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Sympathetic tale of Jewish characters in a remote village among the wild Carpathian mountains.
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Frank Brangwyn used photography as a primary aid in the execution of his elaborate allegorical murals, like his contemporaries, Maxfield Parrish, Jose Maria Sert, Alphonse Mucha, Degas and Franz von Stuck. The Paul Cava collection of Brangwyn photographs is the largest archive of it's kind in private hands. The archive contains over 150 prints, many of which are of nude or semi nude models, squared-up in pencil or ink for transfer onto paper or canvas. It was not uncommon for artists to disassociate themselves from their photographic practices early in the last century and Brangwyn was typical in this respect. Little was known of Brangwyn's use of photography until the discovery of this photographic archive in the 1990s. This is the second volume of Brangwyn's photographs published by Paul Cava Fine Art. Additional information and reproductions regarding Frank Brangwyn and his use of photography is presented in two informative essays contained in the publication 'Frank Brangwyn Photographs: Nude and Figure Studies, Vol 1", published by Paul Cava Fine Art in 2001.
Sm. thick 4to. Original illustrated cloth. Top edge gilt other edges uncut. With coloured frontpiece, 35 full-page coloured plates, and numerous text drawings. Title page printed in re/black ink.
During his lifetime Brangwyn made large donations of his works to museums in the United Kingdom and abroad, including the Victoria & Albert Museum, the British Museum, the William Morris Gallery, the Albertina in Vienna and the Gruuthuse in Bruges. As a result of this munificence, substantial drawings by Brangwyn, especially his celebrated large sheets in red and black chalk, only rarely appear on the market. Milestones in the collecting of Brangwyn drawings include the Christie's sale of William de Belleroche's collection (1961), and Edgar Horn's sale of Edgar Peacock's collection (2000). The recent discovery of works belonging to Brangwyn's admirer, Father Jerome Esser, presented in this catalogue, marks a further watershed for collectors. The drawings that became Esser's collection, which have lain hidden for over half a century, were made up of works that Brangwyn, with characteristic modesty, had left in his studio with a written instruction, 'most of this lot destroy'. Never intended for presentation, they explore and resolve alternative compositions and the relation of figures to each other and to the space they occupy. Esser, himself a gifted artist, would have appreciated these sheets, complete with folds, scuffs and splodges of paint, as true working drawings. Brangwyn himself believed that 'sketches show the most intimate side of an artist's career ...[studies] are usually the best thing an artist does.'
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