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Frank Bramley Auction Price Results

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Frank Bramley RA (1857-1915), 'BUTCHER'S ROW, EAST

Lot 242: Frank Bramley RA (1857-1915), 'BUTCHER'S ROW, EAST

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Description: Frank Bramley RA (1857-1915), 'BUTCHER'S ROW, EAST SIDE, ANTWERP'; 'MUSEE STEEN, ANTWERP', A pair, both signed and dated 1879 l.r., oil on panel 22 x 12.5cm (2)

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Frank Bramley RA (British, 1857-1915) 'The Tulip Tree'

Lot 329: Frank Bramley RA (British, 1857-1915) 'The Tulip Tree'

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Description: Frank Bramley RA (British, 1857-1915) 'The Tulip Tree' oil on canvas, signed with monogram and dated '09 lower right 10 3/4 x 8 1/2in. (27 x 21.5cm.) * Frank Bramley was an English Post-Impressionist painter and artist of the Newlyn School. He attended Lincoln School of Art from 1873 to 1878 and studied from 1879 to 1882 with Charles Verlat at the Koninklijke Academie voor Schone Kunsten in Antwerp, as did other future Newlyn school painters such as Fred Hall, Thomas Cooper Gotch and Norman Garstin. After a period in Venice, Bramley joined the artists' colony in Newlyn, Cornwall, where he stayed until 1895. A later work, The Tulip Tree typifies his interest in tonal harmonies and the surface qualities of brushwork, as well as displaying the influence of The Newlyn School's plein-air approach.

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FRANK BRAMLEY (1857-1915 BRITISH) OIL ON CANVAS, ANTWERP CATHEDRAL (DE ACCESSION FROM CINCINNATI MUSEUM OF ART) PROVENANCE AVAILABLE, 42

Lot 344: FRANK BRAMLEY (1857-1915 BRITISH) OIL ON CANVAS, ANTWERP CATHEDRAL (DE ACCESSION FROM CINCINNATI MUSEUM OF ART) PROVENANCE AVAILABLE, 42" x 49"

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Description: FRANK BRAMLEY (1857-1915 BRITISH) OIL ON CANVAS, ANTWERP CATHEDRAL (DE ACCESSION FROM CINCINNATI MUSEUM OF ART) PROVENANCE AVAILABLE, 42" x 49"

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Lot 6: BRAMLEY, Frank (1857-1915, British)

Description: The rosary Oil Painting (13x9in).

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Lot 7: BRAMLEY, FRANK (1857-1915)

Description: Still life, 1887 Oil/canvas 23x34 cm (9x13.4 in) signed & dated.

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Lot 7: Frank Bramley, R.A.

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Description: 1857-1915 at the door signed and dated 1911 oil on canvas 37.5 by 43 cm., 14 3/4 by 17 in. The sitter may be the same as that in the 1909 painting, Delicious Solitude (possibly the artist's wife) which was sold Sotheby's, New York, 23 May 1996, lot 443.

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Lot 9: BRAMLEY, Frank (1857-1915, British)

Description: Mocks my loss of liberty, s.d.1910 exhib. Oil Painting (56x50in).

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FRANK BRAMLEY, R.A. 1857-1915

Lot 10: FRANK BRAMLEY, R.A. 1857-1915

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Description: signed with initialsoil on panel

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Lot 10: BRAMLEY, Frank (1857-1915, British)

Description: Carting bracken, Grasmere Oil Painting (15x11in).

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Lot 11: BRAMLEY, Frank (1857-1915, British)

Description: In the mirror Oil Painting (12x16in).

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Lot 12: BRAMLEY, Frank (1857-1915, British)

Description: Winter, painted 1885 prov.lit. Oil Painting (14x19in).

