DOCSLIB.ORG

John Linnell & His Contemporaries

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
John Linnell & His Contemporaries JOHN LINNELL AND HIS CONTEMPORARIES GUY PEPPIATT FINE ART 1 GPFA Linnell Catalogue V2.qxp_Layout 1 06/09/2017 13:53 Page 1 JOHN LINNELL (1792 -1882) AND HIS CONTEMPORARIES 1800 -1820 2n dto11th October 2017 Monday to Friday 10am to 6pm Weekends and evenings by appointment Guy Peppiatt Fine Art Ltd Riverwide House, 6 Mason’s Yard Duke Street, St James’s, London SW1Y 6BU Tel: +44 (0) 20 7930 3839 Mobile: +44 (0) 7956 968284 Fax: +44 (0) 20 7839 1504 [email protected] www.peppiattfineart.co.uk 1 GPFA Linnell Catalogue V2.qxp_Layout 1 06/09/2017 13:53 Page 2 2 GPFA Linnell Catalogue V2.qxp_Layout 1 06/09/2017 13:53 Page 3 Guy Peppiatt started his working life at Dulwich Picture Gallery before joining Sotheby’s British Pictures department in 1993. He soon specialised in early British drawings and watercolours and took over the running of Sotheby’s Topographical and Travel sales. Topographical views, whether they be of Britain or worldwide, have remained an abiding passion. Guy left Sotheby’s in early 2004 and has worked as a dealer since then, first based at home, and now in his new gallery on Mason’s Yard, St James’s, shared with the Old Master and European Drawings dealer Stephen Ongpin. He advises clients and museums on their collections, buys and sells on their behalf and can provide insurance valuations. Guy also vets a number of art fairs and is Chairman of the Vetting Committee for the Works on Paper Fair. 3 GPFA Linnell Catalogue V2.qxp_Layout 1 06/09/2017 13:53 Page 4 INTRODUCTION We are delighted to present this exhibition which focuses on the early work of John Linnell and the artists who influenced and worked alongside him. The core group of the exhibition dates from the period 1805 to 1810 when Linnell was aged between thirteen and eighteen. Most of the drawings originate from two private collections. Many have never been seen before and provide a unique glimpse into the origins of the imagination of the artist. John Linnell was born in Bloomsbury in 1792, then a poor and rundown area of London, the son of a carver and gilder James Linnell. Although he received no formal schooling, the eight year old Linnell showed talent as a draughtsman copying pictures found in his father’s workshop. He began to copy paintings by George Morland which his father sold for as much as £20 for the larger copies. William Fleetwood Varley spotted the young Linnell in Christie’s auction rooms copying a drawing by Thomas Girtin, and encouraged him to visit his brother John. John Varley was impressed by Linnell’s draughtsmanship and urged the boy to sketch directly from nature and to visit him as often as he wanted. At Varley’s house Linnell met many of the artists of the time. These included fellow pupils, William Henry Hunt and William Turner of Oxford, as well as William Mulready (who married Varley’s sister) and who served as mentor to the young Linnell. Most notably, he met Varley’s brother Cornelius. Among Varley’s visitors, the miniaturist Andrew Robertson introduced Linnell to Sir Benjamin West, the President of the Royal Academy whom Linnell would visit regularly in 1804-5. Linnell recalled: ‘My visits to him were in the morning, just before he began to paint.… He looked at my drawings – often worked upon them with chalk – and gave me clear and simple instructions…. Mr West expressed himself much pleased with some black and white chalk studies of mine, made in company with William Hunt.’ ( David Linnell, op.cit. , p. 9). Two of the drawings shown to West are in the present exhibition (nos. 2 and 3). In 1804 Varley persuaded James Linnell that his son could earn as much as £400 a year as an artist. John was soon apprenticed to Varley, living with him for a year. At the end of his year with Varley, the thirteen year old Linnell applied to the Royal Academy and started at the Schools in November 1805. Early on, Linnell struck up a friendship with William Henry Hunt who had just joined Varley as a pupil. The two went on sketching expeditions through the back streets and along the riverbanks of London. Varley’s injunction to his pupils was ‘Go to Nature for everything.’ In the exhibition, the previously unknown pencil and chalk plein air drawings of this crucial early period, 1805-1806, are mostly on blue or grey paper. They are mainly London views – often unidentified, with subjects found in the nooks and crannies of the city’s streets. The exhibition also includes works from Linnell’s first main sketching tour to North Wales in 1813 (nos. 16-18), to Bognor in 1816 (nos. 19-20), Southampton in 1819 (no. 22) and Balcombe, Sussex in 1848 (nos. 24-25) as well as two later watercolours (nos. 26-27). 4 GPFA Linnell Catalogue V2.qxp_Layout 1 06/09/2017 13:53 Page 5 Works by Linnell’s fellow students, William Henry Hunt and William Turner of Oxford, from this early period are particularly rare and differ greatly from their later works. Included here are two early Thames views by Hunt (nos. 47- 48), one dated 1806 when he was sixteen. Also included are a rare early Thames view and a later Oxford view by William Turner of Oxford (nos. 49-50). John and Cornelius Varley’s lifelong fascination with the river Thames is well represented in this exhibition. Works by John Varley (nos. 28-36) also include a rare self-portrait dating from circa 1810 (no. 28) and a number of drawings likely to have been drawn alongside Linnell, Hunt and Turner of Oxford in 1804 to 1810 (nos. 29-31 and 33-35). Cornelius Varley (nos. 37-46) was a frequent visitor to his brother John’s house where Linnell came to know him well. He was the instigator of Linnell’s religious conversion to the Baptists in 1811. The exhibition includes two drawings from Cornelius Varley’s Welsh tour of 1803 (nos. 37-38), three views of Brampton Park near Huntingdon drawn in 1807 (nos. 41-43) as well as a number of Thames views. SUGGESTED BIBLIOGRAPHY J.P. Heseltine, John Varley and his Pupils (W. Mulready, J. Linnell, and W.Hunt): Original Drawings in the Collection of J. P. H. , privately printed, London, 1918 Colnaghi, A Loan Exhibition of Drawings, Watercolours, and Paintings by John Linnell and his Circle , exhibition catalogue, London, 1973 Katharine Crouan, John Linnell – a Centennial Exhibition , exhibition catalogue for the Fitzwilliam and Yale Center for British Art, Cambridge, 1982 Katharine Crouan, John Linnell. Truth to Nature (A Centennial Exhibition) , exhibition catalogue for Martyn Gregory Gallery, London, 1982 David Linnell, Blake, Palmer, Linnell & Co. – The Life of John Linnell , Sussex, 1994 Lowell Libson, Power and Poetry. The Art of John Linnell , exhibition catalogue for the Fine Art Society/ Lowell Libson Limited, London, 2008 5 GPFA Linnell Catalogue V2.qxp_Layout 1 06/09/2017 13:53 Page 6 JOHN LINNELL (1792-1882) 1 John Linnell (1792-1882) Finchley Common, Middlesex Signed lower right: Finchley common 1805? J. Linnell London, Spink-Leger, Feeling through the Eye – The ‘new’ Landscape in Black and white chalk on blue paper Britain 1800-1830 , March to April 2000, no.43 23.2 by 33 cm., 9 by 13 in. Finchley Common was the border between the parishes of Finchley, Provenance: Friern Barnet and Hornsey and existed until 1816 when it was divided with Colnaghi’s, London; up and sold off. In 1805 the campaign for enclosure had just started and George Goyder, Esq., C.B.E., his sale Christie’s, London, 12 November Finchley would have been an attractive natural environment near central 1997, lot 56; London for Linnell to sketch. with Spink-Leger, London; Private Collection, London In 1805, Linnell was only 13 and already a talented draughtsman (see Introduction). Many of Linnell’s work was signed, inscribed and dated later, Exhibited: hence the question mark after ‘1805’. Stylistically the drawing certainly Reigate, Centenary Exhibition: Samuel Palmer and John Linnell , July-August dates from this period when he was living in Bloomsbury. 1963, no. 28; 6 GPFA Linnell Catalogue V2.qxp_Layout 1 06/09/2017 13:54 Page 7 2 John Linnell (1792-1882) Studies of a Wheelbarrow Inscribed lower left: about 1805 and lower right: shewn to B. West PRA Black and white chalk on blue paper 10.4 by 16 cm., 4 by 6 ¼ in. 3 John Linnell (1792-1882) A Corner of a Yard Inscribed lower left: Drawn about 1805 and lower right: approved by B. West Black and white chalk on blue paper 12.4 by 16.3 cm., 4 ¾ by 6 ¼ in. See the introduction for more on Sir Benjamin West’s connection to Linnell. These were drawn when Linnell was only thirteen. 