Mary A Brooks

The Works, Pen and Ink 20th Century Artwork, Female British Artist

Pen and ink on paper, inscribed 'Redhill' and dated 'June 24th 1872' lower left Image size: 4 x 8 inches (10 x 20 cm) Mounted and Framed Provenance Given to Ernest Pearce by Carlos Peacock, from the collection of Miss Louisa Twining (1820-1911), a pupil of Samuel Palmer. Carlos noted in his letter accompanying the work to Ernest Pearce that 'Going through my Palmer things for mounting the other day. I found this little sketch dating from the Redhill days. Thought you might like it by way of a Christmas gift'. Literature Carlos Peacock, Samuel Palmer , Shoreham and After, published by John Baker 1968, illustrated on page 67. This delicate pen and ink drawing depicts a view at Redhill, a town in the borough of Reigate within the county of Surrey, England. While Palmer's reputation rests mainly on his Shoreham work some of his later work, such as his sketches from Redhill, have recently received more appreciation. In 1872 Palmer was living in Redhill, at his last home, The Chantry at Cronks Hill. The Chantry is now Grade II listed due to the Palmer connection and Palmer Close, a cul-de-sac in Redhill (built in the 1960's), was also named in his honour. This work is an illustration of rural paradise, a vision of the natural world where there is a cosmic harmony between man and his environment. Indeed, Alfred Palmer, the artist's son, wrote 'Had the artist depended for his material solely on the fields, and woods, and hills around him, and had he used that material in a sordid way, he might have given us faithful representations of those he selected, but there would have been inevitable repetition, and he would never have shown us as he has undoubtedly done, the very spirit and quintessence of the loveliest and most poetic pastoral scenery - scenery which we may imagine as that of ancient England...

Watercolour and pen and ink on paper, inscribed verso Image size: 5 x 4 inches (13 x 10 cm) Framed This drawing most likely depicts a view in Lullingstone Park, near the village of ...

Company School 18th Century Ramnagar Fort, India Pen & ink on paper Inscribed and dated 1793 Acid free mount This incredible detailed work would probably have been drawn by an En...

Ink and wash on paper Image size: 7 1/2 x 6 inches (19 x 15.25 cm) Mounted This drawing is of a Gothic style church in the Netherlands that is likely to have been built in the 15th ...

Pen and ink, brown wash, heightened with white bodycolour Image size: 9 x 10 1/2 inches (22.75 x 26.75 cm) Mounted with hand made gilt frame Lingelbach presents a scene from the end...

This drawing records the destruction that was endured by London during the Blitz. The building in the foreground is St Nicholas Cole Abbey, situated in the city of London. Whilst a church was recorded on this site from the twelfth century, this church was destroyed in the Great Fire of London so the remnants of the church that we see here is one that was built by Sir Christopher Wren...

A ca. 1931 charming watercolor forest scene; a study in yellow by artist Harold Haydon. Harold Emerson Haydon was born in Fort William, Ontario, Canad...

Jogen Chowdhury - Untitled - 7.7 x 5.7 inches (unframed size) Pen & Ink on Paper Envelope, 2015 Signed in Bengali Style : He has immense contribution in inspiring young artists of...

Indra Dugar - Untitled - 8 x 10.5 inches (unframed size) & 16 x 18.5 inches ( framed size ) This is a two sided works, Recto & Verso. Set of 5 art works. Ink on Paper. Inclusive of shipment in framed form. Style : Dugar was known for his paintings of rustic scenes en plein air, painted in a non-academic style, yet retaining colour harmony to reflect the tranquillity of his subject matter. He learnt how to structure his landscapes from Nirode Mazumdar and Rathin Moitra, and from his father, he inherited the tradition of painting on silk. Watercolour and tempera were his preferred media. Dugar's earlier works leaned heavily on his observations, but he gradually began paring down detail. Dugar soon outgrew the Bengal School...

