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
La Vieille aux Loques
Etching, 1858, from The French Set, Kennedy 21 iii/iii, 205 x 145 mm. A fine impression on old, thin laid paper with good margins; old hinge staining at the top left corner of the sheet, away from the image and a few creases in the margins. It is difficult to believe that Whistler and Haden on the one hand, and Palmer on the other were working contemporaneously, so different were their aesthetic aims and means. And yet both were enormously influential. Whistler, unlike the other two, evolved, continually re-inventing himself and his style. This is one of his early, realistic works, but it already contains elements of much of his mature work, among them, the compositional framing of the subject within a doorway and the rough sketchiness of the areas outside the main subject. It might be objected that Whistler, being American born and raised, should not be included in a British show. But all his important work was done after he left this country.