Price on request

Signed and titled; oil on canvas, 20 X 24 ins. (50.8 X 61 cms.)
Provenance: from the artist's own collection

Clayton Square, Brighouse, was one of Peter Brook's favourite subjects. Brook recalls that people used to peep through the curtains thinking he was perhaps from the council making notes for a demolition order. He first painted it in the 1960s, and although it is long since demolished, he today still 'returns' to it as a setting for his paintings. This painting combines many of Brook's favourite motifs: washing on a line, the dark honey-coloured stone of Brighouse, a figure peeping, and a narrative title painted into the composition. Brook's painting technique - which he describes as 'anti academic, something that Degas discovered' - is full of innovation and texture. At times he even used wire brushes - normally for cleaning spark plugs - to capture different light effects.

Price on request

Signed and titled; oil on canvas, 20 X 24 ins. (50.8 X 61 cms.) Provenance: from the artist's own collection

This shows Briggate Street in the late 1960s (now largely altered). Brook changed the name over the shop in homage to William Saroyan (1908-1981), the American author whose stories celebrated optimism in the middle of the trials and difficulties of the Depression era. The figure outside the shop is a portrait of Saroyan. Observing the television aerials, Brook recalls that the late 60s was a period when everyone was tuning into the BBC - in 1965 Brook himself acquired his first television, in exchange for one his paintings.

Price on request

(retitled Look! Peter Brook out drawing in the rain with the dog, 2007)
Oil on canvas, 20 × 24 in.(50.8 × 61 cm.)
Provenance:f rom the artist's own collection
Literature: Peter Brook: The Pennine Landscape Painter, Halifax 1992, repr.p.13

Price on request

Signed and titled;
oil on canvas,
20 X 24 ins. (50.8 X 61 cms.)

£3,000

Unframed
Individual prints can be purchased for £250 each (plus vat).  The complete set is available for £3000 (plus vat).  Frames can be supplied on request.

View all twelve pictures here

The set of 12 lithographic prints were published by Agnews in 1978 in an edition of 150 with a further 20 artists proofs printed on Saunders mould-made paper . Produed under the direction of of Stanley Jones at the Curwen Studio, London, the unframed prints are presented in their contemporary portefolio made by Davall and Chawn.


December, Sheep Coming In
Signed in pencil, lithographic print
21 x 29 in. (53.4 x 73.7 cm.)
The same print is in the collection of the Tate, (PO6769)

January, Pennine Valley
Signed in pencil, lithographic print
21 x 29 in. (53.4 x 73.7 cm.)
The same print is in the collection of the Tate, (PO6632)

February, Fill-Dyke in Wigan
Signed in pencil, lithographic print
21 x 29 in. (53.4 x 73.7 cm.)
The same print is in the collection of the Tate, (PO6633)

March, Melting Snow
Signed in pencil, lithographic print
21 x 29 in. (53.4 x 73.7 cm.)
The same print is in the collection of the Tate, (PO6722)

April, Showers
Signed in pencil, lithographic print
21 x 29 in. (53.4 x 73.7 cm.)
The same print is in the collection of the Tate, (PO6761)

May, Misty Morning
Signed in pencil, lithographic print
21 x 29 in. (53.4 x 73.7 cm.)
The same print is in the collection of the Tate, (PO6761)

June, Canal
Signed in pencil, lithographic print
21 x 29 in. (53.4 x 73.7 cm.)
The same print is in the collection of the Tate, (PO6763)

July, After the Gala
Signed in pencil, lithographic print
21 x 29 in. (53.4 x 73.7 cm.)
The same print is in the collection of the Tate, (PO6764)

August, Cottage in Anglesey
Signed in pencil, lithographic print
21 x 29 in. (53.4 x 73.7 cm.)
The same print is in the collection of the Tate, (PO6765)

September, Cornfield - Sheep on the Wrong Side of the Gate
Signed in pencil, lithographic print
21 x 29 in. (53.4 x 73.7 cm.)
The same print is in the collection of the Tate, (PO6766)

October, Pennine Road
Signed in pencil, lithographic print
21 x 29 in. (53.4 x 73.7 cm.)
The same print is in the collection of the Tate, (PO6767)

November, Late Afternoon
Signed in pencil, lithographic print
21 x 29 in. (53.4 x 73.7 cm.)
The same print is in the collection of the Tate, (PO6768)

Sold

Signed, dated and inscribed with title, oil on canvas, 24 x 12 ins. (61 x 30.5 cms.)
Provenance: the artist's studio

Sold

Signed, dated and inscribed with title, oil on canvas, 24 x 40 ins. (61 x 101.6 cms.)
Provenance: the artist's studio

In the 1970s, Rodney Bewes (the likely lad) frequently lent Brook his cottage on the Lizard in Cornwall. From there Brook produced a remarkable cycle of paintings, the majority of which have never been shown before. 'I loved the sea and when I saw the remains of the Tin Mines with their tall chimneys I felt I must record them. For two or three years we returned and I thought it was a wonderful area for an artist brought up in the Industrial West Riding'. Letter to Paul Liss, 14 December 2003. Throughout his life, Peter Brook has remained entirely consistent in his vision. Whilst a comparison is sometimes made with Lowry and to an extent with his friend and fellow artist Carel Weight, the technique he has developed and his personal involvement with landscape are entirely his own.

Sold

Signed and titled; oil on canvas, 20 X 24 ins. (50.8 X 61 cms.)
Provenance: from the artist's own collection

During the late 1960s Peter Brook and his family holidayed in Cumbria, staying at Jos Naylor's farm. The Cumbrian village bowling team was inspired by a photograph that Brook saw in a pub. This is a classic Brook image - a witty and poignant subject, which presented itself by chance, executed with technical brilliance and innovation. Brook, for instance, as well as painting with brushes, developed a technique using rollers - the light effect on the crags behind is achieved by applying more pressure on the roller. The painting is steeped in atmosphere - deeply evocative of time and place, whilst at the same time never at risk of appearing dated.

Sold

(retitled Winter Landscape Peter Brook drawing outside, 2007)
Signed, twice, and titled, twice
Oil on canvas,11 3/4 × 11 3/4 in. (29.9 × 29.9 cm.)
Provenance: Agnews, London; Laporte Corporate Art Collection, London
Literature: Paul Liss, Laporte, A History in Art, London 2000 (no.22)

Sold

(retitled Peter Brook in need of a hair cut, 2007)
Signed, twice, and titled, twice
Oil on canvas,11 3/4 × 11 3/4 in. (29.9 × 29.9 cm.)
Provenance: Agnews, London

Sold

(retitled Peter Brook with his dog - never did like the water. But sheep! Yes!, 2007)
Signed and titled; oil on canvas, 50 × 20 in. (127 × 50.8 cm.)
Exhibited: The John Moores Exhibition of Contemporary Painting, Walker Art Gallery, Liverpool, 1967
Provenance: from the artist's private collection

Brook has always seen his paintings as works that are evolving; through them he is visiting and revisiting the familiar subjects that make up his world. His desire to rework his old compositions,in this case adding his own portrait and that of his dog Shep, is a natural part of this evolution. Describing his own work, Brook uses the analogy of the practice of Bob Dylan, who frequently reworks the lyrics and harmonies of his earlier work.

We are grateful to David Walker and Peter Brook for assistance.