Thank you to all who continue contributing your Braught art to the web site. Keep them coming!
The talented artist Lou Hurlbut (louhurlbut.com), a self described “Bon Vivant”, is like Braught inspired by nature. He has long been an admirer of Braught’s works and now shares the three Braught drawings from his collection.
Art collectors Jim and Donna Aylesworth are sharing a gem from their collection. The circa 1920s oil on canvas painting, likely exhibited when created, is for the first time displayed to the public in nearly 100 years. The size and composition is similar to Lingering Snows (1929) and Landscape (ca. 1920s) and likely painted while living in Upper Black Eddy.
This next drawing is a most remarkable find created in 1917 prior to Braught having any formal training. Like many artists in prior centuries, Braught honed his skill by copying other works. The drawing, Into Captivity-a scene in the Belgian Town, is Braught’s copy from the original by Fortunino Matania (1881-1963) and published in The Sphere Magazine on May 12, 1917.
HEADS UP! CHECK THE BACK OF BRAUGHT’S DRAWINGS.
In several instances, Braught would “hide” other drawings behind finished works. Bridge Spirit (3) was found behind the backing of Bathers Enveloped in a Wave. Removal of the backing of Into Captivity (6) revealed two 1917 Liberty Bonds posters in pristine condition. Braught signed them on the edge. (8, 9). On one of his early drawings he used an untitled watercolor by John H. Macpherson (1894-1982), a fellow student at the PAFA, for the backing on the frame. (10).
Linda Presz and Bill Braught have contributed three of works from their Ross Braught collection. One of the paintings is dated 1917 and the drawing is ink on paper.
A great find from Down Under! A private collector from Australia has contributed this beautiful landscape. The oil on wood panel also shows a work in progress on verso. It is very reminiscent of the large oil painting, In the Valley (1923) owned by the PAFA and linocut study by the same name. Braught typically would produce drawings or prints as studies for his paintings which you can see he follows closely.
Another WW1 era ink drawing has surfaced. This 1918 drawing is similar to #6 in that he copied artworks from the available magazines. in this case he copied “America’s Vow of Vengeance” by Lucien Jones.
This small beauty titled “Fields” recently sold at auction.
From 1962 until his death in 1982, Braught lived a quiet life in Philadelphia with Joan Shih as his companion. Braught stopped painting but continued drawing until his death. He frequently suggested to his students that regardless of what career path they took, they should draw daily. Braught practiced what he preached. He wandered the familiar streets of Philadelphia drawing buildings, people, flowers and trees. Three sketch books from his estate revealed over 100 sketch drawings that he would later use as studies for the larger more detailed drawings. The 1978 drawing “Along the Schylkill” recently sold at auction. The sketchbook revealed by the study drawings.
