Canvas Museum Art. “The Barley Field” By John Linnell 1874 / Oil on Canvas /
1792-1882 / English . SIGNED and DATED at the bottom of Canvas as well as the
stunning Carved wood Gilt Frame . Under the blue light doesn’t show any signs
of repairs. In one word, STUNNING.
Museums Include:
Victoria and Albert Museum : Rocky Promontory / The Harvest
Moon / Landscape, Evening / A Coming
Storm Glasgow Museums Resource Centre (GMRC) / Landscape, Driving Cattle.
Museum of London : Collins’s Farm, North End, Hampstead,
London
At Yale Center for British Art : John Linnell, 1792–1882, A
Finished Study for ‘Reaping’, 1858
New York Metropolitan
and National Portrait Gallery.
Comparable art work sold at Auctions:
1-
John Linnell (1792-1882) 49 x 73 in. The Return of Ulysses London 19 February 2003 Price
realized GBP 171,650 + 25% Fee TOTAL $302,000
2-
SMALL Art WORK John Linnell (1792-1882) SMALL
11 x 13 7/8 in. The potato
field – Isle of Wight Price realized GBP 50,000 Sold July 2017
3-
John Linnell (London 1792-1882) 39½ x 54¼ in Reapers at Noon June 2009 Price realized
USD 206,500+ 25% TOTAL $258,000 Dollars
John Linnell was an English engraver, and portrait and
landscape painter. He was a naturalist and a rival to the artist John
Constable. He had a taste for Northern European art of the Renaissance,
particularly Albrecht Dürer. He also associated with Edward Thomas Daniell, and
with William Blake, to whom he introduced the painter and writer Samuel Palmer
and others of the Ancients.
John Linnell was born in Bloomsbury, London on 16 June
1792., where his father was a carver and gilder. He was in contact with artists
from an early age, and by the age of ten was drawing and selling portraits in
chalk and pencil. His first art teacher was the American-born artist Benjamin
West, and he spent a year in the house of the painter John Varley, where
William Hunt and William Mulready were also pupils, and made the acquaintance
of Shelley, Godwin and others. In 1805 he was admitted to study at the Royal
Academy, where he obtained medals for drawing, modelling and sculpture. He was
trained as an engraver, and executed a transcript of Varley’s “Burial of
Saul.”
In 1808, the 16-year-old Linnell moved into the house of the
painter William Mulready, whose wife had accused him of infidelity with both
other women and boys. Linnell’s association with Mulready may have caused the
breakup of Mulready’s marriage.
In later life Linnell occupied himself with the burin,
publishing, in 1833, a series of outlines from Michelangelo’s frescoes in the
Sistine Chapel, and, in 1840, superintending the issue of a selection of plates
from the pictures in Buckingham Palace, one of them, a Titian landscape, which
he engraved in mezzotint. At first he supported himself mainly by miniature
painting and execution of larger portraits, such as the likenesses of Mulready,
Richard Whately, Peel and Thomas Carlyle. Several of his portraits he engraved
in line and mezzotint.
He painted many subjects like the “St John
Preaching,” the “Covenant of Abraham,” and the “Journey to
Emmaus,” in which, while the landscape is usually prominent the figures
are of sufficient importance to supply the title of the work. But it is mainly
in connexion with paintings of pure landscapes that his name is known. His
works commonly deal with some scene of typical uneventful English landscape,
which is made impressive by a gorgeous effect of sunrise or sunset. They are
full of true poetic feeling, and are rich and glowing in colour.
Linnell commanded large prices for his pictures, and about
1850 he purchased a property at Redhill, Surrey, where he lived till his death
on 20 January 1882, painting with unabated powers until within the last few
years of his life. He devoted himself to painting landscapes notably of the
North Downs and Kentish Weald. His leisure was occupied with a study of the
Bible in the original, and he published several pamphlets and treatises of
Biblical criticism. Linnell was one of the best friends and kindest patrons of
William Blake. He gave him the two largest commissions he received for single
series of designs—£150 for drawings and engravings of The Inventions to the
Book of Job, and a like sum for those illustrative of Dante Aligheri.
He was a friend of the painter Edward Thomas Daniell. A blue
plaque commemorates Linnell at Old Wyldes’ at North End, Hampstead. The plaque
mentions that William Blake stayed with Linnell as his guest.
Subject Terms in this art work: agriculture | animal |
clouds | corn | cutting | dog (animal) | farm | farming | farmland | fields |
gathering | harvest | hay | labor | laborers | landscape | men | reapers |
rural | study (visual work) | summer | woman | work
it’s a stunning piece to add to your special collection, add
a touch of color and charm to your home. very decorative and versatile, it can
go in a bedroom a living room , office ,
entry . or simply mounted on top of your fireplace as a focal point. The frame
is beautiful with some cracks and losses as seen in the pictures, overall good
condition. Antique Dealer West Hollywood CA Melrose Ave La Cienega Blvd. This
painting is timeless and helps you dream and relax. it can be in a traditional
décor as well as a farm, a winery , a modern house , midcentury.
A great gift idea for a house warming, it’s a Rare collector’s
painting to add to your special collection of unique beautiful happy Artwork. The
absence of a condition statement does not imply that the lot is in perfect
condition or completely free from wear and tear, imperfections or the effects
of aging. To sending your expert to create an independent Condition report , by
appointment only at la maison francaise antiques. Any condition statement given, as a courtesy
to a client, is only an opinion and should not be treated as a statement of
fact. Lamaisonfrancaise, Inc. shall have no responsibility for any error or
omission. We have many additional pictures of the back and under the blue
light. No apparent flaking or losses but
as you can see the cracks which is normal after 150 years. You are welcome to
send your experts.
