John Linnell (cabinet maker): Difference between revisions

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H. Hayward, P. Kirkham, William and John Linnell; Eighteenth Century London Furniture Makers, 2 vols., Rizolli Publications in association with Christie’s, New York, 1980

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-John Linnell, was an eighteenth-century cabinet-maker and designer (not to be confused with the painter, also [[John Linnell (painter)|John Linnell]]) who for three decades was in sole charge of one of London’s largest firms of cabinet-makers and upholsterers.
-== Linnell in Modern Literature ==
-The Linnell firm had been established in 1730 by William Linnell (c.1703–63), and was inherited by his son, John Linnell (1729–96). The firm had been largely disregarded until the 1940s, when it was discussed in [[Margaret Jourdain|Edwards and Jourdain]]’s pioneering work, ''Georgian Cabinet Makers'' (1944)(<ref> [[Margaret Jourdain|R. Edwards, M. Jourdain, Georgian Cabinet Makers]], 2nd ed., Country Life, London, 1955, pp. 75–80 </ref>).  Though Linnell’s name had never been entirely erased from the history books, his contribution to the furniture of the Georgian period had for a long time been but a faint memory. The injustice of this neglect is emphasised by Linnell’s inclusion in a list by his near-contemporary [[William Henry Pyne]] (1769–1843) of “ingenious artists whose patriotic exertions should not be left…to sink into oblivion”.
-Since the 1940s, although there has been a renewal of interest in Linnell, his rightful place alongside other Georgian cabinet-makers has yet to be achieved. The Furniture History Society, founded in England in 1964, has contributed significantly to reviving the reputations of a number of cabinet-makers’ firms, including that of Linnell. Within the pages of the Society’s journal, Patricia Anne Kirkham’s ''The Careers of William and John Linnell'' (1967)  and Helena Hayward’s ''The Drawings of John Linnell in the Victoria and Albert Museum'' (1969)  made major contributions. These efforts evolved into the publication of Helena Hayward and Pat Kirkham’s two-volume work, ''William and John Linnell: Eighteenth Century London Furniture Makers'' (1980),  which remains the only publication solely devoted to the firm. This situation, however, stands in stark contrast to the multitude of volumes devoted to celebrating, for example, the career of Linnell’s rival, [[Thomas Chippendale]] (1718–89), who was by no means a “head and shoulder above” other leading cabinet-makers such as Linnell,  but is remembered today as the “Shakespeare of English Furniture”.
-Linnell was fortunate enough to have inherited a reputable firm of cabinet-makers, established by his father.  William Linnell’s foresight and commercial awareness had a significant influence on his son’s career. This was two-fold. Firstly, William Linnell was a natural businessman who had created a successful firm with a network of wealthy patrons who could provide the opportunities for the expression of his son’s creative abilities. Secondly, William equipped his son with the perfect education for success in his field, by sending him to a reputable design school. Unlike his father, however, Linnell appears to have had a more artistic temperament, and was not particularly business-minded.  It is therefore fortunate that his inheriting of an established business and client list meant that he did not have to devote himself overly to matters of self-promotion. By contrast, this was a vital concern for contemporaries such as Chippendale, who had to strive to achieve recognition whilst establishing themselves in the marketplace. Linnell had the opportunity to foster his artistic talent within an established business, leaving behind a legacy of English furniture. <ref> Original drawings and designs by Linnell preserved at the V&A are held in five separate locations. There are 355 drawings from the Album put together by Charles Heathcote Tatham, including a few by Tatham himself and Henry Holland (E.59 to 414-1929); 214 sheets of designs for furniture, mainly mirror frames, but also including picture frames, pier-glasses, furniture, candelabra etc. dating from 1773–81 (E.3466 to 3679-1911); 60 sheets of tracings, prepared for engraving by J. H. Chance in the nineteenth-century, after drawings by Linnell (E.3680 to 3739-1911); a single design for an oval mirror that was bequeathed to the V&A (E.757-1969); and engravings by Gabriel Smith after Linnell’s designs for silver (E.800-1889). </ref>
-== Training at the St Martin's Lane Academy ==