7 GPFA Linnell Catalogue V2.qxp_Layout 1 06/09/2017 13:55 Page 8 4 John Linnell (1792-1882) A Farmyard Signed with initials and dated 1805 lower right With a study of an arch on the same sheet under the mount Black and white chalk on buff paper Sheet 15.4 by 12.1 cm., 6 by 4 ¾ in. 5 John Linnell (1792-1882) A Pile of Rubbish Signed and dated 1806 lower centre Black and white chalk on blue-grey paper 10.9 by 21.9 cm., 4 ¼ by 8 ½ in. 8 GPFA Linnell Catalogue V2.qxp_Layout 1 06/09/2017 13:55 Page 9 6 John Linnell (1792-1882) Study of Horizon and Sky Signed and dated 1805 Black chalk on blue paper 12.4 by 11.8 cm., 4 ¾ by 4 ½ in.
Load more

Recommended publications
  • John Linnell, RA, HRSA, RWS - “Tending the Flock” - Ref 2217
    John Linnell, RA, HRSA, RWS - “Tending the Flock” - Ref 2217 An evocative study into the quintessence of light and sky, shepherds and their flock look out over Southampton Water, an image captured by one of the 19th century’s greatest artists - John Linnell. As with many of his great works, principally the Biblically inspired pictures, the movement of light across the foreground is the source of drama – in this work the sky becomes almost an intruder over the land. Brought up in an artistic environment, Johns father, James, was a carver and gilder. The young Linnell’s artistic talents became apparent at an early age and his father was able to capitalise on them setting his son to work producing copies of George Morland (whose works were much in demand), which he was able to sell. John studied under Sir Benjamin West and renowned landscape painter John Varley, and rose to become one of the outstanding landscape painters of the 19th century. Linnell commanded around 1000 guineas for his work, an extraordinary sum; his name and ability being compared to, and often regarded in his day as superior to the likes of Turner, Constable, William Blake and Samuel Palmer. Works by Linnell can be found at the Tate Gallery, Victoria & Albert Museum and the National Portrait Gallery. This painting was exhibited at the Royal Academy’s Exhibition of Old and Modern Masters in 1883, titled Southampton Water. Price: £69,000 Provenance: H.J.Turner Esq. Stockleigh House, Regents Park, London. Latterly for the last 20 years, private collection Cambridge. Artist & Painting: John Linnell, British, (1792 - 1882) –“Tending the Flock” – signed and dated 1866 centre right.
    [Show full text]
  • Articled to John Varley
    N E W S William Blake & His Followers Blake/An Illustrated Quarterly, Volume 16, Issue 3, Winter 1982/1983, p. 184 PAGE 184 BLAKE AN I.D QlJARThRl.) WINTER 1982-83 NEWSLETTER WILLIAM BLAKE & HIS FOLLOWERS In conjunction with the exhibition William Blake and His Followers at the California Palace of the Legion of Honor, Morton D. Paley (Univ. of California, Berkeley) delivered a lecture, "How Far Did They Follow?" on 16 January BLAKE AT CORNELL 1983. Cornell University will host Blake: Ancient & Modern, a symposium 8-9 April 1983, exploring the ways in which the traditions and techniques of printmaking and painting JOHN LINNELL: A CENTENNIAL EXHIBITION affected Blake's poetry, art, and art theory. The sym- posium will also discuss Blake's late prints and the prints We have received the following news release from the of his followers, and examine the problems of teaching Yale Center for British Art: in college an interdisciplinary artist like William Blake. The first retrospective exhibition in America of the Panelists and speakers include M. H. Abrams, Esther work of John Linnell will open at the Yale Center for Dotson, Morris Eaves, Robert N. Essick, Peter Kahn, British Art on Wednesday, 26 January. Karl Kroeber, Reeve Parker, Albert Roe, Jon Stallworthy, John Linnell was born in London on 16 June 1792. He and Joseph Viscomi. died ninety years later, after a long and successful career The symposium is being held in conjunction with two ex- which spanned a century of unprecedented change in hibitions: The Prints of Blake and his Followers, Johnson Britain.
