Public display, private glory: Sir John Fleming Leicester's gallery of British art in early nineteenth-century England

Journal of the History of Collections

Volumn 13, Issue 2, 2001, Pages 175-189

  Chun, Dongho ^a  

^a UNIVERSITY OF MANCHESTER   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 0039912075     PISSN: 09546650     EISSN: 14778564     Source Type: Journal    
DOI: 10.1093/jhc/13.2.175     Document Type: Review

References (61)

1. Gentleman's Magazine (1827), p. 273
2. William Carey, Some Memoirs of the Patronage and Progress of the Fine Arts in England and Ireland... with anecdotes of Lord de Tabley (London, 1826)
3. Douglas Hall, 'The Tabley House papers', Walpole Society 38 (1960-2), pp. 59-122
4. Selby Whittingham, 'A most liberal patron: Sir John Fleming Leicester, Bart., 1st Baron de Tabley, 1762-1827', Turner Studies 6 (1986), pp. 24-36
5. Peter Cannon-Brookes, Paintings from Tabley (London, 1989)
6. See Jurgen Habermas, The Structural Transformation of the Public Sphere (Cambridge, 1989), p. 90
7. John Brown, An Estimate of the Manners and Principles of the Times (London, 1757), p. 58
8. See William T. Whitley, Art in England 1800-1820 (Cambridge, 1928), p. 94
9. See B. H. Johnson, Berkeley Square to Bond Street: The early history of the neighbourhood (London, 1952), p. 181
10. Morning Herald, 11 June 1805
11. See Howard Colvin, A Biographical Dictionary of British Architects 1600-1840 (New Haven and London, 1995), p. 285
12. Cheshire Record Office, Leicester-Warren papers, DLT/C3/56
13. Morning Post, 20 February 1806. Some of the lions' heads mentioned are still kept in the cellar at Tabley House
14. See Algernon Graves, The Royal Academy of Arts: A complete dictionary of contributors and their work from its foundation in 1769 to 1904, vol. I (London, 1905), p. 328
15. See Giles Waterfield (ed.), Palaces of Art: Art galleries in Britain 1790-1900 (London, 1991), pp 49-51
16. See Giles Waterfield, 'The town house as gallery of art', London Journal 20 (1995), pp. 47-66
17. See Moira Ockrim, 'The Life and Work of Thomas Harrison of Chester 1744-1829', unpublished PhD thesis (University of London, 1988), pp. 431-2
18. William Carey, Letter to IxxxAxxxxx, Esq. A Connoisseur in London (Manchester, 1809), p. 5
19. See John Young, A Catalogue of Pictures by British Artists, in the Possession of Sir John Fleming Leicester, Bart, with Etchings from the whole collection (London, 1821)
20. See for details Giles Walkley, Artists' Houses in London 1764-1914 (Aldershot, 1994), pp. 1-34
21. See Andrew Hemingway, 'Art exhibitions as leisure-class rituals in early nineteenth-century London', in Brian Allen (ed.), Towards a Modern Art World (New Haven and London, 1995), pp. 95-108
22. Jon Whiteley, 'Exhibitions of contemporary painting in London and Paris 1760-1860', in Francis Haskell (ed.), Saloni, Gallerie, Musei e loro Influenza sullo Sviluppo dell'Arte, (Bologna, 1981), pp. 69-87
23. Joseph Farington, The Diary of Joseph Farington (New Haven and London, 1978-84), vol. VIII, p. 3045
24. For Beaumont and Hume, see their entries in Jane Turner (ed.), The Dictionary of Art (London, 1996)
25. The Artist, no. 12 (30 May 1807), p. 18
26. See the list of Turners in the possession of Sir John in Whittingham, op. cit. (note 2), p. 28
27. See Martin Butlin, 'A hitherto unnoticed sale from the collection of Sir John Leicester', Turner Studies II (1991), pp. 30-1
28. Morning Herald, 12 May 1818
29. A detailed account of the exhibition is Frederique Desbuissons, 'A ruin: Jacques-Louis David's Sabine women', Art History 20 (1997), pp. 432-48
