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
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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.
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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).
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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
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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;
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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.
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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.
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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.
7 John Linnell (1792-1882) Study of a Ramshackle House
Signed lower right Black and white chalk on blue laid paper 12.4 by 15.8 cm., 4 ¾ by 6 ¼ in.
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8 John Linnell (1792-1882) Study of a Child from behind
Signed with initials and dated 1806-7 lower left Black chalk on blue-grey paper 13 by 14.5 cm., 5 by 5 ¾ in.
9 John Linnell (1792-1882) Study of a Child from behind
Signed with initials and dated 1806 lower right Black chalk on blue-grey paper 12.7 by 11.7 cm., 5 by 4 ½ in.
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10 John Linnell (1792-1882) Study of a Shed
Signed lower right Black and white chalk on blue-grey paper 20 by 26.7 cm., 7 ¾ by 10 ½ in.
11 John Linnell (1792-1882) Study of a Barn
Signed lower left Pencil on blue-grey paper 17.2 by 25.8 cm., 6 ¾ by 10 in.
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12 John Linnell (1792-1882) On the Thames at Battersea, London
Signed lower right and inscribed lower left: At Battersea Black and white chalk on blue paper 18.9 by 25.3 cm., 7 ¼ by 9 ¾ in.
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13 14 John Linnell (1792-1882) John Linnell (1792-1882) An Alleyway Looking across the Thames to Westminster Abbey
Signed lower right Signed lower left and inscribed with title lower right Black and white chalk on brown laid paper Pencil on buff paper 22.8 by 18.4 cm., 9 by 7 ¼ in. 11.8 by 14.8 cm., 4 ½ by 5 ¾ in.
This is a view looking west across the Thames from just south of Westminster Bridge.
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15 John Linnell (1792-1882) Paddington Fields, London
Signed lower centre: J. Linnell Paddington Fields 1811 In July 1811, Linnell moved to his own lodgings at no.11 Queen Street, Black and white chalk on blue paper Edgware Road and many sketches from this period are of Kensington 27.3 by 44 cm., 10 ¾ by 17 ¼ in. Gravel Pits north of Kensington Gardens and near Paddington. The Paddington area of London was not developed until the arrival of the Exhibited: railway in the 1830s. London, Spink-Leger, Feeling through the Eye – The ‘new’ Landscape in Britain 1800-1830 , March to April 2000, no.48
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16 John Linnell (1792-1882) The Pass of Llanberis, Dolbadarn Castle beyond, North Wales
Signed lower centre: Pass of Llanberris J Linnell 1813. Dolbadarn Castle in went. After a month Linnell had over a hundred sketches, mostly distance executed in watercolour and chalk or black and white chalk, and decided Black and white chalk on buff laid paper to return to London (for more on this trip see David Linnell, Blake, Palmer, 22 by 40.7 cm., 8 ½ by 16 in. Linnell & Co. – the Life of John Linnell , 1994, pp. 28-29).
Nos. 16 to 18 date from Linnell’s first main sketching tour in the summer Dolbadarn Castle stands above the lake of Llyn Padarn on Llanberis Pass of 1813 with the engraver G.R. Lewis. The coach left the Green Man in between Caernarvon and Snowdonia and is one of the finest surviving Oxford Street at the end of August and they travelled overnight to Welsh round towers. It was the built by Llywelyn the Great in the 13th Llangollen. From there, they walked to Bettws-y-Coed sketching as they century and predates the castles in Wales built by the English king Edward I.
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17 John Linnell (1792-1882) Study of a Shrimper, North Wales
Signed lower left: N W J Linnell /’13 Black and white chalk in blue paper 11.9 by 17.6 cm., 4 ½ by 6 ¾ in.
See note to no.16 for more on Linnell’s Welsh trip of 1816
18 John Linnell (1792-1882) A Valley, North Wales
Signed lower left: N.W. J Linnell/’13 Black and white chalk on blue paper 11.3 by 17.3 cm., 4 ½ by 6 ¾ in.
See note to no.16 for more on Linnell’s Welsh trip of 1816
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19 John Linnell (1792-1882) Bognor, Sussex
Signed lower left and inscribed lower right: Bognor Pencil 11.6 by 19.4 cm., 4 ½ by 7 ½ in.
20 John Linnell (1792-1882) Bognor, Sussex
Signed lower right: J. Linnell/Bognor Pencil 12.1 by 19.3 cm., 4 ¾ by 7 ½ in.
These two sketches date from Linnell’s visit to Bognor on the South Coast in August 1816.
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21 John Linnell (1792-1882) Study of a Farmstead
Signed with initials lower right Black chalk on grey paper 10.3 by 30 cm., 4 by 11 ¾ in.
22 John Linnell (1792-1882) Trees at North End of Hampstead
Signed lower right: North End Hampstead J. Linnell….1825 Pencil on buff paper Sheet 36.8 by 54.9 cm., 14 ½ by 21 ½ in.
Linnell rented Collins’s Farm, North End, Hampstead from 1823 until 1828 when he moved to Bayswater.
