Edward Paxman Brandard

Born 1819
Died 1898
Place of Birth Birmingham
Place of Death New Malden, Surrey
Gender Male
Biographical Notes Edward Paxman Brandard (1819-1898), painter, draughtsman, illustrator. Son of Thomas Brandard (d. 1830), engraver and copperplate printer, of Birmingham, and his wife, Ann. Following his father’s death, Edward was apprenticed to his older brother Robert in his Islington studio, and there he made the acquaintance of Turner. His younger brother John was an artist also known for his engravings, among them many sheet music covers, while his sister Annie Caroline Brandard, a landscape painter, exhibited at the Royal Academy in 1838, 1883, and 1884.
Edward Brandard is chiefly known for his contributions to travel and art works, the earliest of which date from the early 1840s. With his brother Robert he was among Turner’s preferred engravers. He also created plates of works by Constable, Bartlett and Allom, among others. From 1849 to 1885, he exhibited in a number of London galleries including ‘the British Institution (where his prices ranged from 4 guineas to 25 guineas), Royal Academy, New Watercolour Society, and Society of Painter-Etchers’ (Selborne 2004). In 1866, when the Moxon publishing house commissioned Gustave Doré to illustrate Tennyson’s Idylls of the King, Edward Brandard was among the fourteen ‘best steel engravers’ in London chosen to create plates from Doré’s originals (Soubigou 2016). He was later associated with Moxon’s publication of Thomas Hood’s Poetical Works illustrated by Doré (1875). He contributed a large view of Balmoral to Queen Victoria’s Leaves from the Journal of Our Life in the Highlands, from 1848 to 1861 (1868). A number of his prints were distributed by the Art Union of London and others appeared in the Art Journal, of which S.C. Hall was the editor and George Virtue the owner. Both men clearly played a role in his career: many of the books to which he contributed were published by Virtue, and in 1855 he was among the signatories of a group letter (dated 12 January) to the Athenaeum (February 1855) supporting Hall’s project, The Royal Gallery of Art, Ancient and Modern, which had come under criticism from the Spectator in late 1854. His work was featured in Philip Gilbert Hamerton’s periodical, the Portfolio, and in his influential Landscape (1885).
In his later years Edward Brandard concentrated on original etchings and watercolours. His obituary in the Athenaeum in 1898 describes him as ‘one of the last survivors of the Birmingham school of pure line engraving’.

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Joanna Selborne, ‘Brandard family (per. c. 1825–1898), printmakers’, Oxford Dictionary of National Biography, online at http://www.oxforddnb.com/. Consulted 14.06.2018.
Gilles Soubigou, ‘Gustave Doré: illustrator of Tennyson’s Idylls of the King’, in Leonee Ormond (ed.), The reception of Alfred Tennyson in Europe (London: Bloomsbury Publishing, 2016), pp. 63-84
Joy Sperling, ‘“Art, cheap and good”: the Art Union in England and the United States, 1840–60’, Nineteenth-Century Art Worldwide, 1:1 (Spring 2002). Online at http://www.19thc-artworldwide.org/spring02/196--qart-cheap-and-goodq-the-art-union-in-england-and-the-united-states-184060. Consulted 18.06.2018.



Glengariff (Engraver)