    [Show full text]
  • ONE HUNDRED DRAWINGS and WATERCOLOURS Dating from the 16Th Century to the 21St Century
    O N E H U N D R E D ONE HUNDRED D R A W I N DRAWINGS G S & W A AND T E R C O L O WATERCOLOURS U R S S T E P H E N O N G P I N G U Y P E P P I A T T Stephen Ongpin Fine Art Ltd. Guy Peppiatt Fine Art Ltd. 2 0 1 7 Riverwide House - 2 0 6 Mason’s Yard 1 Duke Street, St James’s 8 London SW1Y 6BU 100 drawings PART 1.qxp 13/11/2017 09:10 Page 1 GUY PEPPIATT FINE ART STEPHEN ONGPIN FINE ART ONE HUNDRED DRAWINGS AND WATERCOLOURS dating from the 16th Century to the 21st Century WINTER CATALOGUE 2017–2018 to be exhibited at Riverwide House 6 Mason’s Yard Duke Street, St. James’s London SW1Y 6BU Stephen Ongpin Fine Art Guy Peppiatt Fine Art Tel.+44 (0) 20 7930 8813 Tel.+44 (0) 20 7930 3839 or + 44 (0)7710 328 627 or +44 (0)7956 968 284 [email protected] [email protected] www.stephenongpin.com www.peppiattfineart.co.uk 1 100 drawings PART 1.qxp 14/11/2017 11:23 Page 2 We are delighted to present our tenth annual Winter catalogue of One Hundred Drawings and Watercolours, which includes a wide range of British and European drawings and watercolours, placed more or less in chronological order, ranging in date from the 16th century to nearly the present day. Although the areas of Old Master drawings, early British drawings and watercolours, 19th Century and Modern drawings have long been regarded as disparate fields, part of the purpose of this annual catalogue is to blur the distinction between these collecting areas.
    [Show full text]
  • Issues) and Begin with the Summer Issue
    BLAKE AN . ILLUSTRATED QUARTERLY Blake in the Marketplace for 2010 / J VOLUME44 NUMBER 4 SPRING 2011 AN ILLUSTRATED QUARTERLY www.blakequarterly.org VOLUME44 NUMBER4 SPRING 2011 CONTENTS Article Review Blake in the Marketplace, 2010 Mind-Forg'd Manacles: William Blake and Slavery, By Robert N. Essick 116 Whitworth Art Gallery, University of Manchester, 26 January-6 April 2008; Blake's Shadow: William Blake and His Artistic Legacy, Whitworth Gallery, 26 January-20 April 2008 Reviewed by Jeremy Tambling 142 Newsletter Blake Goes Online 143 A D V I s 0 R y B 0 A R D G. E. Bentley, Jr., University of Toronto, retired Nelson Hilton, University of Georgia Martin Butlin, London Anne K. Mellor, University of California, Los Angeles DetlefW Dorrbecker, University of Trier Joseph Viscomi, University of North Carolina at Chapel Hill Robert N. Essick, University of California, Riverside David Worrall, The Nottingham Trent University Angela Esterhammer, University of Zurich CONTRIBUTORS David Worrall, Faculty of Humanities, The Nottingham Trent University, Clifton Lane, Nottingham NG 11 SNS UK E-mail: [email protected]. uk ROBERT N. ESSICK has been collecting and writing about Blake for over forty years. JEREMY TAMBLING ([email protected]) is professor of literature at the University of Manchester and INFORMATION author of Blake's Night Thoughts (2004) and of several other monographs on nineteenth- and twentieth-century moder­ nity. BLAKE/AN ILLUSTRATED QUARTERLY is published under the sponsorship of the Department ofEnglish, University of Roch­ ester. Subscriptions are $66 for institutions, $33 for individu­ als. All subscriptions are by the volume ( 1 year, 4 issues) and begin with the summer issue.
