Consuming Passions: Leisure and Pleasure in Victorian Britain (94 page)

70
Russell, ‘Musicians in the English Provincial City’, in Bashford and Langley,
Music and British Culture
, p. 236.

71
Cited in Ehrlich,
Music Profession in Britain
, p. 63.

72
Ibid., p. 62.

73
Russell, ‘Musicians in the English Provincial City’, in Bashford and Langley,
Music and British Culture
, p. 236.

74
Ehrlich,
Music Profession in Britain
, p. 51.

75
Cunningham,
Leisure in the Industrial Revolution
, pp. 167-8.

76
Bratton,
New Readings in Theatre History
, pp. 55, 58.

77
Warwick Wroth,
Cremorne and the Later London Gardens
(London, Elliot Stock, 1907), pp. 57, 60.

78
Altick,
Shows of London
, p. 502.

79
Cunningham,
Leisure in the Industrial Revolution
, pp. 167-8.

80
Ibid., pp. 168-9.

81
Peter Bailey, ed.,
Music Hall: The Business of Pleasure
(Milton Keynes, Open University Press, 1986), intro, p. ix; Ehrlich,
Music Profession in Britain
, p. 57.

82
John Earl, ‘Building the Halls’, in Bailey,
Music Hall
, pp. 2-4.

83
Cunningham,
Leisure in the Industrial Revolution
, p. 170.

84
Ibid., p. 170.

85
Bailey,
Music Hall
, intro, p. xi.

86
Percy Fitzgerald,
Music Hall Land
(London, Ward and Downey, 1890), p. 4.

87
H. Chance Newton,
Idols of the Halls, being my Music-hall Memories
(London, Heath Cranton, 1928), p. 59.

88
Peter Bailey, ‘George Leybourne’, in
Oxford Dictionary of National Biography.

89
V. de Frece [Vesta Tilley],
Recollections of Vesta Tilley, Lady de Frece
(London, Hutchinson and Co., 1934), p. 125.

10:
Going, Going: Art and the Market

1
Altick,
Shows of London
, p. 101.

2
Cited in Brewer,
Pleasures of the Imagination
, p. 223.

3
Cited in Jeremy Black,
The British Abroad: The Grand Tour in the Eighteenth Century
(Stroud, Alan Sutton, 1992), p. 260.

4
Ibid., p. 266.

5
Cited in Brewer,
Pleasures of the Imagination
, p. 256.

6
Robert Strange,
An Inquiry into the Rise and Establishment of the Royal Academy of Arts
(London, n.p., 1775), p. 62.

7
Saunders,
Authorship and Copyright
, p. 41.

8
Brewer,
Pleasures of the Imagination
, p. 163. John Arbuthnot and Alexander Pope,
The Memoirs of the Extraordinary Life, Works, and Discoveries of Martinus Scriblerus
(1741), ed. Charles Kerby-Miller (New Haven, Yale University Press, 1950), p. 105.

9
Cited in Brewer,
Pleasures of the Imagination
, p. 252.

10
Hudson and Luckhurst,
The Royal Society of Arts
, pp. 34-5, 39.

11
Sidney C. Hutchinson,
The History of the Royal Academy, 1768-1968
(2nd ed., London, Robert Royce, 1968), pp. 24-6, 31, 33.

12
H. C. Marillier,
Christie’s, 1766-1925
(London, Constable & Co., 1926), pp. 8, 12.

13
Brewer,
Pleasures of the Imagination
, p. 223.

14
Joshua Reynolds,
Discourses on Art
, ed. Robert R. Wark (San Marino, Cal., Huntington Library, 1959), p. 43.

15
Brewer,
Pleasures of the Imagination
, pp. 238-9.

16
Colley,
Britons
, pp. 206-7.

17
Cited in Hutchinson,
History of the Royal Academy
, pp. 37-8.

18
Ibid., p. 53.

19
Ibid.

20
Louise Lippincott, ‘Expanding on Portraiture: The Market, the Public, and the Hierarchy of Genres in Eighteenth-Century Britain’, in Bermingham and Brewer,
The Consumption of Culture
, p. 78.

21
Altick,
Shows of London
, p. 105.

22
Gilpin,
An Essay on Prints
, p. 2.

23
Brewer,
Pleasures of the Imagination
, pp. 455, 452.

24
I have relied on Sven H. A. Bruntjen,
John Boydell, 1719-1804: A Study of Art Patronage and Publishing in Georgian London
(New York, Garland, 1985),
passim
, for my account of Boydell and his gallery, except where otherwise noted.

