John William Inchbold
1830-1888 English painter. He spent his early years in Leeds, where his father was a newspaper proprietor, but came to London around 1846 to study lithography in the firm of Day & Haghe. His obituary in The Athenaeum records that he went on to study at the Royal Academy Schools, but his name does not appear in the registers. He exhibited watercolours at the Society of British Artists in 1849 and 1850 and at the Royal Academy in 1851. At this period his work has a fluidity and a freedom of handling that is closer to Richard Parkes Bonington than to the prevailing style of Victorian watercolours. Around 1852 he came under the influence of the Pre-Raphaelite movement and radically altered his style. His oil painting of the Chapel, Bolton (exh. RA 1853; Northampton, Cent. Mus. & A.G.) is a meticulously rendered view of the abbey ruins in the Pre-Raphaelite manner. This was followed the next year by At Bolton (Leeds, C.A.G.), another view of Bolton Abbey, this time with a deer prominent in the foreground. Both paintings illustrate lines from William Wordsworth's poem 'The White Doe of Ryleston'. Wordsworth was also the inspiration for the small painting Study in March
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John William Inchbold Vew above MOntreux (mk46) oil painting


Vew above MOntreux (mk46)
1880 Watercolour 30.8x50.3cm London,Victoria and Albert Museum
Painting ID::  26020 		John William Inchbold
Vew above MOntreux (mk46)
1880 Watercolour 30.8x50.3cm London,Victoria and Albert Museum
   
   
     
John William Inchbold The Lake of Lucerne,Mont Pilatus in the Distance oil painting


The Lake of Lucerne,Mont Pilatus in the Distance
1857 Oil on wood 35.5 x 48.8 cm (14 x 19 1/4 in)Victoria and Albert Museum London (mk63)
Painting ID::  27963 		John William Inchbold
The Lake of Lucerne,Mont Pilatus in the Distance
1857 Oil on wood 35.5 x 48.8 cm (14 x 19 1/4 in)Victoria and Albert Museum London (mk63)
   
   
     
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     John William Inchbold
     1830-1888 English painter. He spent his early years in Leeds, where his father was a newspaper proprietor, but came to London around 1846 to study lithography in the firm of Day & Haghe. His obituary in The Athenaeum records that he went on to study at the Royal Academy Schools, but his name does not appear in the registers. He exhibited watercolours at the Society of British Artists in 1849 and 1850 and at the Royal Academy in 1851. At this period his work has a fluidity and a freedom of handling that is closer to Richard Parkes Bonington than to the prevailing style of Victorian watercolours. Around 1852 he came under the influence of the Pre-Raphaelite movement and radically altered his style. His oil painting of the Chapel, Bolton (exh. RA 1853; Northampton, Cent. Mus. & A.G.) is a meticulously rendered view of the abbey ruins in the Pre-Raphaelite manner. This was followed the next year by At Bolton (Leeds, C.A.G.), another view of Bolton Abbey, this time with a deer prominent in the foreground. Both paintings illustrate lines from William Wordsworth's poem 'The White Doe of Ryleston'. Wordsworth was also the inspiration for the small painting Study in March

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