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Lot 12: Frank Bramley, R.A. (1857-1915)

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Description: Winter oil on canvas 19 x 133/4 in. (48.2 x 35 cm.) Painted in 1885 PROVENANCE The Marchman Collection, Texas. LITERATURE K. McConkey, British Impressionism, London, 1989, p.54 (illustrated). NOTES Kenneth McConkey ( loc. cit ) comments of the present work: 'it's aggressive square brush hatching, the play of space and reflected light, all the strategies deployed to give the sense of unposed convival circumstances, emphasize Bramley's naturalist origins and ambitions'.

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Lot 12: BRAMLEY, Frank (1857-1915, British)

Description: Mending the nets, s.d.1885 Oil Painting (12x15in).

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Lot 14: BRAMLEY, Frank (1857-1915, British)

Description: Self-portrait, s.d.95 Oil Painting (12x13in).

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Frank Bramley, R.A. (1857-1915)

Lot 14: Frank Bramley, R.A. (1857-1915)

Description: Frank Bramley, R.A. (1857-1915) When the blue evening slowly falls signed and dated 'FRANK BRAMLEY 1909' (lower right) and further indistinctly signed, inscribed and numbered '2./"When the blue/Evening slowly falls"/Frank Bramley/Tongue Ghyll/Grasmere' (on the artist's label attached to the stretcher) oil on canvas 35¾ x 30¼ in. (90.8 x 76.8 cm.)

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Thomas Faed, R.A., H.R.S.A. (1826-1900)

Lot 15: Thomas Faed, R.A., H.R.S.A. (1826-1900)

