WORKS ON PAPER

To date over 1500 works on paper have been catalogued. This includes watercolours, gouache, mixed media and pencil, pen and ink, chalk and pastel drawings, but does not include the hundreds of studies made for each of the large mural commissions. The earliest known watercolour dates from 1878, Back of old Houses, Edmonton (D4495), William Morris Gallery, a view seen in company with Mackmurdo, whilst the last known, Jointure Garden (D3447), private collection, dated 1955, is still an amazingly competant work from a man who suffered badly from rheumatism. Brangwyn was a workaholic and found it difficult to keep still, he was endlessly scribbling and sketching, and experimenting - many of his works combine a mixture of watercolour, gouache, powder colour, tempera, pencil, pen, waxed crayon - whatever happened to be within his reach at the time. Large areas of the white or tinted paper were often left untouched.

The watercolours are mainly travel documents, showing landscapes, townscapes, rivers and bridges. Unlike the oils people do not dominate the scene and the colours are far more subdued.

The fees involved in gaining copyright permission from art galleries and museums to illustrate their works on my website precludes my ability to show some of Brangwyn's best or more representative oils. I have contented myself with including works believed to have been destroyed or where the owner is currently unknown and Paul Liss has given me permission to use images from his website (the number in brackets following the title of each Brangwyn work indicates the number by which the work is identified in the Catalogue Raisonne).