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23 John Linnell (1792-1882) The Harbour Wall, Southampton
Signed lower right, inscribed in another hand: Wall of Southampton 1819 and numbered 18 upper right With a drawing of a head verso Pencil on laid paper 28.3 by 42.6 cm., 11 by 16 ¾ in.
Linnell visited Southampton in late August 1819 at the invitation of the engraver D.C. Read.
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24 25 John Linnell (1792-1882) John Linnell (1792-1882) A Cart on a Country Road, Balcombe, Sussex Trees at Balcombe, Sussex
Signed lower right: J Linnell Balcombe/’48 Signed lower right: J Linnell Balcombe/’48 Black and white chalk on buff paper Black chalk on buff paper 43.5 by 30.5 cm., 17 by 12 in. 29.8 by 37.1 cm., 11 ¾ by 14 ½ in.
Provenance: Linnell rented a cottage at Balcombe, Sussex from July to October 1836. With Abbott and Holder, circa 1955, where bought by Ralph Holland Balcombe is a village four miles north of Haywards Heath. (1917-2012)
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26 John Linnell (1792-1882) Cattle on a Country Road
Signed lower left Watercolour over pencil 14.8 by 21.6 cm., 6 by 8 ¾ in.
Provenance: With the Fine Art Society, London, April 1963; Private Collection, UK
27 John Linnell (1792-1882) A large Country House
Watercolour over black chalk 10.2 by 16.2 cm., 4 by 6 ¼ in.
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JOHN VARLEY (1778-1842)
28 John Varley (1778-1842) Self-portrait
Pencil on buff paper heightened with touches of white 18.7 by 14.6 cm., 7 ½ by 5 ¾ in.
Provenance: The Lowry Family; Anonymous sale, Sotheby’s, 13th November 1980, lot 43; With Spink & Son Ltd, London, May 1981; Robert S. Pirie; Private Collection, UK
This rare self-portrait by Varley dates from circa 1810. A portrait of Varley by John Linnell is in the V. & A. (see Adrian Bury, John Varley of the ‘Old Society’ , 1946, plate 1, ill.), and portraits of him by Blake and Mulready are in the National Portrait Gallery.
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29 John Varley (1778-1842) Study of a Wheelbarrow
Signed lower left and again: J VARLEY 1804 Pencil on buff paper 7.1 by 15.7 cm., 2 ¾ by 6 in.
30 John Varley (1778-1842) Two Studies of a Boy
Signed lower left Pencil and washes on buff paper 18.9 by 21.5 cm., 7 ¼ by 8 ½ in.
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31 John Varley (1778-1842) Eel Traps on a Boat
Signed lower left Grey washes and pencil heightened with white on buff paper Sheet 25.4 by 44.6 cm., 10 by 17 ½ in.
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32 John Varley (1778-1842) Study of a Tree with an Artist Sketching
Signed lower right Pencil, with pencil border 15.5 by 12.1 cm., 6 by 4 ¾ in.
This rather mannered drawing by Varley would almost certainly have been used as a teaching tool.
33 John Varley (1778-1842) A Piece of Machinery
Signed lower right Pencil 16 by 21.1 cm., 6 ¼ by 8 ¼ in.
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34 John Varley (1778-1842) Study of a Boat
Signed lower right Pencil on buff paper 36.2 by 25.4 cm., 14 ¼ by 10 in.
35 John Varley (1778-1842) Study of a Boat
Signed lower left Pencil 6 by 17 cm., 2 ¼ by 6 ¾ in.
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36 John Varley (1778-1842) Lambeth Palace from Westminster Bridge
Signed lower left: J. Varley Watercolour over pencil heightend with bodycolour, varnished 11 by 22.9 cm., 4 ¼ by 9 in.
Provenance: With Chris Beetles Gallery, London, 1989; Jeffrey M. Kaplan
This is a view looking south down the Thames from Westminster Bridge with Lambeth Palace with its garden to the left. It dates from the 1830s and is typical of Varley’s late style when he often varnished his work. For the same view by Cornelius Varley, see no. 40.
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CORNELIUS VARLEY (1781-1873)
37 Cornelius Varley (1781-1873)
A Distant View of Harlech Castle, North Wales
Pencil on wove paper watermarked: 1801/ WHATMAN 23.8 by 37.8cm., 9 ¼ by 14 ¾ in.
This is one of a group of drawings by Varley on Whatman paper dated 1801 and of this size which Varley mainly used on his 1803 trip to North Wales (see Peter Bower, ‘A material pleasant to work on’: Cornelius Varley’s Use of Paper’, essay in Cornelius Varley – The Art of Observation , Lowell Libson exhibition catalogue 2005, p.51). Varley also used this batch of Whatman paper on his 1802 tour but the confidence of the handling in the present work suggests a date of 1803 is more likely.
38 Cornelius Varley (1781-1873) Boat by the River Wye
Signed lower centre: River Wye C.V. 1803 and inscribed in another hand lower right: (C Varley) Pencil, with two landscape studies verso 18.2 by 22.2 cm., 7 by 8 ¾ in.
