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.