-William Linnell sent his son, John Linnell to St Martin’s Lane Academy, where he received a more comprehensive design education than that supplied in any furniture workshop.  The school was founded by [[William Hogarth]] (1697–1764) in 1735 for the study of drawing and design; it catered predominantly for painters, engravers, architects and sculptors, and offered the best education available to a young designer.  Although contemporary sources noted that most apprentice carvers and cabinet-makers were taught to draw,  Linnell is considered one of the first of these to receive design training outside a crafts apprenticeship  and is the only cabinet-maker documented to have attended the Academy. <ref> The standard of designs produced by Thomas Chippendale, Thomas Johnson and Matthias Lock has led to the belief that they too might have studied at the St Martin’s Lane Academy or attended classes run by H. F. Gravelot, who is known to have taught at the Academy. See: C. D. Edwards, Eighteenth-Century Furniture, Manchester University Press, Manchester, 1996, p. 140. </ref>
-The crucial importance of design abilities for success in trade was stated in Robert Campbell’s The London Tradesmen (1747), where he wrote, “upon this depends the invention of new fashions, and on that…[the craftsman’s] benefits. He who first hits upon a new Whim is sure to make by the Invention before it becomes common in the Trade; but he who must always wait for a new Fashion…is never likely to grow rich or eminent in this way.”  William Linnell had therefore equipped his son with an invaluable design education at a time when innovation and knowledge of design principles were the keys to success, both in terms of status and remuneration.
-The significance of Linnell’s training at the Academy was not limited to what he learnt in classes. His presence in the St Martin’s Lane area allowed access to the colony of artists, designers, architects and craftsmen, who exchanged the latest design ideas, often gathering at [http://www.museumoflondon.org.uk/archive/exhibits/creative/artistloc/1800/1800_oldslaughters.html Old Slaughters’ Coffee House].  There was also a certain loyalty between the members of this circle, who would recommend each other for various commissions.
-Linnell appears genuinely to have enjoyed his art, and is thought to have painted in watercolour for his own pleasure.  Indeed his sketches and drawings preserved at the V&A demonstrate that he was an artist and designer of considerable talent; his lucid sketches and drawings give the impression of being effortless, exhibiting a certain freedom and fluidity, which elevates them beyond mere designs and into the realm of artistic drawings. His skill and versatility would also allow him to extend his interests into the design of interiors, or turn his hand to designs for the [[gold State Coach|State Coach]] of [[George III]], and even, later in life, prepare designs for a theatre.
-== Apprenticeship ==
-There are no known surviving records of Linnell’s training as a craftsman; he is, however, described as “an excellent carver in wood” in a list of members from the St Martin’s Lane Academy.  It may be deduced from this description that he was brought up to his father’s craft,  and this equipped him with a sound practical basis for his furniture designs. Alternatively, if Linnell bypassed the apprenticeship system, and his education was focused on design matters, he was one of the first to enter furniture-making as a professional designer rather than as a craftsman who excelled at design.  It is in any case evident that he did not follow the formal route of apprenticeship and training, as when he took out his freedom in 1758, it was by patrimony rather than by servitude. <ref> To obtain your freedom by right of patrimony is to obtain it by virtue of your father’s membership. Usually, you obtained your freedom after satisfactory completion of an apprenticeship and a prescribed time. This would commonly be after 2 years working in the craft as a journeyman. </ref>
-== John Linnell's Patrons ==
-One of Linnell's first jobs as a designer in father's firm was for the Badminton Chinese Bedroom suite for the 4th Duke of Beaufort. <ref> http://collections.vam.ac.uk/item/O11330/bed-the-badminton-bed/ Badminton Chinese Bedroom </ref>
-Another of Linnell's patrons was the Nathaniel Curzon, 1st Baron Scarsdale. Curzon commissioned Linnell at [[Kedleston Hall]] where many of Linnell's creations remain ''in situ''. <ref> http://www.nationaltrust.org.uk/main/w-kedlestonhall </ref>
-== References ==
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