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Description: Worn Out signed and dated 'Thomas Faed/1868' (lower left) oil on canvas 41 5/8 x 571/4 in. (105.7 x 145.4 cm.) PROVENANCE Purchased from the artist by William Banbury, his sale; Christie's, London, 29 May 1880, lot 32 (1,370 gns to Agnews). Sold to Gambart for œ1,200. Daniel Thwaites by 1887. with Associated Galleries, 15 June 1951. Sterling Hotel, Wilkes Barre, PA. with E.J. Landrigan, New York, 1985, from whom acquired by the present owner. Engraved by F. Stackpoole, A.R.A. LITERATURE Times, 2 May 1868, p. 14. Athenaeum, 2 May 1868, p. 632. Magazine of Art, 1893, p. 272. A.G. Temple, Painting in the Queen's Reign, 1897, p. 298. M. McKerrow, The Faeds, Edinburgh, 1982, pp. 112 & 115. L. Williams, 'Scottish Social Values in the Paintings of Thomas Faed', Scotia, Interdisciplinary Journal of Scottish Studies, vol. XV, 1991, p. 40 (fig. 7). R. O'Neill, The Art of Victorian Childhood, Bristol, 1996, p. 38, illus. P. S. Fregeau, 'Nudging the Pendulum', Classical Realism Journal, vol. I, issue 2, illus. EXHIBITION London, Royal Academy, 1868, no. 172. Manchester, Royal Jubilee Exhibition, 1887, no. 394. London, Guildhall, 1890, no. 9. Blackburn, 1894, no. 89. London, Guildhall, 1900, no. 69. Childhood in Victorian England, 1985, no. 16. Victorian Childhood, 1986-7, cat. pl. 5. Hard Times, 1987-8, no. 30. Virtue Rewarded, 1988-90, no. 10. La Era Victoriana, 1997, no. 20. The Defining Moment, 2000-1, no. 13. NOTES Worn Out unites much of what we value in Victorian Painting. It inspired admiration and wonder upon its 1868 Academy exhibition, and has elicited equally strong responses ever since. The Archbishop of York cited it in his speech at the Royal Academy Banquet, as edifying in its portrayal of 'defeat and distress' for both 'cultivated [and]...uncultivated' men. Twenty years later, when the picture was again exhibited, a factory girl's comment became art-world legend: 'it's not always the clothes that show the heart, is it?' Worn Out has also been key to an ongoing critical discussion regarding the validity of sentiment in pictures purporting to be social realist. In her essay on sentiment in the Classic Realism Journal, Penny Saville Fregeau recorded her personal responses to Faed's picture, arguing that it located the ideal in the ordinary. Leslie Williams used different criteria in her essay Scottish Social Values in the Paintings of Thomas Faed, comparing the artist's image to historical truths. In England, social realism was a product of the Victorian age, in both commercial and altruistic terms. Middle class buyers - northern industrialists who had begun to invest in art - desired pictures that they could understand and even relate to. The milder form of domestic genre perpetrated by Wilkie and Mulready gradually gave way to a harsher aesthetic in the 'hungry forties'. Heralded by a particularly severe winter, this decade saw the effects of the Industrial Revolution take hold, leading to unemployment and unrest in both rural and urban communities. Artists such as G.F.Watts and Richard Redgrave painted pictures which were as dark in mood and colour as the events they portrayed. Usually these reduced a universal problem to individual anecdote, for example in Redgrave's The Sempstress (lot 110). During the Pre-Raphaelite years social realism attained a more poetic bent; pictures such as Henry Wallis' The Stone Breaker (1857-8) reinstated the artisan within a mesmeric landscape that emphasised his place within tradition and natural cycles. Faed's Scottish heritage meant that he registered these precedents but still harked back in the main to David Wilkie, whose pictures are sweet of temper if humble in outlook. Faed's pictures have been accused of transmuting that sweetness into a more saccharine quality, designed to titillate - but not to upset - the solvent public. In Worn Out, however, Faed's ingenious ploy of depicting his characters sleeping prevents coyness. The father's body lies slack, his head rolled backwards and legs outstretched. It is interesting that a sketch made prior to the oil, now in the National Gallery of Scotland, shows a rougher father figure - mouth ungainly, legs buckled beneath him. The metamorphosis of concept to reality is one dogged with aesthetic concerns, but these do not necessarily demean a picture's integrity. Faed was indeed adamant in his defence of the painting's subject, warding off over-melodramatic interpretations (such as the Art Journal 's) of a father's vigil over a critically ill child. He wrote to his friend, William Hepworth Dixon: The picture represents a working man who has been watching his little boy far through a restless night. The child holding his father's shirt sleeve has fallen asleep: daylight finds them both at rest - worn out. By 1868 Faed had established himself as the leading proponent of Scottish genre in both London and Edinburgh. An early prot‚g‚, his talent and enthusiasm had prompted his elder brother John to secure him a place at the Trustees' Academy. He had exhibited over 20 pictures at the Royal Scottish Academy by the age of twenty-three. In 1849 the Art Journal singled out his work, as it was to do on many consecutive occasions, and stated 'Thomas Faed, we prophesy, will achieve great celebrity in his department of art - rustic interiors with figures'. Faed first exhibited at the Royal Academy in 1851, and in 1855 The Mitherless Bairn caused a sensation with both critics and public alike. A venerable Marquis fell prostrate on his knees before it, alarming the authorities as to his relative ability to rise again. The Mitherless Bairn set the standard for Faed's work in the ensuing decade, though in many ways Worn Out is the more satisfying composition. Both pictures, however, would come under Leslie William's criticism for their depiction of cottage life. The cottages are relatively well ordered, clean if rustic, whilst the dark interiors that large families often occupied were frequently low with unplastered walls. Faed's interior chronicles many of the qualities which the Victorians deemed moral and elevating. The father's fiddle hangs on the wall. Artistic endeavour was viewed as a way to enlist and evoke cerebral virtues; the greatest exponent of Art's edifying effect on both creator and viewer being John Ruskin. The plant on the window sill alike testifies to care and tenderness within the cottage walls. Although its flowers appear fragile, the stalks stand straight in the morning sunlight. This theme - fragile things which yet seek to regain their strength - is reitterated many times within the canvas. A candle glows at the foot of the child's bed. Its vibrant flame confirms our hopes for the child's recuperation, (as the dying flame confirms our fears of loss at sea in Frank Bramley's Hopeless Dawn, 1888, Tate Britain, for example). The sunlight itself, which floods in upon the room, suggests not only the possiblity of recovery but of divine acclamation. Light was, and still is, one of the most resonant devices for suggesting divine presence in visual art (Holman Hunt's The Light of the World, 1853, being the most iconic expression of its biblical analogy). Faed's father is a working man, and presumably a widower. His bag of carpentry tools lies beneath the window. A religious analogy is extended, perhaps, by the man's profession. The symbolic resonance of carpentry is evident in any case: the repairing of the damaged, the creation of structured and worthy pieces that receive daily use. The carpenter's role as both trusty parent, and occasional worker of magic, is implicit. Faed's picture is also rich in incident. The washing drying on an improvised line, the teapot on the mantelpiece, and most particularly - the tiny mouse which nibbles a piece of remaindered food - all are benign and heartening details which justify even the closest inspection, so finely are they executed. Faed's ability as a technician is often overlooked, as his subject-matter was so fˆted. However it is the skills of colourist and draughtsman that often allow an artist to explore such compelling narratives without something superficial jarring the viewer's eye. The way that Faed's canvases lead you straight into the centre of the drama is testament to their technical excellence. Faed continued to exhibit, with great success, until blindness caused him to cease painting in 1892. His ability to cater to public taste was unrivalled. In 1886 the Encyclopedia Americana spoke for many when it commented: It has been said that Thomas Faed has done for Scottish art what Robert Burns did for Scottish song. He has made it attract universal interest and command universal respect.

