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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32. Hugh O’Neill (1784-1824) The Mill from the Brewery, Lambeth Marsh |
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(click on image to print)
The Mill from the Brewery, Lambeth Marsh
Original drawing in pencil and grey wash on tan wove paper, 1807, 238 x 330 mm, signed and dated in pencil recto and inscribed verso with the title. O’Neill signed his works in various ways -- Neil, Neill, O’Neil and O’Neill – and this sheet bears the second of those. He was the son of an architect, exhibited works at the Royal Academy, and, at the date of this sheet, was apparently drawing master at Oxford. Lambeth Marsh, once an actual marsh, by 1807 was one of the main east-west streets in the Borough of Lambeth, London, on the south bank of the Thames, and the area was changing from bucolic and residential to industrial. So much for artist and subject. What is really notable here is the precision and fine perspective of the drawing, its meticulous delineation of every beam and strut and, despite its detail, its presence as a truly artistic work. It really seems to presage work of a much later time, by such artists as Muirhead Bone and Robert Austin. It is no sentimental landscape and that is perhaps why the name of Neill or O’Neill did not, in the nineteenth century, become a household word.
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$1,200.00 |  |