25
Altick,
Shows of London
, p. 106.

26
Ibid., p. 108.

27
Lybbe Powys,
Diaries
, pp. 299-300.

28
Noble and Patriotic: The Beaumont Gift, 1828
(London, National Gallery, 1988), p. 8.

29
Cited in Colley,
Britons
, pp. 174-5.

30
Altick,
Shows of London
, p. 405.

31
Peter Fullerton, ‘Patronage and Pedagogy: The British Institution in the Early Nineteenth Century’,
Art History
, 5, 1 (1982), p. 60.

32
Cited in Morris Eaves,
The Counter-Arts Conspiracy: Art and Industry in the Age of Blake
(Ithaca, Cornell University Press,1992), p. 75.

33
Fullerton, ‘Patronage and Pedagogy’,
Art History
, 5, 1 (1982), pp. 67.

34
Colley,
Britons
, p. 176.

35
Ibid.

36
Walpole, 14 February 1753,
Letters of Horace Walpole, Earl of Orford, to Sir Horace Mann
, (London, Richard Bentley, 1833), vol. III, p. 32.

37
Marjorie Caygill and Christopher Date,
Building the British Museum
(London, British Museum Press, 1999), p. 13.

38
Kenneth Hudson,
A Social History of Museums: What the Visitors Thought
(London, Macmillan, 1975), pp. 9-10.

39
William Hutton,
A Journey to London
(2nd ed., London, n.p., 1818), pp. 112-16.

40
I have not made this up. The catalogue is reproduced in
Chambers Book of Days, A Miscellany of Popular Antiquity
, ed. R. Chambers (Edinburgh and London, W. & R. Chambers, [1866?]) p. 608.

41
Altick,
Shows of London
, p. 440.

42
Caygill and Date,
Building the British Museum
, pp. 15-16.

43
Altick,
Shows of London
, p. 429.

44
Cited in Edward Miller,
That Noble Cabinet: A History of the British Museum
(London, André Deutsch, 1973), p. 26.

45
Cited in Hudson and Luckhurst,
The Royal Society of Arts
, pp. 34-5.

46
Cited in Altick,
Shows of London
, p. 406.

47
St Clair,
Reading Nation
, pp. 194-5.

48
Cited in Fawcett,
Rise of English Provincial Art
, p. 5.

49
Cited in Black,
On Exhibit
, p. 105.

50
Ibid., p. 3.

51
Ibid., p. 5.

52
Cited in
Noble and Patriotic
, p. 10.

53
Cited in Charlotte Klonk, ‘The National Gallery in London and its Public’, in Berg and Clifford,
Consumers and Luxury
, pp. 228-9.

54
Ibid., p. 11.

55
Janet Minihan,
The Nationalization of Culture: The Development of State Subsidies to the Arts in Great Britain
(New York, New York University Press, 1977), pp. 23-4.

56
‘Report from the Select Committee on the Arts, and their Connection with Manufacturers’,
Reports
, House of Commons, 1836, 19.1, 10.1.

57
Klonk, ‘The National Gallery’, in Berg and Clifford,
Consumers and Luxury
, p. 234.

58
Select Committee on the Arts, 108.

59
Altick,
Shows of London
, pp. 444-5.

60
Carol Duncan, ‘Putting the “Nation” in London’s National Gallery’, in Gwendolyn Wright, ed.,
The Formation of National Collections of Art and Archaeology
, Studies in the History of Art, 47, Center for Advanced Study in the Visual Arts, Symposium Papers 27 (Washington, DC, National Gallery of Art, 1996), pp. 108-9.

61
Charles Holmes and C. H. Collins Baker,
The Making of the National Gallery, 1824-1924
(London, The National Gallery, 1924), pp. 24-5.

62
David Robertson, ‘Sir Charles Lock Eastlake’, in
Oxford Dictionary of National Biography.

63
Altick,
Shows of London
, pp. 454, 467; and Klonk, ‘The National Gallery’, in Berg and Clifford,
Consumers and Luxury
, p. 237.

64
Sir Henry Cole,
Fifty Years of Public Work of Sir Henry Cole, accounted for in his deeds, speeches and writings
([London], Bell, 1884), vol. 2, p. 368.

