To view work by Edward Reginald Frampton, several institutions hold relevant collections. In London, the Victoria and Albert Museum^[1] has material related to the Arts and Crafts movement, to which Frampton belonged. Elsewhere in the UK, the Cheltenham Art Gallery & Museum in Gloucestershire has an accessible collection relating to the Arts and Crafts Movement. The Court Barn Museum in Chipping Campden, also in Gloucestershire, focuses on craft and design in the North Cotswolds from the Arts and Crafts Movement onwards. Belgrave Hall Museum in Leicester has an Arts and Crafts dining room, although opening times may be restricted. All Saints Church, Brockhampton, near Ross-on-Wye, Herefordshire, features Arts and Crafts furnishings. Other locations with connections to the Arts and Crafts movement include the Red House in Bexleyheath, Kent; St Mary the Virgin, Great Warley, in Brentwood, Essex; Standen, in East Grinstead, West Sussex; Watts Gallery and Mortuary Chapel, in Compton, Guildford, Surrey; and the William Morris Gallery in Walthamstow, London.

Edward Reginald Frampton (1870-1923) was a British painter and stained glass designer. He is best known for allegorical and religious subjects. Frampton's style often incorporated elements of the Arts and Crafts movement. Frampton studied at the Westminster School of Art. There, he was influenced by Frederick Brown. He later became an instructor himself. His artistic output included oil paintings, watercolours, and, significantly, designs for stained glass windows. These windows can be found in churches throughout England. Prints of Frampton's works often reproduce his paintings and stained glass designs. These reproductions allow collectors to engage with his aesthetic. His paintings often feature clear lines and muted colours. The prints capture these qualities, offering an accessible way to appreciate Frampton's artistic vision. They provide insight into the late nineteenth and early twentieth century British art scene. They also show the period's interest in symbolism and craftsmanship.

Edward Reginald Frampton was a sculptor associated with the Arts and Crafts movement. He is significant because his work challenged the established definitions of sculpture and the role of the artist. Frampton, unlike sculptors from the Academy, drew inspiration from the Arts and Crafts version of history, Pre-Raphaelite medievalism, and Romanticism. His busts, such as Mysteriarch and Lamia, reflect this influence. Lamia, for example, shows a shared interest in Keatsian Romanticism with artists like Burne-Jones, Rossetti, and William Morris. Trained in the crafts, Frampton viewed the art object as a "well-made thing" rather than simply a depiction of the human form. He believed his artistic skill was equally present in his use of a leaf or the human form. This perspective challenged the Academic emphasis on the human figure. Frampton's work, along with that of other Arts and Crafts sculptors, helped redefine sculptural practice. Materials like metals and precious stones became acceptable, and the sculptor's individual expression gained importance. His bust Lamia, made of bronze, ivory, and opals, was exhibited at the Academy in 1900 and received widespread praise, demonstrating this shift.

Edward Reginald Frampton worked with a variety of materials and techniques. Painters through the ages have used materials such as natural and chemical pigment in fresco, egg tempera, watercolour and oil. More contemporary materials include acrylics, household emulsions and mixed media. Edward Wadsworth, a contemporary, favoured a precise style and cared passionately about technique. He abandoned oil painting in favour of tempera. Tempera involves mixing powder pigments with a binder, usually egg yolk mixed with water and acetic acid. The pigment dries rapidly, so colour is built up gradually by laying thin coats or hatched strokes. Wadsworth would draw his composition in pencil upon the gesso ground. Some lines were scored into the gesso to guide his brush. Artists’ quality paints are always preferable, as lesser quality will not provide satisfying colour saturation. Hog hair brushes are useful for a broader, more expansive use of oil paint. Grounds include gessoed MDF, primed canvas stuck to MDF, and primed canvas.

Edward Reginald Frampton belonged to the Arts and Crafts movement. Arts and Crafts theorists paid comparatively little attention to Hellenic art. Frampton's busts, such as Mysteriarch and Lamia, displayed the trappings of Pre-Raphaelite medievalism, which was supported by many craftsmen and writers within the Arts and Crafts Movement. The subject of Lamia shows a fascination for Keatsian Romanticism, a trait shared with Burne-Jones, Rossetti, and William Morris. Like Reynolds-Stephens, Frampton also produced several statuettes of St George, England's patron saint, and statues based on Tudor models. Frampton challenged the Academic supremacy of the human figure. He believed he could be just as much an artist in the way he used a leaf as in the way he used the human form. Frampton's bust Lamia, exhibited at the Academy in 1900, was made of bronze, ivory, and opals.

Edward Reginald Frampton was influenced by the Arts and Crafts movement, particularly its Pre-Raphaelite medievalism. His busts, such as *Mysteriarch* and *Lamia*, reflect this, displaying the characteristics of the movement favoured by many craftsmen and writers. Frampton shared a fascination for Keatsian Romanticism with artists such as Burne-Jones, Rossetti, and William Morris. He also produced statuettes of St George, England’s patron saint, and statues based on Tudor models, similar to Reynolds-Stephens. Frampton's training in the crafts allowed him to challenge the Academic emphasis on the human figure. He regarded the creation of a well-made object as equally artistic to depicting the human form. This meant that the objects he produced held as much importance as the figures themselves.

It is difficult to name Edward Reginald Frampton's single most famous work with certainty. He was a painter and designer associated with the Arts and Crafts movement, and he produced a variety of works in different media. Some sources might point to his religious-themed pieces, such as stained glass designs or altar panels, as particularly significant. These would have been viewed by a wide audience in churches and cathedrals. Frampton also created secular decorative paintings and illustrations, some of which gained recognition in his time. Without specific data on the reception and reproduction of his individual works, it is hard to assess which achieved the broadest recognition. Further research into exhibition records, print sales, and critical reviews from the period would be needed to determine his most well-known piece.

Edward Reginald Frampton is associated with the Arts and Crafts movement. This movement, which had connections to the Pre-Raphaelites and Symbolism, gained traction in Britain during the late 19th century. Frampton, like other Arts and Crafts artists, did not revere Greek statuary, nor did he necessarily favour marble. Instead, he approached materials with respect, believing in "truth to materials". He saw himself as an "art-worker", not wanting to be restricted by the title of sculptor. Frampton's busts, such as *Mysteriarch* and *Lamia*, reflect the Pre-Raphaelite medievalism embraced by many in the Arts and Crafts movement. The subject of *Lamia* shows a shared fascination with Keatsian Romanticism, similar to that of Burne-Jones, Rossetti, and William Morris. Frampton also created statuettes of St George, and statues based on Tudor models. His *Lamia*, exhibited at the Academy in 1900, was made of bronze, ivory and opals.