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Lot 16: BRAMLEY, Frank (1857-1915, British)

Description: Two women in interior Oil Painting (17x13in).

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Lot 17: BRAMLEY, Frank (1857-1915, British)

Description: Bouquet de lys en pied. Print of figures outside cottage, pair Oil Painting (23x29in).

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Frank Bramley (1857-1915) Portrait of a Schoolgirl

Lot 21: Frank Bramley (1857-1915) Portrait of a Schoolgirl

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Description: Frank Bramley (1857-1915) Portrait of a Schoolgirl Carrying a Slate Tablet, three-quarter length Oil on canvas, 51 x 35cm Signed with monogram FB In a contemporaneous Victorian frame Part label verso Provenance: Killeen House, Co. Galway.

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Lot 27: Frank Bramley

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Description:

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Lot 29: BRAMLEY, Frank (1857-1915, British)

Description: Auratum lilies, s.d.07 Oil Painting (15x17in).

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Lot 30: BRAMLEY, FRANK (1857-1915)

Description: Still life with pink, white and red roses in a jar, 1876-1877 Oil/canvas 9x13 inches (23x34 cm) signed & dated.

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Lot 30: BRAMLEY, FRANK (1857-1915)

Description: A cottage interior, 1907 Oil/canvas 14x10 inches (35.5x25.5 cm) signed & dated (Lower Right).

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Lot 35: BRAMLEY, Frank (1857-1915, British)

Description: Study for 'Domino', s.d.85 canvas laid on board prov.lit. Oil Painting (11x9in).

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Frank Bramley R.A. (British, 1857-1915) A hopeless dawn 22.5 x 31.5cm.

Lot 36: Frank Bramley R.A. (British, 1857-1915) A hopeless dawn 22.5 x 31.5cm.

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Description: A hopeless dawn Watercolour heightened with white22.5 x 31.5cm.

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Frank Bramley (1857-1915):

Lot 39: Frank Bramley (1857-1915): "Girl standing", pencil

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Description: Frank Bramley (1857-1915): "Girl standing", pencil sketch unsigned 19cm x 12cam (together with a Bramley catalogue) Provenance: Pybus Fine Art exhibition 2002

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Lot 40: Frank Bramley, R.A. (1857-1915)

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Description: Donkey and Cart signed and dated on the reverse Frank Bramley/85 oil on canvas 83/4 x 13in. (22.2 x 33cm.).