    [Show full text]
  • G. E. Bentley, Jr., Robert N. Essick, Shelley M. Bennett, and Morton D
    REVIEW G. E. Bentley, Jr., Robert N. Essick, Shelley M. Bennett, and Morton D. Paley, Essays on the Blake Followers; Joseph Viscomi, Prints by William Blake and His Followers Raymond Lister Blake/An Illustrated Quarterly, Volume 19, Issue 2, Fall 1985, pp. 80-83 BLAKE/AN ILLUSTRATED QUARTERLY FALL 1985 reproductions in the Huntington book would possibly G. E. B ntley, Jr., Rob rt N. Essick, Shel- imagine that Palmer could have been the same man who l y M. B nn tt, Morton D. Paley. Preface made the fakes. The essays in the book provide further evidence of the way in which the authentic Palmer thought by ob rt R. Wark. Essays on the Blake and worked, how he translated his visual and literary Followers. San Marino, California: Hun- experiences into original works of his own, how his own tington Library and Art Gall ry, 1983. 71 complicated personality acted as a catalyst on his reading pp., 51 illus. $8.00 of, for instance, the poems of Milton, or on his visual experience of the drawings and paintings of Claude Lor- Joseph Vi corni. Prints by Will' m Blake and rain, transforming each experience into visions of the Hi Followers. Ithaca, N w Yo k: Herbert English countryside with, later on, accents derived from F. Johnson Mus urn of Art, ornell Uni- his visits to Devon, Wales, and Italy. v rsity, 1983. 36 pp., 18 illus. No price In the first essay, G. E. Bentley, Jr., places the tat d. Palmer circle, "The Ancients" as they called themselves, in the Blake milieu, noting, correctly, the prudery and view d by Raymond Lister religious conventionality of some of them.
    [Show full text]
  • Bernard Fleetwood-Walker (1893-1965) By
    The Social, Political and Economic Determinants of a Modern Portrait Artist: Bernard Fleetwood-Walker (1893-1965) by MARIE CONSIDINE A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham April 2012 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT As the first major study of the portrait artist Bernard Fleetwood-Walker (1893- 1965), this thesis locates the artist in his social, political and economic context, arguing that his portraiture can be seen as an exemplar of modernity. The portraits are shown to be responses to modern life, revealed not in formally avant- garde depictions, but in the subject-matter. Industrial growth, the increasing population, expanding suburbs, and a renewed interest in the outdoor life and popular entertainment are reflected in Fleetwood-Walker’s artistic output. The role played by exhibition culture in the creation of the portraits is analysed: developing retail theory affected gallery design and exhibition layout and in turn impacted on the size, subject matter and style of Fleetwood-Walker’s portraits.
    [Show full text]
  • Inventory · Daniel Katz Gallery
    John Linnell 1792 - 1882 The potato field - Isle of Wight Oil on Panel 28 by 35.7cm 1829 Signed and dated J.Linnell f./1829 Provenance: Purchased from the artist by Ralph Thomas, 1846. James Orrock Esq., 13 Bedford Square, London, by 1883. A.T. Hollingsworth Esq., by 1898. Exhibited: London, British Institution, 1830, n. 37 (30 gns) Glasgow, Glasgow Dilettanti Society, 1830, no. 40 (£37 10s) London, Royal Academy, Exhibition of works by the Old Masters and by deceased masters of the British School including a special selection from the works of John Linnell and Dante Gabriel Rossetti, Winter 1883, no. 108 (lent by James Orrock) Edinburgh, International Exhibition of Industry, Science & Art, 1886, n. 1453 (lent by James Orrock) Probably, Glasgow, Kelvingrove Park, International Exhibition of Science, Art and Industry, 1888, n. 47 as The Potato Harvest (lent by James Orrock) London, New Gallery, 1898, n. 204 (lent by A.T. Hollingsworth) London, Royal Academy, 1903, n. 104 (lent by A.T. Hollingsworth) 6 Hill Street London W1J 5NE Telephone 02074930688 | Email [email protected] | www.katz.art Signed and dated 1829 The Potato Field - Isle of Wight by John Linnell shows the sun as it starts to set across the rolling fields of the Isle of Wight. Small clouds pepper the sky and crows fly home to roost. The dark trees to the left begin to cast shadows and suggest the enveloping night which will soon follow. In the middle ground we see figures returning home and a man still industriously working the land. In the foreground, bent double on their knees, we see a group (possibly a family), of two young boys, two men, and a woman.