This dates from Cornelius Varley’s Welsh tour of 1803 in the company of Joshua Cristall and William Havell.
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39 Cornelius Varley (1781-1873) Study of Two Girls Seated, Reading a Book
Pencil 25.2 by 18.4 cm., 9 ¾ by 7 ¼ in.
Exhibited: London, Colnaghi, Cornelius Varley , March 1973, no.9
40 Cornelius Varley (1781-1873) Lambeth Palace from the Thames
Pencil 11.7 by 18 cm., 4 ¾ by 7 in.
Provenance: By descent from the artist to Elizabeth Fleetwood Varley, her sale, Sotheby’s, 17th October 1962, lot 4 (part), bt. Schwab; Anonymous sale, Sotheby’s, 4th July 2001, lot 241 (part)
This is a view looking south down the Thames from Westminster Bridge with Lambeth Palace with its garden to the left For the same view by John Varley, see no. 36.
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41 Cornelius Varley (1781-1873) Brampton Park, Huntingdonshire
Inscribed lower left: near Huntingdon Pencil 31 by 46.5 cm., 12 ¼ by 18 ¼ in.
Provenance: Anonymous sale, Christie’s South Kensington, 13th June 2002, lot 48 (part)
42 Cornelius Varley (1781-1873) At Brampton, Huntingdonshire
Signed lower left: Brampton Hunts C Varley 1807 Pencil, with a sketch of a cottage verso 27.3 by 42.3 cm., 10 ¾ by 16 ½ in.
Provenance: Anonymous sale, Christie’s South Kensington, 13th June 2002, lot 48 (part)
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43 Cornelius Varley (1781-1873) Brampton Park, Huntingdonshire
Signed lower left: C Varley 1807 and inscribed lower right: Brampton Hunts Brampton Park is two miles south-west of the town of Huntingdon. Varley Pencil visited in 1807 when the house was the property of Lady Olivia Sparrow, 23.5 by 35.7 cm., 9 ½ by 14 in. daughter of the 1st Earl of Gosford. For more studies taken at Brampton, see Cornelius Varley – The Art of Observation , Lowell Libson exhibition Provenance: catalogue 2005, nos. 46-50. Anonymous sale, Christie’s South Kensington, 13th June 2002, lot 48 (part)
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44 45 Cornelius Varley (1781-1873) Cornelius Varley (1781-1873) Study of an Anchor Study of a Beached Boat
Signed and dated 1807 lower left Signed lower left: C. Varley Oct 13 1827 Pencil on buff paper Pencil 23.4 by 35.9 cm., 9 ¼ by 14 in. 25.8 by 22.3 cm., 10 by 8 ¾ in.
Although drawn twenty years earlier, Varley clearly used this sketch as the basis for his 1847 lithograph (see no.46 for the finished engraved drawing).
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46 Cornelius Varley (1781-1873) A Thames Craft
Signed lower left: Thames Craft C. Varley This is one of the seven drawings lithographed for Varley’s Drawing Book Brown washes over pencil of Boats , published in 1847: `They are chiefly drawn by his Graphic 30.9 by 21.9 cm., 12 by 8 ½ in. Telescope which securing both truth of form & perspective render them admirably adapted for the studies of Youth, & from their implicit fidelity to Provenance: Nature may suit the Portfolio of the Artist as a work of reference.’ For With Thos. Agnew & Sons, London, no. 27183 images of the lithographs, see Cornelius Varley – The Art of Observation , exhibition catalogue 2005, no.88, pp.154-157. Engraved: Lithographed by W. Boosey for Varley’s Drawing Book of Boats , 1847
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WILLIAM HENRY HUNT (1790-1864)
47 William Henry Hunt (1790-1864) Beached Boats on the Thames
Inscribed on reverse of mount: Wm Hunt Black and white chalk on blue paper 17 by 25.4 cm., 6 ¾ by 10 in.
48 William Henry Hunt (1790-1864) Houses on the Thames
Signed and dated 1806 Black and white chalk on buff paper 14.9 by 22.7 cm., 5 ¾ by 8 ¾ in.
This was drawn when Hunt was only 16 and a pupil of John Varley (see Introduction).
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WILLIAM TURNER OF OXFORD (1789-1862)
49 William Turner of Oxford (1789-1862) Boats by the Thames
Signed lower right Black and white chalk on blue paper 19.7 by 28.7 cm., 7 ¾ by 11 ¼ in.
This dates from circa 1804-5 when Turner of Oxford was a pupil of John Varley.
50 William Turner of Oxford (1789-1862) Christchurch Meadow, Oxford
Pencil on grey paper 24.8 by 35.3 cm., 9 ¾ by 13 ¾ in.
Provenance: Ruskin Gallery, Stratford-upon-Avon
Christchurch Meadow is an area of parkland south of the college of Christ Church and bordering the rivers Isis and Cherwell. This later drawing probably dates to post-1833 when the artist was living in Oxford.
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36 GUY PEPPIATT FINE ART LTD
Riverwide House, 6 Mason’s Yard Duke Street, St James’s, London SW1Y 6BU 36