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Industry and the Ideal

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Industry and the Ideal INDUSTRY AND THE IDEAL Ideal Sculpture and reproduction at the early International Exhibitions TWO VOLUMES VOLUME 1 GABRIEL WILLIAMS PhD University of York History of Art September 2014 ABSTRACT This thesis considers a period when ideal sculptures were increasingly reproduced by new technologies, different materials and by various artists or manufacturers and for new markets. Ideal sculptures increasingly represented links between sculptors’ workshops and the realm of modern industry beyond them. Ideal sculpture criticism was meanwhile greatly expanded by industrial and international exhibitions, exemplified by the Great Exhibition of 1851, where the reproduction of sculpture and its links with industry formed both the subject and form of that discourse. This thesis considers how ideal sculpture and its discourses reflected, incorporated and were mediated by this new environment of reproduction and industrial display. In particular, it concentrates on how and where sculptors and their critics drew the line between the sculptors’ creative authorship and reproductive skill, in a situation in which reproduction of various kinds utterly permeated the production and display of sculpture. To highlight the complex and multifaceted ways in which reproduction was implicated in ideal sculpture and its discourse, the thesis revolves around three central case studies of sculptors whose work acquired especial prominence at the Great Exhibition and other exhibitions that followed it. These sculptors are John Bell (1811-1895), Raffaele Monti (1818-1881) and Hiram Powers (1805-1873). Each case shows how the link between ideal sculpture and industrial display provided sculptors with new opportunities to raise the profile of their art, but also new challenges for describing and thinking about sculpture. 2 TABLE OF CONTENTS Volume 1 Abstract………………………………………………………………………………………..2 List of illustrations…………………………………………………………………………….4 Acknowledgements…..………………………………………………………………………12 Author’s Declaration…………………………………………………………………………13 Introduction…………………………………………………………………………………..14 Chapter 1: John Bell, Industry and Ideal Sculpture…………………………………………..55 I. Industrial exhibition………………………………………………………………..56 II. The art of form…………………………………………………………………….81 III. The lines connecting the arts……………………………………………………..99 Chapter 2: Raffaele Monti, the Ideal and ‘Tricks of the Chisel’…………………………....108 I. Monti’s Veiled Sculpture…………………………………………………………110 II. Scholarship on The Sleep of Sorrow and Monti’s anti-idealism………………....130 II. The veil in the press……………………………………………………………...137 Chapter 3: Hiram Powers, Reproduction and Fame………………………………………...161 I. Introduction to Powers’s work……………………………………………………162 II. Contemporary criticism of Powers’s sculpture…………………………………..170 III. Reproduction and re-narration in Powers’s practice……………………………180 IV. Reproduction in display and dissemination…………………………………….190 Conclusion…………………………………………………………………………………..210 Volume 2 Bibliography of works cited…………………………………………………………………3 Illustrations………………………………………………………………………………….28 3 LIST OF ILLUSTRATIONS 1. John Bell, The Eagle Slayer, 1837-1844, marble, private collection. 2. John Bell, Dorothea, 1839, marble, Bowood House, Wiltshire. 3. Copeland and Garrett after John Gibson, Narcissus, Parian, V&A. 4. Edward William Wyon after John Bell, The Eagle Slayer, 1846, bronze, V&A. 5. John Henry Foley, Youth at a Stream, 1847, bronze. 6. John Bell, Una and the Lion, 1847, plaster, photographed at the Crystal Palace, Sydenham. 7. Minton after John Bell, Una and the Lion, 1847, Parian, V&A. 8. Claude Marie Ferrier, Cast-Iron gates manufactured by Coalbookdale Company, as seen at the Great Exhibition of the Works of All Nations, salted paper print from albumen on glass negative, 1851. 9. John Bell and Coalbrookdale, Cupid and Swan fountain, 1851, cast iron, Museum of Iron, Ironbridge. 10. Ground plan of the Great Exhibition, 1851, with location of Coalbrookdale castings 11. John Bell and Coalbrookdale, The Eagle Slayer, 1851, bronze, Hole Park gardens, Kent. 12. John Bell and Coalbrookdale, The Eagle Slayer, 1851, cast iron, V&A Museum of Childhood. 13. “Specimens of ornamental Structure in cast iron. Coalbrookdale Company,” wood engraving, 1851, Official Descriptive and Illustrative Catalogue: Great Exhibition of the Works of Industry of all Nations. Near page 658. 14. Claude Marie Ferrier, View of the western nave in the Crystal Palace, during the Great Exhibition, 1851, salted paper print from albumen on glass negative, Leiden Print Room, Rijksmuseum. The large structure in the centre of the image is Coalbrookdale’s iron canopy. 