Samuel Palmer (b.1805)

A View Near Redhill, 19th Century Pen and Ink Drawing by Samuel Palmer

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...

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 ...

Pen, ink and wash on paper Image size: 8 1/2 x 9 1/2 inches (21.5 x 24 cm) Mounted Mary A Brooks Mary A Brooks was a notable contributor to a vast array of children's publications...

English School Early 20th Century Pastel, ink and watercolour on paper 4 1/2 x 3 3/4 inches (11.5 x 9.5 cm) Acid free mount and contemporary frame

Coloured inks on paper Image size: 18 x 14 inches (45.75 x 35.5 cm) Modern handmade frame Shuffrey was an important pre-war artist who did advertisements and worked for The Motor a...

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 study presents a typical Roman countryside landscape: an ancient mausoleum in front of which a cart is passing by followed by two peasants. If the technique (a pen drawing on graphite lines, completed with a wash of brown and grey inks) and the signature inevitably evoke the art of Lorrain, we find on the verso of this drawing additional evidences that lead us to consider this unpublished drawing as a work by the master. The motif of the mausoleum has been taken up in pen on the verso in a technique that can be found in several other drawings by Lorrain. There is also a study of three characters, which can be considered as preparatory to Lorrain’s painting entitled The Port of Ostia with the Embarkation of Saint Paula, leading us to claim this attribution with a dating of around 1629. 1. Claude Lorrain or the perfection of classical landscape in Rome in the 17th century Claude Gellée was born in 1600 in Chamagne in Lorraine. Orphaned at the age of twelve, he spent a year with his brother in Freiburg, where the latter was a woodcarver. Claude Gellée then probably arrived in Rome in 1613, where he joined the workshop of Agostino Tassi (1580 - 1644) in 1617. Between 1619 and 1620 he studied for two years in Naples in the workshop of Goffredi Wals (who was himself a former pupil of Tassi). In 1625 he returned to Lorraine for two years where he worked alongside Claude Deruet. He then returned to Rome, a city he never left for the rest of his life (except for short trips to the surrounding countryside). From 1627 to 1650 he lived in Via Margutta. From 1635 onwards he became a renowned painter and commissions started to pour in. Considered during his lifetime as the most accomplished of the classical landscape painters, his reputation never faded. Between 1629 and 1635 Le Lorrain often went to the Roman countryside to draw with his friend Joachim von Sandrart (1606 - 1686). He became a member of the Academy of Saint Luke in 1633, while being closely acquainted with the Bentvueghels, this guild which brought together the young Nordic painters active in Rome. In 1643 he joined the Congregation of the Virtuosi. In 1650 he moved to Via Paolina where he lived until his death. Little is known of his intimate life. He seems to have had a daughter, Agnes, from an ancillary love affair. In 1657/ 1658 she moved in with him. Stricken with gout in 1663, he died in 1682. 2. Description of the drawing; the technique of nature studies Two peasants are walking behind a horse-drawn cart on a road that winds through ancient tombs. While a rectangular tomb with a columned facade can be seen in the distance, the cart passes an important ancient building. It has a circular shape and its partially ruined façade is decorated with columns. The start of a second floor can...

C. 20th Century - Original Pen & Ink watercolor of a House. Signed & Dated Lower right corner ( Deon 74' )

Rare and finely detailed miniature pen and black ink drawing by the Swiss artist, Joseph Francois Burdallet on vellum. Inscribed by the artist at lower left, "Dessiné à la plume"; at lower right, "Burdallet, 1828”. Presently unframed. .A series of 8 similar miniature ink drawings...

A delightful composition by this master watercolourist. William Payne (1760-1830) Figures and cattle by a river Watercolour 7¾ inches, circular, unframed 15 x 14½ inches with the fr...

A very attractive and meticulously executed view of a rocky landscape within the woods dating to 1823. This would suit a library or study with its muted tones and skifull draughtsmanship. William Nicholson (1781-1844) Near Croxdale Hall Signed with initials and inscribed with title and date 1823 Pen, ink and grey wash 11 x 8 inches, image only 17 x 13 inches without frame The portrait-painter and etcher William Nicholson was born in Ovingham-on-Tyne, Northumberland, on Christmas Day 1781. His family transferred to Newcastle when his father was appointed Headmaster of the city's Grammar School. At an early age, though, Nicholson appears to have moved to Hull where he made his artistic debut, painting miniatures of officers garrisoned there. He was almost entirely self-taught, learning his craft through the close study of artworks in private and public galleries. He subsequently returned to Newcastle where he received many commissions to paint portraits of the old families of Northumberland. In 1808, he began to exhibit at the Royal Academy, continuing to do so until 1822. By 1814, Nicholson, whose mother was a Scot, had moved to Edinburgh where he set up as a miniaturist and painter in oils. Soon, however, he began to specialize in watercolour portraits. Early subjects included the actor Daniel Terry and the poet and novelist James Hogg. In 1818 he began to publish a series of Portraits of Eminent Scotsmen, etched from his own portraits and those of other painters. Besides Scott and Hogg, the subjects included the writers Robert Burns, John Wilson ('Christopher North'), and Lord Jeffrey, the painters Sir Henry Raeburn, the divines Alexander Carlyle and Alexander Cameron, the engineer James Watt, the architect John Playfair, and the song-collector and composer George Thomson...

Veillee Sepulchrale Verso: Study of two figures in a landscape Pen and ink on rose colored Canson watermark paper, 1944 Signed in ink with the artist's initials lower center (see photo) Dated 1944 lower center; Titled in ink upper left corner (see photo) Provenance: Swann Galleries, 2010, realized $900. John Popplestone (1928-2013), Akron, OH collector, noted psychologist and author Berman brothers (painters) From Wikipedia, the free encyclopedia Jump to navigationJump to search This article is about the painters. For the American songwriters/producers, see Berman Brothers (producers). Eugene Berman in Italy in the 1960s Eugène Berman (Russian: Евгений Густавович Берман; 4 November 1899, Saint Petersburg, Russia – 14 December 1972, Rome) and his brother Leonid Berman (1896 – 1976[1]) were Russian Neo-romantic painters and theater and opera designers. Contents 1 Early years 2 Later years and death 2.1 Works 3 Legacy 4 See also 5 References Early years Born in Russia, the Bermans fled the Russian revolution in 1918. In Paris the Bermans exhibited at the Galerie Pierre where their work earned them the name "Neo-Romantics" for its melancholy and introspective qualities, having taken inspiration from the Blue Period paintings of Pablo Picasso. Other Neo-Romantic painters were Christian Bérard, Pavel Tchelitchev, Kristians...