Cottage Garden

Details

Date: c.1868
Dimensions: 18.1 x 25.2
Object Type: print
Material: paper
Technique: etching
Catalogue number: BrP191
Designer and maker: Palmer, Samuel (1805 - 1881)
Credit notes: Brangwyn gift, 1936

Samuel Palmer started working on The Early Ploughman’s when he was living in Kensington in the 1850s, he worked on the plate intermittently for the rest of his life, finally re-biting it in January 1880. In the intervening years it was published in P.G. Hamerton’s Etching and Etchers, in 1868 (in the fourth state) which this versinon is, and exhibited at the Royal Academy in 1873 (a seventh state printed by Frederick Goulding) as ‘The morning spread upon the mountains’.

Details

Date: 1930
Dimensions: 19 x 24
Object Type: print
Material: paper
Technique: etching
Catalogue number: BrP163
Designer and maker: Griggs, Frederick Landseer Maur, 1876, 1938
Credit notes: Brangwyn gift, 1936

Owlpen Manor near Uley Gloucestershire was built, and the trees planted in 1515; it remained in the hands of the Daunt family until 1925 when it was bought and restored by the architect Norman Jewson, a close friend of the artist. The first state of the plate in fact carried an inscription in the lower margin: To my friend NORMAN JEWSON, who, with only one purpose, at his own cost and loss, possessed himself of the demesne of OWLPEN, when for the first time in seven hundred years, it passed into alien hands, and with great care and skill saved this ancient house from ruin.

Only five proofs were taken of this first state. In the second state, the lower margin and inscription were removed and the plate initialled and dated as above on the steps on the back. 48 impressions, stamped DHP and numbered in Arabic numerals on the back. In the third state, to which BrP163 belongs, the plate was reduced on both sides. 45 impressions were taken, stamped DHP and numbered in Roman numerals on the back.

The DHP monogram on the back stands for Dover’s House Press, from the name of Grigg’s house at Chipping Campden; the printing press was in his house in 1921, and thereafter almost all prints were taken at Campden; the DHP mark was cut for him by Eric Gill.
A pencil drawing 8 1/8 x 11 3/8 in (20.6 x 28.9 cm), done on the spot for the etching, is in Boston Public Library.

Griggs did the etchings for May Morris’s The Collected Works of William Morris, translating Emery Walker’s photographs for the plates.

Details

Dimensions: 17.5 x 13.8
Object Type: print
Material: paper
Technique: etching
Catalogue number: P533
Artist: Brangwyn, Frank, Sir (1867 - 1956)
Credit notes: WMG purchase, 1973

Proof of an illustration for Jerome and Jean Tharaud’s book “L’Ombre de la Croix”, Editions Lapina, Paris, 1931, PL. 37 facing p. 118. Frank Brangwyn did 63 etched illustrations for this based on the lives of Jews in Europe, another of which is P532. A majority of his etchings appear to be set in the town of Belz, Poland. The Jewish community migrated to Belz in the late 14th Century, where it then became a place of pilgrimage. The book “L’ombre de la Croix” was originally published in 1917. At this time, the Zionist Organisation was becoming more prominent in Belz, hence resulting in the Jewish communities slowly repatriating to Palestine. This occured in 1917 after the ‘Balfour Decleration’ was passed by the British governement, supporting the establishment of a Jewish home in Palestine. At present, there is no evidence of Brangwyn setting foot in Poland, therefore, the assumption is that he used photographs, the text descriptions in the book or his own knowldge of the Jewish communities around him when completing his etchings.

Details

Date: c.1931
Dimensions: 13.8 x 12.5
Object Type: print
Material: paper
Technique: etching
Catalogue number: P532
Artist: Brangwyn, Frank, Sir (1867 - 1956)
Credit notes: WMG purchase, 1972

Proof of an illustration for Jerome and Jean Tharaud’s book “L’Ombre de la Croix”, Editions Lapina, Paris, 1931, Pl. 52 facing p. 172. Brangwyn did 63 etched illustrations for this, another of which is P 533. A majority of his etchings appear to be set in the town of Belz, Poland. The Jewish community migrated to Belz in the late 14th Century, where it then became a place of pilgrimage. The book “L’ombre de la Croix” was originally published in 1917. At this time, the Zionist Organisation was becoming more prominent in Belz, hence resulting in the Jewish communities slowly repatriating to Palestine. This occured in 1917 after the ‘Balfour Decleration’ was passed by the British governement, supporting the establishment of a Jewish home in Palestine. At present, there is no evidence of Brangwyn setting foot in Poland, therefore, the assumption is that he used photographs, the text descriptions in the book or his own knowldge of the Jewish communities around him when completing his etchings.

Material: paper

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