    [Show full text]
  • Mulready Stationery
    BRITISH PHILATELIC BULLETIN is for... Mulready stationery Colin Baker charts the brief life of William Mulready’s illustrated envelopes, commissioned to grace the first ever prepaid stationery of 1840 One of the innovations that came with the postal reforms of 1840 was the introduction of prepaid envelopes and letter sheets; the Id values were printed in black and the 2d values in blue. These could be used for letters sent anywhere in the L K, weighing up to half an ounce and one ounce respectively. Neither the envelopes nor the letter sheets were gummed (it would be another five to ten years before that was possible) and they had to be folded by hand and sealed with a blob of wax or fastened with a wafer seal - a small piece of paper carrying a design or message that was stuck over the point of the flap to hold it in place. They were launched on the same day the new Id and 2d adhesive stamps - the famous Penny Black and Twopenny Blue - came into use. It was assumed that the convenience of Fig 1 prepaid stationery would make it an instantly popular choice. So, while the printed envelopes and letter sheets were stocked in large numbers at every post office, the adhesive stamps were harder to find - on the issue date of 6 May 1840, there were only limited supplies of the Penny Black and none at all of the Twopenny Blue. The stationery was illustrated by William Mulready, a talented artist and member of the Royal Academy, influenced by Rowland Hill and Henry Cole (the two men in charge of introducing the postal reforms).
    [Show full text]
  • Select Bibliography
    Select Bibliography The bibliography is divided into two parts: a schedule of general texts 2 the politics of portraiture c. 1660–75 selected readings for those who wish to explore the back- arnold, dana and peters corbett, david, eds., barber, tabitha, Mary Beale (1632/3–1699): Portrait ground of developments described in the book – both A Companion to British Art: 1600 to the Present, of a Seventeenth-Century Painter, Her Family and as a whole and chapter by chapter – followed by a much Chichester, 2013. Her Studio, exhibition catalogue, Geffrye Museum, longer list that is intended to function as an introductory barrell, john, The Political Theory of Painting from London, 1999. guide to research in the field of British two-dimensional Reynolds to Hazlitt: ‘The Body of the Public’, New coombs, katherine, The Portrait Miniature in art between the Restoration and the Battle of Waterloo. Haven and London, 1986. England, London, 1998. To facilitate usage of the more comprehensive bibliogra- bindman, david, ed., The History of British Art, Volume macleod, catharine and marciari alexander, phy, its materials have been organized under the follow- 2: 1600–1870, London, 2008. julia, eds., Painted Ladies: Women at the Court of ing headings: brewer, john, The Pleasures of the Imagination: English Charles II, exhibition catalogue, National Portrait Culture in the Eighteenth Century, London, 1997. Gallery, London, 2001. general texts: history (social and cultural) craske, matthew, Art in Europe, 1700–1830, Oxford, marciari alexander, julia and macleod, catha- and the history of art 1997. rine, eds., Politics, Transgression, and Representation the london art world: institutions, exhibi- farington, joseph, The Diary of Joseph Farington, at the Court of Charles II, Studies in British Art 18, tions and the art market vols.
