Frank Will Paris Saint-severin Church

Paris Saint-Severin Church by Frank Will watercolor signed and located format with frame 51cm x 42cm Frank William Boggs, known as Frank-Will, is a French painter and watercolorist born in Nanterre on March 13, 1900 and died in Clichy on December 29, 1950. C t was on the road returning from a trip to North Africa that the already famous painter Frank Myers Boggs (born in Springfield (Ohio) in 1855) committed the romantic kidnapping of Joséphine (born in Urrugne in 1871), daughter of the plowman Isidore and Felipa Gaintza. The partners - they did not marry until 1917 - had four children: Jane, in 1895, then a boy who only lived a few months, Mary in 1898. The arrival in the world in 1900 of Frank William made the apartment at 2 , rue Gambetta in Nanterre too cramped and led to the family moving to “a pretty house in Autouillet, a charming little village in Seine-et-Oise”[1]. From the age of 10, Frank declared himself a painter at heart. If he is in constant visual contact with his father's works, in the studio on rue de Clignancourt that Frank Boggs occupied from 1910 to 1913 then at 1, boulevard de Clichy where the family remained during the First World War, the didactic relationship master-student between the father and the son, as it is stated by Édouard-Joseph, is contested by Éric Mercier for whom "Frank learns alone, most often left to his own devices, the father refusing to provide him with the slightest advice during his furtive appearances.” The teenager's first listed paintings, landscapes around Autoouillet, date from 1916. He began studying architecture which he abandoned to devote himself entirely to painting and, already looking for an artist's name that would Clearing him of any homonymic confusion with his father, he then signed “Franque”, to sign “Frank” in 1917, “William Frank” in 1918, “Franck-Will” in 1919, then definitively “Frank-Will” in 1921[ 3]. From 1925, he happened to sign “Belliot” (views of Diélette, or the surroundings of Chartres) to escape a little from his dealer, and, later, between 1936 and 1939, in order to differentiate certain subjects that he considered them repetitive (on Le Tréport in particular), he signed works under the pseudonym “Naudin”. Young Frank's passion was then the hunting horn that he played. He is the oldest known friend of the painter Gen Paul, whom he met in 1917 and whom he introduced to music. Together, they “beg” by playing in the courtyards of Belleville and Ménilmontant, together they also paint views of Paris. We even know of them a painting Character in the street under the snow mischievously painted with four hands in 1926 and signed Gen-Will and Frank Paul. The views of Paris naturally constitute Frank-Will's first favorite theme. After 1925, Éditions Barré and Dayez popularized its Sacré-Cœur, its Opéra Garnier, its Gare du Nord, its Colonne Vendôme[6]…). His vacations in the 1920s and 1930s are known to us and allow the dating of certain works: Normandy (among others Rouen and Honfleur) in 1922, La Rochelle in 1926, Amiens in 1929, Barfleur in 1930. This is where he focuses on the theme of large sailing ships, these galleons which he adores and which will remain one of his recurring themes, even sometimes in compositions of imaginary naval battles. It was then, with a friend he met at the Henri Bureau gallery, Marcel Leprin (1891-1932), that he visited Moret-sur-Loing, Auxerre and Avallon[1]. On August 13, 1936, Frank-Will married Victoire Royer (born in 1884), at the town hall of the 7th arrondissement of Paris, moving to 31, rue Rousselet, then 44, rue Castor in Mantes-la-Jolie. In the summer, the couple went to Le Tréport, running a tiny gallery on the Quai François-Ier and selling watercolors. But, unable to give up Montmartre and his bohemian life, Frank-Will separates (without divorcing) from Victoire, who lives in Mantes, while he resettles in Paris, first at 37, rue Pigalle then, reinvesting his father's workshop of yesteryear, again at 1, boulevard de Clichy, where another woman - Yvonne David, known as "Mimiche" - enters his life, while he spends lavishly, squandering parental inheritance and resources on general tours in estaminets and cabarets. Always a musician, he was part of jazz orchestras, then of the La Chignole fanfare with Gen Paul, Jean d'Esparbès, Pere Créixams, Tony Agostini and Marcel Aymé, constituting one of the great Montmartre figures mentioned by