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Manufacturing Landscape: the Representation of Suburbs, Birmingham 1780-C.1850

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Manufacturing Landscape: the Representation of Suburbs, Birmingham 1780-C.1850 MANUFACTURING LANDSCAPE: THE REPRESENTATION OF SUBURBS, BIRMINGHAM 1780-C.1850 By LIN CHANG SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF HISTORY OF ART UNIVERSITY COLLEGE LONDON DECEMBER 2010 ABSTRACT This thesis explores how suburbs during the British Industrialisation (1780-1850) were represented. ‘Industrialisation’ is well researched in many disciplines. In history of art, the landscape imageries produced during this period are usually categorised and approached as rural/natural landscape painting and (urban) topographic views. However, the categorisation could overlook the representation of the place in between: the suburb. This thesis therefore views the suburb in terms of the impact of industrialisation on the form and the extent of the city, and thus regards the suburb not only as a modern, middle-class and residential district we are familiar with today, but also as the developing edge not only of a built environment but also of a linked set of social and economic changes. The main case study is Birmingham. Birmingham developed from a small provincial settlement into the manufacturing centre of the country between 1780 and 1850. How to perceive, recognise, and represent the suburb made as a result of this rapid urban growth and industrialisation posed a challenge for local artists. This thesis focuses on nearly a hundred topographic views they produced, and argue that these pictures represent the idea of suburb. I will analyse the pictures in a semiotics way. Chapter one begins with the imagery of the town and explores the difficulty of representing the (industrial) suburb. Chapter two continues to investigate the representation of suburb through imageries of Nature. Chapter three focuses on the topographic view tradition of the town. Chapter four argues that the imagery of the suburb represents a modern life in it. Chapter five explores how the periphery of the town was developed for residential purposes and how this process might be represented in pictures. ACKNOWLEDGEMENTS I thank my supervisor, Tom Gretton, for his endless advice, interest, patience, support, and confidence in my doing this challenging research topic. I also thank Andrew Hemingway, my second supervisor, for guiding me with his brilliants insights and warm encouragement. I also thank Birmingham Museums and Art Gallery, especially Jo-ann Curtis, Victoria Osborne, and Tom Heaven, and Birmingham Central Library for providing access to, knowledge of, and permission to take photos of their collection to conduct this research. Jo-ann in particular provided me with the most direct assistance when I worked in the archive with her throughout the past four years. I should also thank all the Birmingham friends and scholars whose conversation with me over the city helped me shape a clearer idea of its environment, history, and art, including Barbara, Chris and his dad, and Richard Clay, Malcolm Dick, David Hemsoll, Shena Mason, and Connie Wan. Back in London, I would like to thank my department and college for providing PhD students with such a resourceful, liberal, and supportive environment and academic network in Bloomsbury. I am also thankful to UCL Graduate School for being so generous in offering a hand to research students, from funding to training courses. I would also like to thank my English teachers who taught me how to polish my academic English, especially Claire who read through my chapters. In addition, library is essential for this research and I am grateful for the resources provided by UCL libraries, Senate House Library, British Library, and Birmingham Central Library. I spent the final months of this degree writing in the University of Bath Library, and in the libraries at University of California, Santa Barbara thanks to the affiliation provided by Prof. Ann Bermingham. Financially, I shall first thank National Science Council, Taiwan for providing a major fund through its Taiwan Merit Scholarship Program (TMS; ref. no NSC-095-SAF-I- 564-057-TMS). Before the TMS became available in 2008, I relied on the money from my family, Uncle Yi-Ren Wang, and Aunt Tina Mao; I am deeply grateful to them. I also received kind financial support from our departmental research studentship, William Blake Bursary, and the conference fund from the Taipei Representative Office in London. This thankful list is not complete without mentioning my friends and family: I thank all my friends in Taiwan, UK, and many other places around the world for their hearty friendship and spiritual support that saw me through in the past four years. Mum, Dad, and sister unfailingly gave me their love and support; I