Indra Dugar - Untitled - 8 x 10.5 inches (unframed size) & 16 x 18.5 inches ( framed size ) This is a two sided works, Recto & Verso. Set of 4 art works. Ink on Paper. Inclusive of shipment in framed form. Style : Dugar was known for his paintings of rustic scenes en plein air, painted in a non-academic style, yet retaining colour harmony to reflect the tranquillity of his subject matter. He learnt how to structure his landscapes from Nirode Mazumdar and Rathin Moitra, and from his father, he inherited the tradition of painting on silk. Watercolour and tempera were his preferred media. Dugar's earlier works leaned heavily on his observations, but he gradually began paring down detail. Dugar soon outgrew the Bengal School...

Indra Dugar - Untitled - 8 x 10.5 inches (unframed size) & 16 x 18.5 inches ( framed size ) This is a two sided works, Recto & Verso. Set of 5 art works. Ink on Paper. Inclusive of shipment in framed form. Style : Dugar was known for his paintings of rustic scenes en plein air, painted in a non-academic style, yet retaining colour harmony to reflect the tranquillity of his subject matter. He learnt how to structure his landscapes from Nirode Mazumdar and Rathin Moitra, and from his father, he inherited the tradition of painting on silk. Watercolour and tempera were his preferred media. Dugar's earlier works leaned heavily on his observations, but he gradually began paring down detail. Dugar soon outgrew the Bengal School...

Jogen Chowdhury - Untitled - 12 x 16 inches (unframed size) Ink on Paper, 2022 Signed in Bengali Style : He has immense contribution in inspiring young artists of India. Jogen Chowdhury had developed his individual style after his return from Paris. His most famous paintings are in ink, watercolor and pastel. He has painted in oil medium as well. In Chowdhury’s more recent works the sensory experiences of cloth, bolsters, sofas and the human body are cross-projected to produce an uncanny world of tran-substantiated tumescence and flaccidness. Jogen Chowdhury has been widely acknowledged to be, the master of the unbroken line. Like Léger, Chowdhury has been stirred by the linear Kalighat pat tradition, but his lines are emotive and used to express and suggest the character of a person. This is done by, distorting the form without breaking the line and in the world of young, contemporary art; distortion has been Jogen Chowdhury’s most significant impact. Perhaps, because of this, a common observation of his work is that his “people” are caricatures. The person feels familiar to the viewer but it is far more individualised – the face is imaginary but the psyche or characteristics are real. The power and beauty of his technique and line is this play between the known and unknown. In Jogen Chowdhury’s work, the figure is always in the foreground, it is primary, it conveys everything. He uses colour to give volume to his figures and the fluidity of his lines bring a sensual aspect to his forms. About the Artist and his work : Born : Born 1939 in Daharpara Village, Faridpur, Bangladesh. Jogen Chowdhury is an eminent Indian painter and considered an important painter of 21st century India. Family Background : His father Pramatnath Chowdhury was a Brahmin zamindar. Both his parents took interest in art, Jogen Chowdhury’s father Pramatnath Chowdhury painted several mythological scenes from the village theatres and also sculpted various Hindu icons. Whereas his mother was an expert in Alpana drawings. 1939-47 Jogen Chowdhury lived in a village atmosphere. And after partition in 1948, the whole family shifted. Till 1951 the whole family stayed at the police department quarter of his uncle, where on the walls Jogen Chowdhury painted his first painting, 1962 Jogen Chowdhury was employed as Designer in the Handloom Board. Education : 1955-60: Studied at the Government College of Art and Crafts, Kolkata. 1965 : He went to paris to study in Ecole des Beaux Arts, in William Hayter’s Atelier 17. Professional Experience : 1968-72 : He worked as an Art-Designer, Madras Handloom Board, Madras. 1970 : A collection of his poems were published, titled ‘Hridoy Train Beje Othey’. 1987 : Joined Kala Bhavan , Santiniketan as a professor of painting. Selected Exhibitions : 1972, 1975 & 1978 respectively : I, III, IV Triennales at New Delhi. 1979: The Sao Paolo Biennale. 1980: The exhibitions at the Fukuoka Museum, Japan. 1982: The Royal Academy, London. 1982: The Hirschhorn Museum, Washington D.C. 1986: The II Havana Biennale. 1989: ‘Festival of India’, in Geneva. 2002: Saffron...