Sir Frank Brangwyn Designed for Pollards Storefitters Framed Poster

Rare bentply Bambi chair designed by Han Pieck (1924 - 2010) for Morris & Co of Glasgow. Circa 1946. This beautiful chair was made in a very limited product...

A rare Art Deco period miniature travel leather and rose gold toned picture frame. Stamped: S.T. Dupont Paris. Made in France. Circa 1930. The picture frame has a pull-out action wi...

A Danish design classic - J16 beechwood rocking chair by Hans Wegner. Introduced in 1944, this model dates to the 1960's, stamped 'Made in Denmark 66.5.1' along with the maker's la...

A Cleopatra side table designed by Marco Zanuso Jr in 1987 for Memphis Milano. Applied metal manufacturer's label "Memphis Milano, M. Zanuso Jr., 1987. Made in Italy." Circa 1990's. ...

Excellent quality Edwardian solid sterling silver presentation key. Hallmarked in Glasgow in 1904/1905 by James Weir. Engraved to both sides, one side reads: "To Mrs Perry from the ...

A superb Trébol coffee table, attributed to Spanish architect and designer Òscar Tusquets for Casas. Circa 1990s. The table's base has an organic clover form, and is covered in a ta...

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...

Beginning in the mid-19th Century in Italy, Martini has become a multi-national beverage brand. This beautiful poster was originally created in the 1930’s, and was so successful that...

Original vintage travel poster advertising Cornwall by GWR, Great Western Railway, by the notable British poster artist, Frank Newbould (1887-1951). Colorful scenic view of a seaside...

A Set Of Six Framed Poster For Biology Class

"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...

A framed movie poster for the re-release of Alfred Hitchcock's PSYCHO, starring Janet Leigh, Anthony Perkins, and Vera Miles. The poster was folde...