John Linnell

Hanging in the artist's studio from 1818, where retouched and finished, 1838;
Sir Thomas Baring, 2nd Bt (1772–1848), by whom purchased at the private view of the British Institution exhibition, 1839, for 150 guineas;
Exchanged by Sir Thomas Baring for Linnell's 'Flight into Egypt', and returned to Linnell, May 1841;
Mr Birch, by 1850 (according to an annotation in The Artist's Sketchbook);
R. Newsham, by 1862;
Mr and Mrs Grove, by 1875;
Anonymous sale, London, Bonhams, 29 October 2008, lot 102.

London, Spring Gardens Gallery, Exhibition of the Society of Painters in Oil and Water Colours: the fourteenth, 1818;
London, British Institution, January 1839, no. 226;
London, South Kensington, International Exhibition, 1 May – 1 November 1862, no. 416;
London, Royal Academy, Exhibition of the works of the old masters, 1 January – 10 March 1883, no. 39 (as dated 1828–33).

The Artist's Sketchbook, p. 25;
A.T. Story, The Life of John Linnell, London 1892, vol. I, pp. 57, 113, 124, 128, 213, 215 and 268, and vol. II, p. 262;
D. Linnell, Blake, Palmer, Linnell & Co. The Life of John Linnell, Lewes 1994, pp. 51, 175, 190, 192, 221, 337, 358 and 404.

The canvas is lined, the paint surface is relatively clean and the varnish is clear and even. There is some evidence of slight wear in some of the darks in the landscape. Inspection under ultraviolet light reveals two campaigns of restoration, older and more recent, comprising scattered retouchings and strengthenings, but no major intervention. In overall very good condition. Offered in a carved and moulded gilt wood frame in very good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This work is Linnell's very first religious painting, of which he would come to paint many. He began preliminary sketches for it on Christmas Day, 1817, but the painting remained unfinished until his friend, E.T. Daniell, persuaded him to finish it and find a frame so as to exhibit it at the British Institution. In a letter to Samuel Palmer, 8 March 1839, Linnell describes the work's reception there as: '...very well spoken of by the press [...] a compliment, as I have always rather shunned them.'¹ 

Though the date is now difficult to distinguish, it is recorded as reading '1828–33.' This and the signature were added in as late as 1875 – Linnell retrospectively signed and dated several of his early works for owners and dealers in reaction to the numerous copies and fakes that came to light later in his career.²

1. See Linnell 1994, p. 192.
2. See Linnell 1994, pp. 337–38.