Although the interest in classical antiquity in England increased
during the mid-18th century, the interest in rococo designed
pieces continued to be fashionable and it is here where Linnell’s
own creative ideas, along with the inspiration of ornamental
engravings and the influence of his contemporaries and the
leading architects of the day allowed him to produce designs
of choice, which furthermore contributed towards his evolving
style.
His many drawings in pen, ink and colour wash, of Rococo
and Neoclassical designs are now in the Victoria and Albert
Museum, London.
John Linnell, (1729 – 1796), was the eldest son of William
Linnell (b.
c. 1703–d. 1763) and whilst described as being a
cabinet maker, upholsterer and carver, he also studied at St
Martin’s Lane Academy, which enabled him to work alongside
his father as a designer of interiors and furnitur
His studies
concentrated on the Rococo design of the French style and the
ornamental engravings of Jean Berain, Daniel Marot, Nicholas
Pineau and Juste Aurele Meissonier and possibly also the
drawings by Francis Barlow for Aesop’s Fables.
Fig.
1. Drawing from a volume of designs for furniture,
interior decoration and architectural fittings, by John
Linnell
Pencil, pen and wash, late 18th Century
© Victoria and Albert Museum, London.
By 1749, the family business was rapidly growing and the
premises moved from Long Acre Street in St.
Martin’s Lane,
to 28 Berkley Square.
They produced designs and furniture for
stately homes, amongst others, Kedleston Hall, Osterley Park,
Syon House, Alnwick Castle, Woburn Abbey, Bowood House,
Landsdowne House, Badminton House and Stowe and whilst
the names of the many clients are known, there are not many
detailed recorded commissions.
These beautifully carved pier mirrors at once embrace the
ornament of the French rococo with the form of the emerg ing
fashion for the classical.
They fit into what has become kno wn
as the creative and individual design style of John Linnell- hi
Transitional period of circa 1760
The design of these mirro rs
thus incorporates the traditional Rococo decorative motifs of
the interlocking ‘C’ scrolls, the use of chinoiserie motifs lik e
the Ho-Ho bird, icicles, pagoda platforms upon which porc elain
could be displayed, scrolling foliage and cartouches, all
alongside his interpretation of the emerging contemporary and
more symmetrical and restrained form influenced by antiq uity.
For John Linnell designs showing this synergy between the two
styles and reflecting the elements seen on the present pair of
mirrors, see:
- An original drawing of a design for a pier glass with a
very similar profile, with multiple plates, platforms at the
shoulders and similar intertwining foliage and icicles.
After John Linnell’s death the firm closed, but the legacy
continued through Thomas Tatham, the younger brother of
the architect, Charles Heathcote Tatham and son of John
Linnell’s cousin.
Thomas Tatham had been trained by John
Linnell and after settling the Linnell estate, founded his own
firm, Tatham & Bailey.
THE EARLS OF MACCLESFIELD
Very little is known of the interior at Shirburn Castle, a moated
castle located at the village of Shirburn, near Watlington in
Oxfordshire.
Shirburn became the family seat of the Earl’s of
Macclesfield in 1716 when the castle was acquired by Thomas
Parker (1666–1732), 1st Earl of Macclesfield and subsequently
Lord Chancellor of England from 1718 to 1725.
The reason
that there is not much recorded information available on the
interiors of the castle is mainly due to the fact that very few
visitors and scholars were allowed access to the inside of
the castle and so it appears that Shirburn Castle has never
been studied in detail.
The Earls of Macclesfield remained in
residence until 2004.
It is probable that the present pair of
mirrors were acquired for the London residence at no.
11 St.
James’s Square and later moved to Shirburn Castle.
According
to an entry in the British History online survey of London, no.
11 St.
James’s Square was sold by the widow of the Earl of
Macclesfield in 1766, but with no mention made of which Earl
this is alluding to.
However, both the second and third Earls of
Macclesfield were known as key intellectual figures and patrons
of the arts and sciences, with the 2nd Earl credited with forming
the majority of the collection.
(V &A E.
202-1929), (Fig.
1.)
- An original drawing of a design for a pier glass which has
a similarly broken swan-neck pedimented top with similar
corners and multiple plates, the lower plate centred by a
cartouche, however lacking the beautiful embellishment se en
within the cartouche on the present mirrors.
(V&A E.
218-1 929).
- An original drawing of a design for a pier glass, the upper
section similar to the present mirror, surmounted by a car ved
Ho bird flanked by corner platforms (V&A E 185-1929).
- A pair of mirrors attributed to John Linnell, with similar pr ofile
and similar platforms at shoulders, icicles and ‘C’ scrolls, b ut
without cresting and Ho bird, sold Sotheby’s, London, 1 9
July 2019, Recollections of Places Past, Property from the
Estate of Sir John and Lady Smith, lot 27.
80