am deeply grateful to them. Grandma, Grandpa, and Lily (my dog) did not live long enough to see me complete the degree, which is impossible without their love. My beloved Shih-chieh became my husband in the midst of this research and gave me his greatest love and support during and beyond this degree; I really thank him. TABLE OF CONTENT Abstract Acknowledgements Table of Content (in this page) page number List of Figures a-f Introduction 1-45 Chapter One The Iconography of the Suburb: a Struggle in Vision 46-77 Chapter Two The Suburb as a Specific Place: Aston, and its Visual Representation 78-108 Chapter Three Birmingham Topographic-view Tradition and Practice: the circle of the Barber and the Lines Families 109-145 Chapter Four Modern Life and the Suburb 146-188 Chapter Five Country House Views as Representation of the Suburb: the New Moneyed Class and the Old Landed Class 189-222 Conclusion 223-236 Figures no page number Bibliography i-xi LIST OF FIGURES Figures for Introduction Fig. 1-1 George Cruikshank, London Going out of Town (The March of the Bricks and Mortar), 1829. Engraving. British Museum. Fig.1-2 Philip James de Loutherbourg, Coalbrookdale by Night, 1801. Oil on canvas, 68 x 106.5 cm. The Sicence Museum, London Fig.1-3 J. M. W. Turner, Leeds, 1816. Watercolour, pen and ink on paper, 29.2 x 43.2 cm. Yale Center for British Art Fig. 1-4 J. M. W. Turner, Dudley, c.1832. Watercolour and bodycolour on paper, 28.8 x 43 cm. Lady Lever Art Gallery, Liverpool Fig. 1-5 J. M. W. Turner, View of London from Greenwich, 1825. Waterlour and gouache over graphite. 21.3 x 28 cm. The Metropolitan Museum of Art, New York Fig. 1-6 Maps and Plans of Birmingham a. Samuel and Nathaniel Buck, The South West Prospect of Birmingham (detail), 1731. Pencil, pen, ink and grey wash on paper, 27 x 55 cm. BMAG b. Samuel Bradford (surveyor), Thoms Jefferys (engraver), Plan of Birmingahm, 1750. (This image scanned from P. Line, Birmingham: a New History in Maps, Stroud, 2009) c. Thomas Hanson (surveyor), Plan of Birmingahm, 1778. (This image scanned from P. Line, Birmingham: a New History in Maps, Stroud, 2009) d. James Drake (publisher), A New Map of Birmingham: Exhibiting its Present State and Progressive Increase, 1825. Archive and Heritage Services, BCL e. Robert K. Dawson (surveyor), Birmingham from the Ordnance Survey, 1831. (This image scanned from P. Line, Birmingham: a New History in Maps, Stroud, 2009) f. Panoramic View of Birmingham, c.1848 (published by Ackermann & Co, London). Engraving. 41.9 x 70.4 cm. BMAG (1969P7) Figures for Chapter One Fig. 1-11 David Cox, High Street, Birmingham, 1825-27, Pencil on Paper. 20.5 x 27.7 cm. BMAG (1984P45) Fig. 1-12 David Cox, High Street Market, Birmingham, 1826-27. Pen and ink and brown wash on paper. 17.8 x 23 cm. BMAG (1978P25) Fig. 1-13 David Cox, The High Street Market, Birmingham (engraver: William Radclyffe), 1827. Steel Engraving (proof), image: 16.2 x 23.9 cm. BMAG (1911P203) Fig. 1-14a, b, and c Details of Figs. 1-11, 1-12, and 1-13. Fig. 1-15 Thomas Hollins (drawer), A View of High Street, Birmingham, Copied from a Large Print published in 1812 (engraver unknown), year unknown [after July 1st 1812].White Chalk on Engraving, approx. 18.3 x 23.5 cm. BMAG (1996V146.53) Fig. 1-16 Thomas Hollins, A View of High Street, Birmingham (aquatint by J. C. Stadler), year unknown [after July 1st 1812]. Aquatint, approx. 14x 19 cm. BMAG (1988V1518) Fig. 1-17 Author unknown (probably kinsman to Thomas Hollins), High Street, Birmingham, 1826. a Oil on panel. BMAG (1968P48) Fig. 1-18 a. Author unknown, Japanned Tray-View of the Bull Ring, Birmingham - View of High Street, Birmingham, 1830-40, Japanned Iron. 56 x 80cm. BMAG (1942F83) b. Author unknown, Japanned Tray-View of the Bull Ring, Birmingham - View of High Street, Birmingham, c.1815-35, Painted and Japanned Iron. 56 x 78cm. BMAG (1937F394) Fig. 1-19 Graphic board installed on the railing of Nelson’s statue. Photo by Lin Chang 05/07/2009. Fig. 1-20 Seven prints collected in volume three, Wilkinson collection, BMAG a. 1996V146.55 b. 1996V146.56 c. 1996V146.57 d. 1996V146.58 e. 1996V146.60 f. 1996V146.61 g. 1996V146.62 Fig. 1-21 J. M. W. Turner (printer and publisher: John walker and John Storer), Prospect of Birmingham, 1795-11-02. Hand-coloured Engraving, 18.5 x 25 cm. BMAG Fig.1-22a. J. Lycett (printed and published by R. P. Stone) West View of Birmingham, 1826-11-01. Lithography, 15.3 x 30 cm. BMAG (1996V146.3) b. J. Lycett (printed and published by R. P. Stone) East View of Birmingham, 1826-11-01. Lithography, 15.3 x 30 cm. BMAG (1996V146.2) Fig. 1-23 Thomas Creswick, Distant View of Birmingham, 1828. 20.5 x 28.9 cm, Oil on panel, BMAG (1896P86) Fig. 1-24 Thomas Radclyffe (printer, who revised the original picture by Thomas Creswick), View of Birmingham from Bordesley Fields near the Coventry Road, c.
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