NON-SENSE AND SENSIBILITY
(British Drawings and Prints of Two Centuries – Plus a Few Precursors)
(British Drawings and Prints of Two Centuries – Plus a Few Precursors)
- Laroon, The Quarrel
- Hollar, Glastoniensis
- Hollar, Landscape with Herdsmen
- Smith, Mr. Will: Richards
- Hogarth, Southwark Fair
- Smith, The Virgin Mary
- Hogarth, Midnight Modern
- Robinson, Banquet Piece
- att. to Vanderbank, Senesino
- Beauclerk, Street Musicians
- Haward, Mrs. Siddons
- Gillray, Comfort to the Corns
- Cheesman, The Seamstress
- Anonymous, Diamond
- Rowlandson, Gaffers
- Bartolozzi, Miss Farren
- Anonymous, Beatrice Fishing
- Say, Miss Mellon
- Rowlandson, The Poacher
- Smith, Narcissa
- Cruikshank, The Cholic
- Vendramini, Strawberrys, Scarlet
- Cruikshank, A Catalanian PicNic
- Morland, Peasants Resting
- Cruikshank, Sales by Auction!
- Daniell, Joseph Haydn
- Williams, Leap Year
- Finch, In the Park
- Cruikshank, A Consultation
- Anonymous, Duck Shooting
- Heath, A Pleasant Draught
- O’Neill, The Mill
- Cruikshank, Hint to the Blind
- Craig, Trees
- Heath, Blessing of Cheap Cider
- Calvert, The Brook
- Calvert, Cottage and Trees
- Lisle, I’d be a butterfly
- Palmer, Early Plowman
- Leitch, Shepherd
- Whistler, La Vieille aux Loques
- Haden, A Water Meadow
- Whistler, The Brothers
- Cameron, The Palace
- Strang, The Cause of the Poor
- Detmold, Long-Eared Bat
- Detmold, Phoenix
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28. Heneage Finch, 4th Earl of Aylesford (1751-1812) In the Park at Packington |
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(click on image to print)
In the Park at Packington
Original drawing, ca. 1790s, in pen and brown ink and brown and grey washes, on wove paper and on the original decorative mount inscribed with the title by the artist, 264 x 280 mm. plus the mount. Lord Aylesford, being a peer, a member of the House of Lords and holder of several high positions was, of necessity, an artist only by avocation. That he was a serious and valued one, though, in the British landscape tradition, is testified by the large collection of his works in the Tate. His works are frequently views of and near his country seat at Packington in Warwickshire, as is this study of trees. In truth, nothing could be more British than the fascination with age-old trees, so beautifully conveyed here. In addition to his drawings, Lord Aylesford produced some eighty-five etchings, usually of country and farm views in the neighborhoods of Oxford, Warwickshire and Wales, which are discussed in a long article in Print Collectors Quarterly (Vol. 11). Not least, the Earl assembled, over the years, what was then considered to be the finest collection of Rembrandt etchings in Britain and perhaps in the world, many of which have since found their way into the British Museum. Some of the results of owning and studying such a collection may be seen in this drawing.