30. See Peter Thornton, Authentic Decor: The domestic interior 1620-1920 (London, 1984), p. 152
31. See particularly Kay Dian Kriz, The Idea of the English Landscape Painter: Genius as alibi in the early nineteenth century (New Haven and London, 1997), pp. 58-62
32. Literary Gazette (24 April 1819), p. 265
33. Cheshire Record Office, Leicester Warren papers, DLT/C36/86. Northcote must have confused Hill Street with Mount Street which is the next street to the north
34. Repository of Arts 7 (1819), p. 230
35. European Magazine (1823), p. 204
36. Maurice Buxton Forman (ed.), The Letters of John Keats (London, 1952), p. 319. Keats makes no mention of his impression of the visit
37. R. B. Beckett (ed.), John Constable's Correspondence (Ipswich, 1968), vol. VI, p. 117
38. See particularly Frank Herrmann, The English as Collectors (London, 1972), pp. 125-7
39. Quoted in Adrian Tinniswood, A History of Country House Visiting: Five centuries of tourism and taste (Oxford, 1989), p. 97
40. New Monthly Magazine II (1819), p. 355
41. Literary Gazette (1818), p. 315
42. James Elmes (ed.), Annals of the Fine Arts for 1817 (London, 1818), pp. 104-10
43. William Carey, A Descriptive Catalogue of a Collection of Paintings by British Artists, in the Possession of Sir John Fleming Leicester, Bart (London, 1819)
44. John Young, A Catalogue of Pictures by British Artists, in the Possession of Sir John Fleming Leicester, Bart, with Etchings from the Whole Collection (London, 1821)
45. Literary Journal (1819), p. 222
46. A Catalogue of Pictures by British Artists, in the possession of Sir John Fleming Leicester, Bart (London, 1821)
47. A Catalogue of Pictures at Leigh Court, Near Bristol; The Seat of Philip John Miles, Esq. M.P. (London, 1822)
48. A Catalogue of the Celebrated Collection of Pictures of the late John Julius Angerstein, Esq. (London, 1823)
49. A Catalogue of the Collection of Pictures of the Most Noble the Marquis of Stafford, at Cleveland House in London (London, 1825)
50. See Jordana Pomeroy, 'Collecting the Past to Create a Future', unpublished PhD thesis (Columbia University, 1996), pp. 215-20
51. Examiner (1818), p. 269
52. Colin Trodd, 'Culture, class, city: The National Gallery, London and the spaces of education, 1822-57', in Maricia Pointon (ed.), Art Apart: Art institutions and ideology across England and North America (Manchester and New York, 1994), p. 34
53. Charles Abbot (ed.), The Diary and Correspondence of Charles Abbot, Lord Colchester (London, 1861), vol. III, p. 436
54. A. Aspinall (ed.), The Letters of King George IV 1812-1830 (Cambridge, 1938), vol. I, p. 235
55. See Michael W. Mccahill, 'Peerage creations and the changing character of the British nobility, 1750-1830', English Historical Review 96 (1981), p. 265
56. Somerset House Gazette (1824), p. 370
57. Charles Duke Yonge, The Life and Administration of Robert Banks, Second Earl of Liverpool, K. G. (London, 1868), vol. III, pp. 379-80
58. See Vicary Gibbs (ed.), The Complete Peerage (London, 1916), vol. IV, p. 295
59. Henri Lefebvre, The Production of Space (Oxford, 1991), pp. 82-3
60. For the Royal Manchester Institution, predecessor of the Manchester City Art Gallery, see Steward MacDonald, 'The Royal Manchester Institution', in John Archer (ed.), Art and Architecture in Victorian Manchester (Manchester, 1985), pp. 28-45
61. See for this topic Peter Funnell, 'William Hazlitt, Prince Hoare, and the institutionalisation of the British art world', in Brian Allen (ed.), Towards a Modern Art World (New Haven and London, 1995), pp. 145-56