expensive piece on its own The condition is very good, it is over 200 years old so there will be touch ups and restorations that have occurred, there is no damage to note that I can see or feel Dimensions Height:- 112.5cm Width:- 92cm Depth:- 7cm This painting as mentioned is the circle of Sir William Beechey Sir William Beechey RA (12 December 1753 – 28 January 1839) was a leading English portraitist during the golden age of British painting. Early life Beechey was born at Burford, Oxfordshire, on 12 December 1753, the son of William Beechey, a solicitor, and his wife Hannah Read. Both parents died when he was still quite young, and he and his siblings were brought up by his uncle Samuel, a solicitor who lived in nearby Chipping Norton. The uncle was determined that the young Beechey should likewise follow a career in the law, and at an appropriate age he was entered as a clerk with a conveyancer near Stow-on-the-Wold. But as The Monthly Mirror later recorded in July 1798, he was: "Early foredoomed his [uncle's] soul to cross/ And paint a picture where he should engross." Beechey was admitted to the Royal Academy Schools in 1772, where he is thought to have studied under Johan Zoffany. He first exhibited at the Academy in 1776. His earliest surviving portraits are small-scale full-length and conversation pieces which are reminiscent of Zoffany. In 1782, he moved to Norwich, where he gained several commissions, including a portrait of Sir John...
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