15. Charles Thurston Thompson, Photograph of the Paris Universal Exhibition nave, 1855, albumen print, V&A. 16. Charles Thurston Thompson, Photograph of the Paris Universal Exhibition nave (detail showing the Eagle Slayer by Bell and Coalbrookdale), 1855, albumen print, V&A. 4 17. Charles Thurston Thompson, View of the Brompton Boilers, South Kensington, with the iron Eagle Slayer outside, c. 1856, albumen print, in Bilbey and Trusted, British Sculpture 1470-2000, xiii. 18. Charles Thurston Thompson, View of the Brompton Boilers, South Kensington, with the iron Eagle Slayer outside (detail), c.1856, albumen print, in Bilbey and Trusted, British Sculpture 1470-2000, xiii. 19. London Stereoscopic Company, View of the eastern nave of the International Exhibition building, 1862, photographic print, London Stereoscopic Company collection, Getty archive. 20. London Stereoscopic Company, View of the eastern nave of the International Exhibition building (detail showing Bell’s marble Eagle Slayer), 1862, photographic print, London Stereoscopic Company collection, Getty archive. 21. John Bell, Eagle Slayer, plaster, photographed at the Crystal Palace Sydenham. 22. Coalbrookdale stand at Kensington Olympia Exhibition, 1887, photograph. 23. Coalbrookdale stand at Kensington Olympia Exhibition, 1887, photograph. 24. “Eagle-Slayer. (John Bell),” 1883, wood engraving in Gosse, “Living British Sculptors”. 25. Karl Friedrich Schinkel, Christian Daniel Rauch, Christian Friedrich Tieck, Ludwig Wilhelm Wichmann et al., Kreuzberg monument, 1818-26, cast iron, Berlin. 26. Coalbrookdale after John Bell, The Eagle Slayer, cast iron, Museum of Iron, Ironbridge. 27. Edward William Wyon after John Bell, The Eagle Slayer, 1846, bronze, V&A. 28. Edward William Wyon after John Bell, The Eagle Slayer (detail), 1846, bronze, V&A. 29. Elkington, Mason & Co. after John Bell, Eve’s Hesitation, c. 1853, bronze electrotype, V&A. 30. Minton after John Bell, Dorothea, Celadon and white Parian. 31. Minton after John Bell, Dorothea, blue and white Parian. 32. Minton after John Bell, Lalage, Celadon and white Parian. 33. Minton after John Bell, Lalage, blue and white Parian. 34. Charles Thurston Thompson, Photograph of prizewinner’s stand at the Paris International Exhibition (detail showing the Dorothea by Elkington and Bell, 1855, albumen print, V&A. 5 35. Charles Thurston Thompson, Photograph of Elkington casts, including Daughter of Eve after John Bell, on the prizewinners’ stand at the Paris International Exhibition (detail), 1855, albumen print, V&A. 36. John Bell and Elkingon, Mason & Co., Daughter of Eve, 1853-5, bronze electrotype, Cragside House, Northumberland. 37. John Bell and Elkingon, Mason & Co., Daughter of Eve, 1853-5, bronze electrotype, Cragside House, Northumberland. 38. John Tenniel, “The Virginian Slave, intended as a companion to the ‘Greek Slave’” Punch, 1851, 236. 39. John Bell and Minton, The American Slave, 1861, Parian. 40. Minton after John Bell, The Abyssinian Slave, c. 1868, Parian. 41. Scipio Tadolini, Slave Girl, 1875, marble. 42. Jen Adolf Jerichau, Slave Girl, 1852, plaster, Ny Carlsberg Glyptotek, Copenhagen. 43. Claude Marie Ferrier, Cast-Iron vases. Royal Prussian Foundry., 1851, salted paper print from albumen on glass negative, Leiden print room, Rijksmuseum. 44. Claude Marie Ferrier, Hunter and Panther. (Plaster) Jerichau, 1851, salted paper print from albumen on glass negative, Leiden print room, Rijksmuseum. 45. Claude Marie Ferrier, The Eagle Slayer. (Bronze) Bell, 1851, salted paper print from albumen on glass negative, 1851, Leiden print room, Rijksmuseum. 46. Coalbrookdale after John Bell, David Slinging, c. 1850 (modelled 1838), cast iron, Museum of Iron, Ironbridge. 47. John Bell and Coalbrookdale, The Eagle Slayer, 1851, cast iron, V&A Museum of Childhood. 48. John Bell and Coalbrookdale, The Eagle Slayer, 1850, cast iron, V&A Museum of Childhood. 49. The Greek Court at the Crystal Palace Sydenham, c. 1854-6, photograph. 50. London Stereoscopic Company, Gibson’s Tinted Venus in Owen Jones’s display construction at the International Exhibition, 1862, photograph. 51. Photograph of the Grande Galerie de Sculpture and the Paris International Exhibition, 1855, in Trapp, “The Universal Exhibition of 1855,” 304. 52. Charles Thurston Thompson, Photograph of the Paris Universal Exhibition nave, 1855, albumen print, V&A. 53. Charles Simart, Athena Parthenos in the Palais des Beaux Arts, 1855. 6 54. Charles Cordier, African Venus, 1852, bronze cast by Eck and Durand, Walters Museum, Baltimore. 55. London Stereoscopic Company, The British section of the Picture Gallery, 1862, London Stereoscopic Company collection, Getty archive. In draped ‘niches’ to the left and right are Weekes’ Sardanapalus and Theed’s Bard; Macdowell’s Reading Girl and Bell’s Dorothea are in the left and right foreground. 56. Antique, Cupid and Psyche, marble, Capitoline Museum. 57. Barbedienne
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