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Frank Bramley, R.A., R.W.S. (1857-1915)

Lot 41: Frank Bramley, R.A., R.W.S. (1857-1915)

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Description: Red and white flowers signed and inscribed 'Study for Rushbearing/by Frank Bramley, R.A.' (on the reverse) oil on board 15 x 13 in. (38.1 x 33 cm.) Painted circa 1905 NOTES Grasmere Rushbearing, depicting a group of children celebrating a summer festival in the Lake District, was exhibited at the Royal Academy in 1905.

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Lot 51: FRANK BRAMLEY, R.A. (1857-1915)

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Description: THE CAMP SIGNED AND DATED LOWER RIGHT FRANK BRAMLEY/1906 OIL ON CANVAS 17 X 15IN. (43.2 X 38.1CM.).

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f - FRANK BRAMLEY A.R.A. 1857-1915

Lot 63: f - FRANK BRAMLEY A.R.A. 1857-1915

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Description: EVERY ONE HIS OWN TALEmeasurements note112 by 179.5 cm., 44 by 70 in.signed and dated l.l.: FRANK BRAMLEY/ 1885oil on canvasEXHIBITEDRoyal Academy, 1885, no. 1030NOTEEvery One His Own Tale is a highly important rediscovery of a major painting by Bramley, a picture which captures the innovative spirit which was central to the Newlyn colony of painters in the later nineteenth century. It depicts an everyday scene in the lives of the local Cornish people, who are gathered around the fire of an inn to hear a tale of adventure and danger. Firelight glows in the sturdy iron hearth that has given warmth and comfort to generations of fishermen over the many years that the inn has stood on the Cornish coast. A young mariner, sprawled in his chair has put aside his cider to regale a spell-bound young fishergirl with his tales of the open sea. She is dressed in a white work apron and her sleeves are still rolled up from her work preparing the catch for market, but all thoughts of toil are forgotten as her imagination rushes out over the seas, inspired by the words of the young man. Her jovial grandfather, amused by her enthusiasm and familiar with the stories told by the younger members of the fleet, rests a loving hand onto hers is a gesture of pride and affection. There is no artifice to the poses and expressions of the figures and the setting is wholly naturalistic. It is likely that the subject was suggested to Bramley by witnessing a similar scene in one of the taverns of Newlyn as he conveyed the emotion and drama of the scene with a powerful realism. The models are without doubt locals, dressed in their work clothes and the artist probably made the sketches in the inn itself. This gives the picture an intensity which is made even more striking by the fact that this was the first major work by the artist and one of the earliest Newlyn paintings by any artist. Before the 1850s Newyln was an area isolated by its inaccessibility and its community was small, but the opening of the railway in 1852 and Brunel's bridge at Saltash in 1859 brought people into the fishing villages and towns that lined the coast. Although artists had visited Cornwall frequently throughout the earlier nineteenth century, it was not until towards the end of the century, when artists sought to establish colonies, and artists began to settle for longer periods of time. One of the earliest artists to settle in Newlyn was Walter Langley who moved there in 1882, followed by Edwin Harris and William Wainwright a year later. Harris, Wainwright and Bramley had been friends at Verlat's academy in Antwerp and it was their suggestion that led to Bramley's arrival in 1884. Bramley had been living in Venice since visiting with William Logsdail in c.1882, but had been forced to leave by the particularly harsh winters which affected his health. Seeking a close community of artists similar to that established in Venice, Bramley was urged to move to Newlyn, where he took rooms on the top floor of a small cottage on the corner of Bellevue. Bramley's tiny studio comprised of a small working space and an even smaller room for sleeping above a shop run by a Mrs. Barrett who had lost both arms in an accident and combined her role as the proprietor of the grocery shop with looking after an army of noisy children. Under such trying circumstances Bramley was able to work, to the surprise and admiration of his fellow artists. 