 Welcome everyone to this first in the series of seminars or webinars on the topic of graphic landscape. We're just going to wait for a moment or two. We've got a lot of people have signed up to join us today. So you want to give everyone the chance to join us in this virtual space and we'll start in earnest in a minute or two's time. But it's great to see so many of you joining us already. I can see on the screen in front of me the numbers are racing up. We've already got more than 80 participants. So, and we're hoping for quite a few more. So please, if you wouldn't mind waiting and being patient, we'll start in a minute or so. Yes, hello again. I just say my name is Mark Hallett and I'll be co-chairing this session, but we're just waiting for a moment or two longer before we start properly to allow people to join us. The numbers are still going up on the screen in front of me, so I wanted to wait until that pause so I get a sense that we're pretty much full house. And as Danny is saying through the chat box, my colleague Danny Convy is asking you to let us know where you're joining us from. It's really helpful for us and interesting for us to find out where you're watching us and typically we find that we've got people joining us from all over the world. So, whether you're in a far flung space or whether you're a neighbour of ours, please let us know where you're joining us from. It's really good for us to get a sense of our audience and their location. So we've got people from Chicago, Buckinghamshire, London, Leicester, Birmingham, Swansea, very exciting to know that we're reaching such an audience, a broad audience. And we've got people from Harafordshire, great. And from New York and Oxford too. Great, I think we'll start with the numbers are pausing or slowing so I think we should kick off so we can give ourselves as much time as possible to have a really good discussion on this exciting topic so welcome everyone. My name is Mark Hallett I'm director of the Paul Mellon Centre for Studies in British Art. I'm really delighted to be co-chairing the first of four or the four sessions that make up our online webinar program, graphic landscape, the landscape print series in Britain, circa 1775 to 1850. I'm doing so alongside my co-convener, the co-convener of this entire series, Felicity Myrone, is a lead curator of Western prints and drawings at the British Library. This session is entitled print politics and industrialization. But before we start in earnest, we thought it'd be helpful to provide some basic housekeeping information about the event. So as it says here, the session will contain three 20 minute papers, in fact, followed by a panel discussion and a Q&A. So there'll be a short 10 minute comfort break, around one o'clock we'll pause for a few minutes to give everyone a chance for a break and to refresh themselves before we turn to our third paper that Maughan is going to be giving. Now, whether during while you're listening or when we come to the actual Q&A period of the webinar, please be feeling encouraged to type in questions using the Q&A function. And then Felicity and I will be able to then field those questions to our speakers, and I'd really encourage you all to try and submit questions responding to the talks you've been listening to, whether about the interpretation that the speakers have been making, whether the facts, the information about the materials they're talking about, whatever it is, you'd like to contribute with very much welcome. The session will be recorded and made available to the public, and that if you should need or require closed captioning, it is available just click the CC button on your screen to enable captions to to be seen. And for those of you who don't yet know us that well, I just wanted to say that the Paul Mellon Centre is a research institute and educational charity that exists to support the most original rigorous and stimulating scholarly research on British art and architecture of all periods. We endeavour to make this research as accessible as possible. I'd urge all of you to explore and enjoy the packed array of open access online events we've put together for this autumn and winter. It's an amazing program of things, I think, of which the graphic landscape webinars are just one part. And before I turn to Felicity to properly introduce today's session, I just wanted to mention that our suite of graphic landscape webinars has been devised as part of a wider project that we are conducting at the centre of the Royal Generation landscape. This project, which will encompass a variety of events and programmes and publications, is designed to provide fresh perspectives on the interlinked careers and work of that famous generation of landscape artists that included Turner and Constable, that also included hundreds if not thousands of less well known, but often find highly fascinating practitioners. The fourth head of seminars represents the first major scholarly iteration of this wider project. I hope many of you visiting us today will continue to participate as a wider generation landscape project unfolds. The project as a whole, and this webinar series more particularly, are built on collaboration and collegiality. I'm really pleased that in hosting and promoting these webinars, these four webinars, the PMC is working so closely with the British Library. And more particularly, I'm really very grateful to have been able to work with Felicity Myron in shaping the character of these webinars and crafting together the call for papers. And I'm thinking more generally about how best to approach the topic of the landscape print series in late Georgian and early Victorian Britain. So I'd like now to turn over to Felicity herself to introduce our speakers today, but first of all