|Place of Birth||Birmingham|
|Place of Death||London|
From the Oxford Dictionary of National Biography:
Robert Brandard (1805–1862), printmaker and painter, who was born at Birmingham, and baptized on 31 January 1805 at St Philip's, Birmingham, the eldest son of Thomas Brandard (d. 1830), engraver and copperplate printer, of Barford Street, Deretend, Birmingham, and his wife, Ann. A member of the Birmingham school of engravers, Robert Brandard learned the rudiments of his profession from his father, and probably studied also at J. V. Barber's Great Charles Street Academy and under the engraver William Radclyffe. In 1824 he became a pupil in London of the landscape engraver Edward Goodall, and about a year later set up professionally in Islington. He joined the Artists' Annuity Fund in 1827 and signed the 1837 petition to the king on the admission of engravers to the Royal Academy. Robert is primarily known for his landscape and topographical prints after works by contemporary painters such as Clarkson Stanfield, Augustus Callcott, J. F. Herring, Richard Westall, and most notably J. M. W. Turner, whom he met through Goodall. Many of his metal-engraved prints after Turner's paintings were produced under the supervision of the artist, who considered Robert to be one of the six best contemporary engravers (Rawlinson, lxvi). One of his earliest engravings to attract attention was Sans souci after Thomas Stothard, which appeared in the first volume of William Pickering's The Bijou (1828). Other journals to which he contributed include the Literary Souvenir, Friendship's Offering, The Keepsake, the Landscape Annual, and Heath's Picturesque Annual. His first important book illustration commission was for eight plates after William Brockedon for his Illustrations of the Passes of the Alps (1828–9). Many others followed, among them twenty-one plates after William Henry Bartlett for N. P. Willis's American Scenery (1840) and Canadian Scenery (1842), seven after Stanfield and William Collins for Walter Scott's Waverley novels, and three vignettes after George Cattermole and others for Baroness Calabrella's Evenings at Haddon Hall (1846). Five engravings of pictures in the Royal Collection were included in S. C. Hall's The Royal Gallery (c.1855). Among his wood-engraved work are illustrations to Charles Knight's London (1841–2). Of his various steel- or copper-engraved reproductions of Turner's work, those for Picturesque Views in England and Wales (1838), Rivers of France (1837), The Poetical Work of Sir Walter Scott (1834), and The Poetical Works of John Milton (1835) are among the most successful, the Scott plates earning him 60 guineas each. Between 1851 and 1866 fifteen of his plates appeared in the Art Journal, of which the eight after Turner were subsequently published in The Turner Gallery (c.1878), most notably Rain, Steam and Speed (1860), The Snowstorm (1861), and Whalers—the ‘Erebus’ (1861). The latter, one of Robert's last engravings, was considered by a contemporary to be ‘a gem on which his reputation may well rest’, while others regarded his large plate of Crossing the Brook (1842), exhibited with The Snowstorm at the International Exhibition of 1862, as his finest (Hunnisett, 24). From his home address in Eynsford, Kent, he jointly published with J. Hogarth Scraps of Nature, two volumes of etchings made between 1842 and 1851 of the coast and Weald of Kent, examples of which were included in the Art Journal (1875). According to one obituary ‘quiet, unobtrusive, and gentlemanly in manner’ (Art Journal), Robert was esteemed by everyone who knew him. His pupils included his brother-in-law, Mr (possibly William) Floyd, and James Clayton Bentley. He died at his home, 2 Campden Hill Villas, Kensington, London, on 7 January 1862, survived by his wife, Elizabeth. Between 1831 and 1858 he exhibited frequently at the British Institution, Royal Academy, Society (later Royal Society) of British Artists, and New Watercolour Society. Examples of his work are held at the Victoria and Albert Museum and British Museum, London; the Fitzwilliam Museum, Cambridge; Leicester City Museums; and Blackburn Museum Art Collection.
Joanna Selborne, ‘Brandard family (per. c.1825–1898)’, Oxford Dictionary of National Biography, Oxford University Press, 2004 [http://www.oxforddnb.com/view/article/68913, accessed 8 May 2013]