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Final Copy 2019 01 23 Kilgar This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Kilgarriff, Tessa M Title: Reproducing Celebrity Painted, Printed and Photographic Theatrical Portraiture in London, c. 1820 - 1870 General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Reproducing Celebrity: Painted, Printed and Photographic Theatrical Portraiture in London, c.1820-1870 Tessa Maria Kilgarriff History of Art School of Humanities September 2018 VOLUME 1: Text A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Doctor of Philosophy in the Faculty of Arts 72,809 Words 2 Abstract This thesis addresses the production, dissemination and reception of theatrical portraiture in London between 1820 and 1870, arguing that these painted, printed and photographic portraits function as sites upon which cultural anxieties about celebrity – in which concepts of gender and theatrical genre had a significant role – are negotiated. At its root, I argue that a thematic analysis of theatrical portraiture’s many nineteenth-century forms shows the significance of remediation and recognition for the period’s actors and artists, thus emphasising the ways in which current scholarly divisions between visual culture and theatrical culture did not exist. In this thesis I seek to redress an imbalance in the art historical study of theatrical portraiture, which has often focused on the grand manner painting of a handful of Royal Academicians, and take issue with the perception that the ‘golden age’ of theatrical portraiture ended around 1820. Chapter one analyses the business of producing theatrical portraits, and takes the professional archives of lithographers Richard James Lane and John William Gear as a lens through which to understand the demand for such images. The second chapter questions the assertion that theatrical portraiture fell from favour as a subject for public exhibition. Turning to the iconography of one performer, chapter three argues that Priscilla Horton harnessed the ubiquity of theatrical portraiture by including self-referential ‘living portraits’ in plays at her own theatre, thus exploiting her audiences’ sophisticated visual vocabulary. The fourth chapter considers how viewers engaged with theatrical portraits in serial publications and collections, such as Figaro in London, and argues for the importance of theatrical portraiture as a constituent part of the new comic graphic art of the 1830s and 1840s. The final chapter follows theatrical portraiture into the age of photography and examines the almost infinite reproducibility of the carte de visite. 3 4 Acknowledgements Firstly, I would like to express my sincere thanks to my supervisors Dr Dorothy Price and Dr Catherine Hindson for stewarding this thesis toward completion with generous enthusiasm, energy and expertise. At the National Portrait Gallery, I have been fortunate to receive support and guidance from my supervisors Robin Francis and Dr Peter Funnell, and in the later stages from Dr Alison Smith. My project has been made possible by funding from the AHRC under the Collaborative Doctoral Partnership scheme. My research has been greatly assisted by knowledgeable archivists, librarians and curators at the British Library, the British Museum, the Bristol Theatre Collection, the Garrick Club, the National Archives, New College Oxford and the Museum of London. Special thanks are also due to friends and colleagues at the National Portrait Gallery, particularly Bryony Millan, Christina Tse-Fong-Tai, Paul Cox, Charlotte Bolland, Emily Burns, Erika Ingham, Carys Lewis, Joseph Ripp, Jack Gleeson and Ruth Brimacombe. As part of my collaborative doctorate, and with the support of NPG colleagues, I had the opportunity to curate a display titled Reproducing Fame: Printmakers and the Nineteenth Century Stage (National Portrait Gallery, 27 August 2016 - 31 July 2017). The Heinz Library and Archive provided me with the ideal environment to undertake this project, and with a cohort of inspiring and supportive doctoral colleagues. Professor Roger Parker, Dr Jo Hicks, Dr Oskar Cox Jensen and Dr James Grande generously welcomed me into their ERC-funded project ‘Music in London, 1800-1851’ at King’s College London, and so provided a second intellectual home at the other end of the Strand. Thank you to audience members at the British Association for Victorian Studies Annual Conference (2016), New College, Oxford’s London Stage and the Nineteenth-Century World Conference (2016 