    [Show full text]
  • Guy Peppiatt Fine Art British Portrait and Figure
    BRITISH PORTRAIT AND FIGURE DRAWINGS 2020 BRITISH PORTRAIT AND FIGURE DRAWINGS BRITISH PORTRAIT AND FIGURE DRAWINGS 2020 GUY PEPPIATT FINE ART FINE GUY PEPPIATT GUY PEPPIATT FINE ART LTD Riverwide House, 6 Mason’s Yard Duke Street, St James’s, London SW1Y 6BU GUY PEPPIATT FINE ART Guy Peppiatt started his working life at Dulwich Picture Gallery before joining Sotheby’s British Pictures Department in 1993. He soon specialised in early British drawings and watercolours and took over the running of Sotheby’s Topographical sales. Guy left Sotheby’s in 2004 to work as a dealer in early British watercolours and since 2006 he has shared a gallery on the ground floor of 6 Mason’s Yard off Duke St., St. James’s with the Old Master and European Drawings dealer Stephen Ongpin. He advises clients and museums on their collections, buys and sells on their behalf and can provide insurance valuations. He exhibits as part of Master Drawings New York every January as well as London Art Week in July and December. Email: [email protected] Tel: 020 7930 3839 or 07956 968 284 Sarah Hobrough has spent nearly 25 years in the field of British drawings and watercolours. She started her career at Spink and Son in 1995, where she began to develop a specialism in British watercolours of the late 18th and early 19th centuries. In 2002, she helped set up Lowell Libson Ltd, serving as co- director of the gallery. In 2007, Sarah decided to pursue her other passion, gardens and plants, and undertook a post graduate diploma in landscape design.
    [Show full text]
  • Drawing After the Antique at the British Museum
    Drawing after the Antique at the British Museum Supplementary Materials: Biographies of Students Admitted to Draw in the Townley Gallery, British Museum, with Facsimiles of the Gallery Register Pages (1809 – 1817) Essay by Martin Myrone Contents Facsimile, Transcription and Biographies • Page 1 • Page 2 • Page 3 • Page 4 • Page 5 • Page 6 • Page 7 Sources and Abbreviations • Manuscript Sources • Abbreviations for Online Resources • Further Online Resources • Abbreviations for Printed Sources • Further Printed Sources 1 of 120 Jan. 14 Mr Ralph Irvine, no.8 Gt. Howland St. [recommended by] Mr Planta/ 6 months This is probably intended for the Scottish landscape painter Hugh Irvine (1782– 1829), who exhibited from 8 Howland Street in 1809. “This young gentleman, at an early period of life, manifested a strong inclination for the study of art, and for several years his application has been unremitting. For some time he was a pupil of Mr Reinagle of London, whose merit as an artist is well known; and he has long been a close student in landscape afer Nature” (Thom, History of Aberdeen, 1: 198). He was the third son of Alexander Irvine, 18th laird of Drum, Aberdeenshire (1754–1844), and his wife Jean (Forbes; d.1786). His uncle was the artist and art dealer James Irvine (1757–1831). Alexander Irvine had four sons and a daughter; Alexander (b.1777), Charles (b.1780), Hugh, Francis, and daughter Christian. There is no record of a Ralph Irvine among the Irvines of Drum (Wimberley, Short Account), nor was there a Royal Academy student or exhibiting or listed artist of this name, so this was surely a clerical error or misunderstanding.
    [Show full text]
  • Parallel Lines
    PARALLEL LINES Contemporary Chinese ink painting and the Great Age of British landscape painters LOWELL LIBSON LTD · MD FLACKS PARALLEL LINES An exhibition at W.M. BRADY & CO NEW YORK NOVEMBER 13 – 18 and LOWELL LIBSON LTD LONDON NOVEMBER 30 – DECEMBER 8 平 PARALLEL LINES 行 Contemporary Chinese ink painting and the Great Age of British 线 landscape painters Lowell Libson Ltd · MD Flacks B C Marcus Flacks A shared artistic language Ink on Silk, 60 x 60 cm liu dan | Scholar’s rock, 2012 the idea behind this exhibition contains a number of very personal ingredients. The first is a long-standing appreciation of European works on paper that I inherited from my late father, a great enthusiast and collector of the works of J. M. W. Turner. It was through him that I first met Lowell Libson, then at Leger, whilst I was still in my teens. There followed an enduring friendship that has made this exhibition possible, but that has also been an important mainstay in my adult life. For me, the second, and perhaps more obvious ingredient as a dealer and collector of Chinese art, is my love of Chinese ink paintings. Although, here again, at the heart of this fascination is a deep personal friendship with the artist Liu Dan, one that has lasted for over two decades. It was Liu Dan who guided me through my first steps in ink art and it is through him that I have met many of the artists presented in this exhibition, such as Zeng Xiaojun, Xu Lei and Shen Qin.
    [Show full text]