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The Brook, 1829
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Calvert, born in 1799, began life with a brief stint in the Navy before the death of a close friend during a bombardment of Algiers prompted him to leave and follow a less promising career as a painter and printmaker. Early technical encouragement came by way of the Royal Academy, where Calvert was admitted in 1825, but it was a subsequent friendship with the younger Samuel Palmer, who would introduce Calvert to Blake and his mystic circle of companions, that proved instrumental to his artistic development.
Time spent with the Ancients was, for Calvert, illuminating and inspirational, their meetings in Palmer’s cottage - ‘Rat Alley’, as it was affectionately known - involving discussions of poetry, printing technique and deeper spiritual musings. The elder Blake, whom Palmer described as a ‘prophet’ and a ‘man without a mask’, impressed upon Calvert and the group an ardent religious appreciation for Nature and the earth, as well as instructing the young artist in the process of wood-engraving and the visionary artistic style.
Calvert’s work after Blake’s death immediately matured, as if the loss of such an inspirational figure had spurred him on to greater heights. The period that followed from 1827 to 1831 is universally considered to have been Calvert’s pinnacle, comprising wood and copper engravings and lithographs all characterised by fine, dextrous lines depicting sylvan vistas - imagery redolent of both classical pastoral scenes and symbolic Christian parables.
Time spent with the Ancients was, for Calvert, illuminating and inspirational, their meetings in Palmer’s cottage - ‘Rat Alley’, as it was affectionately known - involving discussions of poetry, printing technique and deeper spiritual musings. The elder Blake, whom Palmer described as a ‘prophet’ and a ‘man without a mask’, impressed upon Calvert and the group an ardent religious appreciation for Nature and the earth, as well as instructing the young artist in the process of wood-engraving and the visionary artistic style.
Calvert’s work after Blake’s death immediately matured, as if the loss of such an inspirational figure had spurred him on to greater heights. The period that followed from 1827 to 1831 is universally considered to have been Calvert’s pinnacle, comprising wood and copper engravings and lithographs all characterised by fine, dextrous lines depicting sylvan vistas - imagery redolent of both classical pastoral scenes and symbolic Christian parables.
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About the work
About the Work
Wood engraving, first edition.
Formerly in the collection of the English wood engraver Reynolds Stone, gifted by the publisher Sampson Low, Marston and Company.
"The scene is again pastoral... Two bare-shouldered women, their flimsy dresses slightly activated by the breeze, bring hydriai to the water to be filled... It is a sign of Calvert’s breadth of vision that ‘The Brook’ could be taken to illustrate both a lush pagan landscape, or to show a Christian view of the River of Life, with the Sheep of His Pasture grazing amidst plenty." - Raymond Lister, Edward Calvert, 1962.
From the edition of 350.
Paper size: 26 x 36.4 cm
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Vendor:
Edward Calvert
The Brook
Wood engraving
Regular price
£2,000
Regular price
Sale price
£2,000
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per
Vendor:
Edward Calvert
Ideal Pastor...
Lithograph
Regular price
£1,250
Regular price
Sale price
£1,250
Unit price
per
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