'All the Newlyn men were industrious and enthusiastic, but Frank Bramley yielded to none either in enthusiasm or industry. Hard work was the rule among the young painters, who, if they did not wholly scorn delights, certainly lived laborious days.' (Charles Hiatt, 'Mr. Frank Bramley, A.R.A., and his Work', in The Magazine of Art, 1901, p. 56).By the 1880s Penzance was at the height of its prosperity with a bustling market and large fleet of pilchard and mackerel fishing boats heading out from Mounts Bay. In the summer months the fleets would be at sea for as much as three months, following the great shoals of herring far out into the North Sea. The fishing industry was harsh and dangerous and many of those who left their wives and children would never return to them. If and when they did return they were full of stories of he near-misses, freak storms, strange sea beasts and the shoals of fish they landed.Every One His Own Tale was painted in a highly significant year for painting in Newlyn in the formative years of the colony, the year in which Langley and Bramley were joined in Newlyn by several other artists, among them Albert Chevallier Tayler, Percy Craft, Fred Hall and most significantly of all Alexander Stanhope Forbes. Forbes quickly became the leading painter of Newlyn but in 1885 he was still a newcomer to Cornwall and was yet to establish his reputation there. This was the year that he painted the picture that made his name, A Fish Sale on a Cornish Beach (FIG 1. Plymouth Museums and Art Gallery) which was exhibited at the Royal Academy the same year as Every One His Own Tale. Forbes and Bramley were not close friends; Forbes found Bramley too retiring, but they shared a mutual admiration for each other's work. Forbes remarked in a letter to his mother after seeing Every One His Own Tale at the Academy, that he felt it was 'one of the best pictures' (Caroline Fox and Francis Greenacre, Painting in Newlyn 1880-1930, 1985, p. 74) in the whole exhibition.The setting for the present painting is identical to that of Winter (FIG 2. Christie's, 9 March 1998, lot 12) with the same benches and iron hearth. It is likely that Winter was painted during the preparatory stages of work upon Every One His Own Tale although Bramley had secured a different model for his old mariner. This pleasant-faced mariner was also used for another of Bramley's more minor works Mending the Nets also of 1885 (Phillip's, 25 November 1997, lot 12) and may have been the model for Eyes and No Eyes of 1887 (Christie's, 20 June 1995, lot 35). The model for the young girl in Every One His Own Tale may have been the little blonde who posed for Ralph Todd's painting of 1885 Primrose Day (Penlee House Gallery, on loan from Newyln Art Gallery). Todd was also a recent arrival in Newlyn and the assumption that the two artists were friends is based upon them painting the same subject of a girl seated at a table arranging primroses. Appropriate models were shared between the community of artists and it would seem that the same girl appears in work by both. At least two preliminany oil sketches for Every One His Own Tale are known, a small unfinished study of the girl and her grandfather (sold in these rooms, 2 June 2004, lot 10) and a study of the same dimensions of the story-teller (Sotheby's, Sussex, 22 October 1992, lot 361). These studies made from life show Bramley's working method of producing preliminary studies before work on the large canvas began. The present picture predates Bramley's well-known Domino! by a year and the highly acclaimed A Hopeless Dawn (Tate Britain) by three years. The Hopeless Dawn, which depicts the tragedy befalling a fisherman's home after he is lost at sea, became so popular when it was exhibited in 1888 that it overshadowed the remainder of Bramley's oeuvre and his successes were always compared with that of this picture. His is rather unfortunate, as although the 1888 painting embodied the nineteenth century love of the melodramatic, Every One His Own Tale proves that he was capable on conveying a less mannered form of drama and sentiment which is now more appealing to modern eyes. Every One His Own Tale is important not least because it was the first interior scene painted in oil by any of the Newlyn colony. It is painted with the robust naturalism and with the square-brush technique that became the hallmarks of the colony. Bramley was regarded as the chief exponent of the square brush technique and he continued to work in this manner well into the 1890s when other artists had abandoned the technique. 'The technique of the Newlyner is often thus roughly described: the ordinary, everyday artist, if he wants to paint a ship's mast against the sky, takes a brush, coming to a fine point, and draws it vertically up and down his canvas in the place desired. The Newlyner does nothing of the sort. He uses a squarer brush and gets his mast by a series of horizontal strokes, and of the practitioners of this technique Mr. Bramley is the easy first; indeed his strength and dexterity are marvellous. He has been called the Father of the Newlyn School.' (R. Jope-Slade, 'The Outsiders', in Black and White Handbook to the Royal Academy and New Gallery, 1893, p. 11)

