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
The Cause of the Poor
Etching and drypoint, 1890, 223 x 200 mm., Binyon 151 only state, edition of 60. Exceedingly fine impression on simili-japon with full margins, signed in pencil. Strang was an artist – painter, draughtsman, etcher, book illustrator – who did not change much throughout his life, but who espoused a number of different styles, moving from one to another and back again. Thus, there is considerable variety in his work. He was strongly influenced by literature, was a fine portraitist, and he had a certain macabre sense, but perhaps his best prints are those in which he takes a social grouping and gives us a virtual psychological study of each of the individuals. The faces, the physical attitudes convey here feelings, attitudes and personalities that could have been conveyed by a Charles Dickens – in several thousand words. The dour Strang is never sentimental (in the modern sense), but there is sensibility here of a high order. A rarely seen print.