65
Cited in Tony Bennett,
The Birth of the Museum: History, Theory, Politics
(London, Routledge, 1995), p. 71.

66
[Henry Cole], ‘Public Galleries and Irresponsible Boards’,
Edinburgh Review
, 251 ( January 1866), p. 69.

67
Cited in Black,
On Exhibit
, p. 101.

68
Ibid., pp. 32-3, 200.

69
Fawcett,
Rise of English Provincial Art
, pp. 1, 113, 168-9, 184-5.

70
Seed, “‘Commerce and the Liberal Arts”’, in Wolff and Seed,
Culture of Capital
, pp. 47, 65.

71
Altick,
Shows of London
, p. 405; Klonk, ‘The National Gallery’, in Berg and Clifford,
Consumers and Luxury
, p. 231.

72
Cited in Macleod,
Art and the Victorian Middle Class
, pp. 96-7.

73
Seed, “‘Commerce and the Liberal Arts”’, in Wolff and Seed,
Culture of Capital
, pp. 69-70; Macleod,
Art and the Victorian Middle Class
, p. 98.

74
Brendon,
Thomas Cook
, p. 64.

75
Cited in Macleod,
Art and the Victorian Middle Class
, pp. 101-4.

76
Brewer,
Pleasures of the Imagination
, p. 202.

77
Louise Lippincott,
Selling Art in Georgian London: The Rise of Arthur Pond
(London, Yale University Press, 1983), pp. 31, 38, 50, 56, 132-4, 142.

78
Goldsmith,
The Vicar of Wakefield
, p. 130.

79
Gerald Reitlinger,
The Economics of Taste
, vol. 1:
The Rise and Fall of Picture Prices, 1760-1960
(London, Barrie & Rockliff, 1961), pp. 30-31.

80
Macleod,
Art and the Victorian Middle Class
, p. 40.

81
Ibid., p. 232.

82
Cited in Fawcett,
Rise of English Provincial Art
, p. 151.

83
Seed, “‘Commerce and the Liberal Arts”’, in Wolff and Seed,
Culture of Capital
, pp. 52-4.

84
Macleod,
Art and the Victorian Middle Class
, p. 234.

85
Jeremy Maas,
Gambart, Prince of the Victorian Art World
(London, Barrie & Jenkins, 1975), pp. 22, 31, 39.

86
Ibid., pp. 38, 39.

87
Ibid., pp. 30, 99.

88
Altick,
Shows of London
, p. 412.

89
Macleod,
Art and the Victorian Middle Class
, p. 239.

90
Ibid., pp. 310-11.

91
Linda Merrill, ‘Charles Augustus Howell’, in
Oxford Dictionary of National Biography.

92
Punch
, 21 July 1888, p. 30.

93
Julie F. Codell, ‘Marion Harry Spielmann and the Role of the Press in the Professionalization of Artists’,
Victorian Periodicals Review
, 22, 1 (1989), pp. 7-13.

11:
Sporting Life

1
Peter Gaskell,
The Moral and Physical Condition of the Manufacturing Population
. . . (London, John W. Parker, 1836), pp. 181, 248.

2
Samuel Bamford,
The Autobiography of Samuel Bamford
, ed. W. H. Chaloner (London, Frank Cass & Co., 1967), vol. 1, pp. 137ff.

3
Dennis Brailsford,
A Taste for Diversions: Sport in Georgian England
(Cambridge, Lutterworth Press, 1999), pp. 15ff.

4
Ibid., pp. 23, 20-21.

5
Bamford,
Autobiography
, vol. 1, p. 141.

6
Brailsford,
A Taste for Diversions
, p. 187.

7
Ibid., pp. 24-5.

8
Borsay,
English Urban Renaissance
, p. 186.

9
Ibid., pp. 185, 181.

10
Brailsford,
A Taste for Diversions
, p. 25.

11
Borsay,
English Urban Renaissance
, pp. 218-19.

12
Ibid., p. 192.

13
Lybbe Powys,
Diaries
, pp. 24-5.

14
Ibid., pp. 134-5.

15
Cited in Borsay,
English Urban Renaissance
, p. 183.

16
Ibid., pp. 303-4.

17
Roger Longrigg,
The History of Horse Racing
(London, Macmillan, 1972), pp. 91-2.

Other books

The Versions of Us by Laura Barnett
Beyond the Pale by Mark Anthony
Angels in the Snow by Melody Carlson
Attracted to Fire by DiAnn Mills
Bella Poldark by Winston Graham


readsbookonline.com Copyright 2016 - 2024