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Lot 63: BRAMLEY, Frank (1857-1915, British)

Description: Cupid, wire-haired dachshund, init.d.94 s.i.d.verso Oil Painting (9x9in).

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Lot 65: BRAMLEY, FRANK (1857-1915)

Description: Head of Isaac Watson, the subject looking down, 1912 Oil/board 8x6 inches (21.5x16 cm) D/verso.

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Lot 70: Frank Bramley, R.A. (1857-1915)

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Description: Friends signed and dated 'FRANK BRAMLEY/1907' (lower right) oil on canvas 341/2 x 251/4 in. (87.6 x 64.2 cm.) EXHIBITION London, Royal Academy, 1908, no.67. NOTES The subject of this work is the artist's wife, Katherine Graham, whom he married in 1891 while working in Newlyn. In 1895 they moved to Droitwich in the West Midlands, and by 1900 had settled at Grasmere in Westmorland, nearby to his wife's family home. His Royal Academy exhibit for 1900, 'Through the Mists of Time Past' depicted villagers reminiscing outside a cottage surrounded by giant lilies, roses and hollyhocks. Here Bramley continues the motif of the overgrown cottage garden in which his wife poses with the couple's dogs. (see C. Fox and F. Greenacre, Artists of the Newlyn School 1880-1900, Newlyn Art Gallery Exhibition Catalogue, Penzance, 1979, p.166).

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Frank Bramley, R.A., R.W.S. (1857-1915)

Lot 73: Frank Bramley, R.A., R.W.S. (1857-1915)

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Description: Fisherman's Homeoil on canvas25 x 30 in. (63.5 x 76 cm.)

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Lot 76: Frank BRAMLEY (1857 - 1915) Pencil drawing From a

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Description: Frank BRAMLEY (1857 - 1915) Pencil drawing From a sketchbook inscribed 'Port Aven 1882' Signed and inscribed on label to verso Dated 1882 5.5" x 4.25" (13.9cm x 10.8cm)

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FRANK BRAMLEY, R.A. 1857-1915 STUDY OF A FISHERGIRL, NEWLYN

Lot 83: FRANK BRAMLEY, R.A. 1857-1915 STUDY OF A FISHERGIRL, NEWLYN

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Description: signed and dated l.l.: FRANK BRAMLEY/ 86oil on canvasPROVENANCEThe Fine Art Society, July 1980, where bought by the present ownerEXHIBITEDLincoln, Usher Gallery and Penzance, Penlee House, Frank Bramley, 14 August - 30 January 200, late addition to the exhibition therefore not listed in the catalogue

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Frank Bramley, R.A. (British, 1857-1915)

Lot 90: Frank Bramley, R.A. (British, 1857-1915)

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Description: Carting bracken, Grasmere oil on canvas 28 x 40cm (11 x 15 3/4in).

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Frank Bramley, R.A. (British, 1857-1915) Portrait of Ethel Grace Bolitho, nee Macleod 153 x 117 cm. (60 1/4 x 46 1/16 in.)

Lot 92: Frank Bramley, R.A. (British, 1857-1915) Portrait of Ethel Grace Bolitho, nee Macleod 153 x 117 cm. (60 1/4 x 46 1/16 in.)

