George O'Brien (1821–1888) was an engineer of aristocratic background who turned to art in 19th century Australasia, dying in poverty but leaving a body of remarkable work. Biography George O'Brien was born at Dromoland Castle County Clare, Ireland in 1821 he was the fifth son of Admiral Robert O'Brien, a younger son of Sir Lucius O'Brien, 3rd Baronet. George O'Brien was a first cousin of William Smith O'Brien (1803–1864) deported to Tasmania for his part in the 1848 'Young Ireland' uprising, and a cousin too of James FitzGerald, at one time Superintendent of the Canterbury Province in New Zealand. Despite these distinguished connections the family was not well-heeled. Young George O'Brien may have been trained by a brother as a civil engineer. His parents died when he was young and it seems that by a very early age he was in Melbourne, Australia. Views of the town dated 1839 and 1840 survive in the collection of the state library. It seems he left soon afterwards but was back by 1850 arriving from London on the Midlothian. He worked as a draughtsman in the surveyor's office and in 1853 married Jane Mashford at St. James' church Melbourne. He was active in the Victoria Fine Arts Society and by 1854 was advertising his services as an architect and surveyor. He exhibited paintings in 1856 and 1858 and nine signed and dated watercolours of St. Kilda and nearby places in Melbourne are recorded. By December 1863 O'Brien was living at Duncan Street in Dunedin New Zealand no doubt attracted by the prosperity induced by the Otago gold rushes. He worked as a civil engineer; was employed at times by the Town Board and supplied architectural perspectives of buildings designed by several Dunedin firms. He seems to have had more than a nodding acquaintance with R.A. Lawson. A number of O'Brien's watercolours were exhibited in the 1865 New Zealand Industrial Exhibition. He associated with W.M. Hodgkins, a lawyer and aspiring watercolour painter who became very influential in Dunedin's art world. O'Brien may have given Hodgkins some instruction. O'Brien's manner showed his background in measured draughtsmanship but also represented a kind of neo-classical painting. In the colonial context he was unusual in taking buildings and townscape as his subject matter. In 1876 he attended a meeting of the Otago Art Society and was well represented in that body's inaugural annual exhibition held later that year.