and 2018), the Paul Mellon Centre for Studies in British Art Research Lunch 5 Series (2017) and the National Portrait Gallery’s Staff Research Seminar (2018) for providing valuable feedback on earlier drafts of this thesis. I am also grateful for the award of two international fellowships that granted me access to important archival material. In 2016, an AHRC International Placement Scheme award allowed me to spend an invaluable three months consulting essential collections material at the Yale Center for British Art as a Visiting Scholar. In 2017, the Beatrice, Benjamin, and Richard Bader Fellowship in the Visual Arts of the Theatre at the Houghton Library, Harvard University gave me the opportunity to study material in the Harvard Theatre Collection. Personal thanks are due to my parents, Cathy and Patrick, and to Ella and Milo for their endless support and confidence in me. 6 7 Author’s Declaration I declare that the work in this dissertation was carried out in accordance with the requirements of the University's Regulations and Code of Practice for Research Degree Programmes and that it has not been submitted for any other academic award. Except where indicated by specific reference in the text, the work is the candidate's own work. Work done in collaboration with, or with the assistance of, others, is indicated as such. Any views expressed in the dissertation are those of the author. SIGNED: ............................................................. DATE:.......................... 8 9 Contents Volume 1 Abstract 3 Acknowledgements 5 List of Illustrations 12 Introduction 28 Chapter 1. The Business of Theatrical Portraiture in London: 55 The Portrait Lithography of Richard James Lane and John William Gear Chapter 2. Exhibiting Theatrical Portraits at the Royal Academy and Beyond 87 Chapter 3. Portraying Priscilla Horton: Synergies between Actress and Artist 112 Chapter 4. Facing the Page: 143 Theatrical Portraits in Serial Publications and Collection Chapter 5. Almost Infinite Reproducibility: 171 Celebrity and Early Theatrical Photography Conclusion 203 Appendix 1 209 Bibliography 215 Volume 2 Illustrations 10 11 List Of Illustrations Fig 1. Richard James Lane, Charles Albert Fechter as Hamlet in 'Hamlet’, 1861, lithograph, 57.2 cm x 38.3 cm, National Portrait Gallery, London. 2. Anon after Paine of Islington, Samuel Phelps and Isabella Glyn in ‘Hamlet’, 1850, engraving after a daguerreotype by Paine of Islington, 25.7 x 18 cm, Victoria & Albert Museum, London. 3. Daniel J. Pound after John H. Fitzgibbon, George Vaughn Brooke as Hamlet, 1840, engraving after a daguerreotype by John H. Fitzgibbon, 30.6 x 23.9 cm, Victoria & Albert Museum, London. 4. Richard Doyle, A Journal Kept by Richard Doyle in the Year 1840 – View outside Delaporte’s Shop, 1885, lithograph published by Smith, Elder & Co, 28.4 x 22.4 cm, British Library, London. 5. Anon, The Print Shop Nuisance, c.1835, lithograph published by W Spooner, 29.7 x 22.0 cm, John Johnson Collection, Bodleian Library, University of Oxford. 6. George Cruickshank, Outside of a Humble Print Shop, 1828, etching, 15.5 x 22.5 cm, Victoria & Albert Museum, London. 12 7. Richard James Lane, Studies of figures, selected from the sketch books of the late Thomas Gainsborough, 1825, tinted lithograph printed by Charles Hullmandel and published by J. Dickinson, 18.3 x 15.5 cm, British Museum, London. 8. Richard James Lane, Sir Thomas Lawrence, 1830, lithograph printed by Charles Joseph Hullmandel and published by Colnaghi, Son & Co, 33 cm x 34.2 cm, National Portrait Gallery, London. 9. Richard James Lane after Alfred Edward Chalon, Giulia Grisi as Elvira; Luigi Lablache as Sir Georgio in Bellini's 'I Puritani', 1836, coloured lithograph, published by John Mitchell, 48.4 x 36.3 cm, National Portrait Gallery, London. 10. Richard James Lane after John Boaden, John Philip Kemble as Cato, 1826, lithograph, printed by Charles Hullmandel and published by J. Dickinson, 16 x 12 cm, National Portrait Gallery, London. 11. Map showing proximity of John William Gear’s premises in Wilson Street to Theatrical Print Warehouses. Map Source: Charles Booth, Maps Descriptive of London Poverty, 1898-9 12. Map showing proximity of John William Gear’s premises on the Strand to local theatres. Map Source: Charles Booth, Maps Descriptive of London Poverty, 1898-9 13. Richard James Lane, Madame Vestris as a Broom Girl, 24 November 1826, lithograph, 24 x 18.7 cm, National Portrait Gallery, London.
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