Puerta de Pasajes (D2690), 1891, watercolour, 48.5x74.5cm, signed with date and title b.l.: 'Frank Brangwyn. Puerta da passages. 91', private collection. Exh: The Fine Art Society, July 2001. Frank Brangwyn 1867-1956, Leeds, Bruges, Swansea, 2006. Ill: Master Drawings, The Fine Art Society, 2-27 July 2001. Brangwyn described the village as: 'a narrow inlet from the sea, widening into a large bay, with the deepest and bluest of water, surrounded with picturesque stone-built houses, once owned by the flower of Guipposcoan nobility, but now tenanted by fishermen.'	Venice. Boat Building (D2355), 1907, watercolour, signed in full b.c.: 'Frank Brangwyn'. Provenance: D Croal Thomson, pwu. Exh: Royal Glasgow Institute, 1921. Ill: Hutton, The Pageant of Venice, London, 1922, facing p124.	Auxerre (D2766), 1913, pencil and watercolour, 50.8x61cm, signed with title and date b.r.: 'FB Auxerre 1913'. Provenance: Kojiro Matsukata, probably destroyed in Pantechnicon fire 1939. Exh: Queen's Gate, 1924, cat 186. Ill: The Studio, June 1923, p302
Alcantara at Toledo (D1421), c1914, watercolour, 54.6x74.9cm, pwu. Exh: Queen's Gate, 1924, cat 126. Drawings of Bridges etc by Brangwyn, Whitworth Institute, Manchester, 1916. Ill: Shaw-Sparrow, Book of Bridges, London, 1915, facing p32. Bunt, Watercolours of Sir Frank Brangwyn RA, Leigh on Sea, 1958, plate 22.	Old Bridge over the Clain near Poitiers (D1418), c1915, watercolour, size unknown, pwu. Exh: Drawings of Bridges etc by Brangwyn, Whitworth Institute, Manchester, 1916, cat 57. Ill: Shaw-Sparrow, Book of Bridges, London, 1915, facing p56. Bunt, Watercolours of Sir Frank Brangwyn RA, Leigh on Sea, 1958, plate 19. Lazareva, Frenk Brengvin, Izobrazit, 1978, plate 37	Pont du Diable, St Gothard Pass (D2173), c1915, pen and ink drawing, size unknown, pwu. Studies: Photograph EP283/50, Liss Fine Art. Ill: Shaw-Sparrow, Book of Bridges, London, 1915, p67. A dramatic drawing of the St Gothard Pass with the new road above the old road, the Devil's Bridge, a narrow causeway over the raging torrent below.
Pont Valentre at Cahors (Fortified Gate and Towers) (D2169), c1915, watercolur, size unknown, pwu. Studies: postcards 284/34 and 284/38, Liss Fine Art. Exh: Drawings of Bridges etc by Brangwyn, Whitworth Institute, Manchester, 1916, cat 96. Ill: Shaw-Sparrow, Book of Bridges, London, 1915, facing p16. The Pont Valentre and l'Ermitage at Cahors, obviously a favourite of Brangwyn's since he owned at least 6 postcard images and a photograph of the bridge.	Ponte del Paradiso, Venice (D1739), c1922, watercolour, 73x55.4cm, inscribed with monogram b.r.: 'FB', pwu. Exh: Barbizon House, 1922. Lit and Ill: Barbizon House Record, 1922, plate 16. Ill: Hutton, The Pageant of Venice, London, 1922, facing p132. Ponte del Paradiso is a picturesque bridge north of St Mark's Square, with ogee arch to left. The bridge carries the Calle del paradiso (left) across the Rio di santa Maria Formosa to Fondamenta del Dose on the right.	Venice: S Francesco de Deserto (D2356), c1922, size unknown, pwu. Ill: Hutton, The Pageant of Venice, London, 1922, facing p140. This is actually a small island northeast of Venice which has nothing but the church and clositers, named after St Francis who was reputed to have stoped here in 1220 on his return from Palestine. The island is noted for its cypress trees which appear in the painting.
Florentine Cherubs, The Jointure (D1934), 1934-1948, watercolour and pencil on paper, 25.4x20.3cm. Provenance: William de Belleroche, private collection. Exh: Exh: Frank Brangwyn. A Mission to Decorate Life, The Fine Art Society, 2006. Lit and Ill: Libby Horner, Frank Brangwyn. A Mission to Decorate Life, The Fine Art Society/Liss Fine Art, 2006, p97 One of a series of drawings Brangwyn painted as a souvenir for Belleroche to remind him of the places where they 'talked of Art'. Image courtesy Liss Fine Art.	Bad Likeness of the Father Abbot (D3219), c1944, pen, ink and wash, 14x21.5cm, inscribed above : 'A bad likeness of the Father Abbot', private collection. Ill: Belleroche, Brangwyn Talks, Lodnon, 1944, facing p56. Belleroche organised an exhibition of Brangwyn's work at the Monastery of St Andre, Zevenkerken, and stayed with the monks. Presumably this drawing of Dom Theodore Neve is from a photograph since Brangwyn did not visit Belgium at this time.	Flowers in a Vase (D3213), c1944, pen and ink drawing, 14x10.5cm. Provenance: William de Belleroche; private collection; Liss Fine Art. Ill: Belleroche, Brangwyn Talks, Lodnon, 1944, p109. Image courtesy Liss Fine Art.
Lord Rothschild (D3203), c1948, ink and brush drawing, 17.8x17.8cm, inscribed t.l.: 'Some well known/Jack Smiley' and monogram centre: 'FB'. Provenance: Belleroche; private collection; Liss Fine Art. Apparently this image bears no relation to the Rothschild contemporary with Brangwyn. Image courtesy Liss Fine Art.	Messina after the Earthquake (D3192), c1948, blue ink and pencil on paper, 25.5x21cm, moogram b.c.: 'FB', and below: 'Messina - O'Shade of Bourdon: above Forgive'; 'Bourdon/dark sky'. Provenance: Belleroche; private collection; Liss Fine Art. Exh: Brangwyn Retrospective, Royal Academy, 1952, cat 291. Ill: Belleroche, Brangwyn's Pilgrimage, London, 1948, facing p146. Sketched from memory of the Messina earthquake, the aftermath of which Brangwyn saw in 1909 when he visited his friend Kitson in Taormina, Sicily. Image courtesy Liss Fine Art.	Oldest Man in Warwickshire (D3631), c1948, pen and ink drawing, 15.5x21.2cm, inscribed t.r.: 'The two oldest men in/Warwickshire' and verso: 'old man of Warwickshire'. Provenance: Belleroche, private collection, Liss Fine Art. Ill: Belleroche, Brangwyn's Pilgrimage, London, 1948, facing p107. Image courtesy Liss Fine Art.