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Description: Portrait of Ethel Grace Bolitho, nee Macleod signed and dated 'FRANK BRAMLEY/92' (lower left)oil on canvas153 x 117 cm. (60 1/4 x 46 1/16 in.)

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Attributed to Frank Bramley (1857-1915) -

Lot 101: Attributed to Frank Bramley (1857-1915) - "A

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Description: Attributed to Frank Bramley (1857-1915) - "A SCOTCH LASSIE" - oil on canvas, lined, 12.6 by 10.25ins. (32 by 26cms.), in gilt frame - old labels on reverse (see illustration).

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Frank Bramley, R.A. (1857-1915)

Lot 106: Frank Bramley, R.A. (1857-1915)

Description: Frank Bramley, R.A. (1857-1915) Fireside Tales signed and dated 'FRANK BRAMLEY/1896' (lower right) oil on canvas 23 x 23¼ in. (58.4 x 59 cm.)

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Attributed to Frank Bramley, R.A. (British, 1857-1915) Drying the nets

Lot 110: Attributed to Frank Bramley, R.A. (British, 1857-1915) Drying the nets

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Description: Drying the nets bears initials 'F.B.' (lower right)oil on board25.4 x 33cm (10 x 13in).

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Frank Bramley A.R.A. 1857-1915 , portrait of a young breton woman oil on canvas

Lot 111: Frank Bramley A.R.A. 1857-1915 , portrait of a young breton woman oil on canvas

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Description: signed and inscribed Frank Bramley / Fiskerton / Lincoln on an old label attached to the stretcher oil on canvas

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FRANK BRAMLEY A.R.A., 1857-1915

Lot 113: FRANK BRAMLEY A.R.A., 1857-1915

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Description: THE PINK DRESSING GOWN77x66cm.; 30¼x26 in.signed and inscribed on the remains of the artist's label attached to the stretcher: Frank Bramley/ Tongue Ghyll/ Grasmereoil on canvasPROVENANCEFrost and ReedEXHIBITEDRoyal Academy, 1907, no. 475

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No Image Available

Lot 118: BRAMLEY, FRANK (1857-1915)

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Description: Simplicitia, 1887, 1887 Oil/canvas 7.1x5.9 in (18x15 cm) signed & dated -87 (Upper Left).

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Lot 125: BRAMLEY, Frank (1857-1915, British)

Description: Auratum lilies, s.d.07 s.i.verso Oil Painting (15x17in).

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No Image Available

Lot 125: Frank Bramley

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Description:

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Lot 142: Frank BRAMLEY (1857 - 1915) Watercolour Head and

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Description: Frank BRAMLEY (1857 - 1915) Watercolour Head and shoulder portrait of man Signed 7.5" x 6" (19cm x 15.2cm)

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Working outdoors

Lot 143: Working outdoors

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Description: Frank Bramley (1857-1915) Working outdoors signed and dated 'FRANK BRAMLEY/1908' (lower right) oil on canvas 17 x 15 in. (43.2 x 38.1 cm.)

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 Frank Bramley, R.A. , 1857-1915 
 sketch for saved oil on canvas

Lot 150: Frank Bramley, R.A. , 1857-1915 sketch for saved oil on canvas

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Description: signed and dated l.l.: Frank Bramley 1889 oil on canvas

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FRANK BRAMLEY A.R.A. 1857-1915

Lot 164: FRANK BRAMLEY A.R.A. 1857-1915

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Description: THE PINK DRESSING GOWN77 by 66 cm.; 30 ¼ by 26 in.signed l.l.: FRANK BRAMLEY; inscribed on the remains of the artist's label attached to the stretcher: Frank Bramley/ Tongue Ghyll/ Grasmereoil on canvasPROVENANCEFrost and ReedEXHIBITEDRoyal Academy, 1907, no. 475

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