to talk a bit more about the topic of graphic landscape and the landscape print series itself. So Felicity over to you. Thank you, Mark. I've framed this seminar series, graphic landscape around areas of shared interest between Mark and myself. Crucially, the intersection between print history and landscape imagery, the possibilities for exploring the canon of landscape art and expanding definitions of the genre, and considering more concretely its forms, formats and material contexts. And this approach is these topics as an art historian. My own training is in art history, but I've worked as a curator at the British Museum, and latterly at the British Library. And it is in this lateral that I've gained new perspectives on print and landscape, which are only just beginning to be more widely explored. The seminar series promises to provide an expanded sense of the graphic landscape, connecting landscape images with historical experience, patterns of consumption, and the realities of connecting and the realities of display and publishing in multiple and fascinating ways. By focusing on serial publications, these issues are brought to the fore, in a way which is rarely the case when we focus on the singular image. The role of print series in generating and narratives and connections and potential links between landscape and experience, image by image, is a rich territory, even while focusing on relatively familiar, even canonical artists. I hope we can also keep in mind is the visual materials, the resources and the possibilities, which still lie beyond even this expanded view. From the perspective of the British Library collection, the series and the artists considered here are still only the tip of an iceberg. There, we've recently recataloged and digitized George's third collection, The King's Purple Graphic Collection, which can now be accessed by the main catalog and Flickr, and we've produced a website picturing places through a research project entitled Transforming Topography. But the sheer extent of graphic landscape production there and elsewhere remains largely unassessed, as so much of it sits within volumes collected and cataloged as books, or even as maps. There have not been catalogued in ways which would encourage art historians to seek them out. As today's papers will reflect, in the last decade or so, the category of topography has been opened up out to reveal a more extensive and complex field of activity than had been considered. But even that only goes so far. Topography is one class of landscape imagery among many. Which, as much as this series sets out to open up the category of landscape, and by focusing on serial publications, it promises to do so in exciting ways. But we are still, I think, testing the ground and only starting to look beyond the art historical canon to a history of landscape imaging, which is preserved, not only in art museum collections, but also importantly in lands in libraries, local history collections, and in antiquarian societies. So, today, there are full biographies for each of our speakers online, and I'm going to keep our introductions very brief. And I'm going to, I'm delighted to welcome our first speaker today, Dr. Amy Concanon, who is Senior Curator of Historic British Art at Tate. Could we quickly, we're going to pop over to Mark for the introduction because the city sound is coming in and out a little bit. That's okay. Yes, thanks very much. Yes, we're going to keep it very brief Amy. I think that was the plan all along. And delighted to welcome Amy Concanon, a Senior Curator of Historic British Art at Tate, where she's worked since 2012 and co-created numerous exhibitions including Turner's Modern World, which a very recent show at the Tate. But now we'll turn over to you, Amy, for your talk, which takes us into the world of the landscape print and images of Bristol. It's a really particularly interesting time in its history. Over to you. Thank you very much. Thank you everyone for coming and thank you to Felicity and Mark for the invitation. I hope everyone can hear me. I'm just going to share my screen. Does that look okay to everyone? Okay, I'll dive straight in. The title of this sheet, bearing 10 images, the use of the fires in Bristol on October the 30th, 1831, when houses, warehouses and property to the amount of 100,000 pounds were destroyed. That's its full title, withholds a vital piece of information that has the potential to alter our reading. It speaks nothing of the core fire and its visual effects presented as the object of interest here under the somewhat pedestrian title of views. Indeed, these are views of Bristol, which together present all of its key topographical sites from typical viewing stations. But while we may be viewing a topographical series, this was no ordinary set of views. These images do not depict an everyday landscape, but rather a fleeting moment. They cannot, as was the case for so many other topographical series, claim to play a role in the bolstering of Britain's image as a peaceful and prosperous nation, ingeniously utilizing its land and natural assets. These images run counter to the usual intent of such other views, and indeed overturn the image of Bristol that the artists behind them had conjured in their work here the tomb. This is a result of arson attacks by a crowd frustrated with corruption and the abuse of power who were spurred into action by Parliament's rejection of the reform bill a year before its eventual passing. The chaos of these reform riots gripped Bristol for three days at the end of October, 1831. What you see here, this is a detail from the bottom half, and indeed most of the images I will discuss today can't be considered a series in the usual sense, but I will treat them as interconnected by their subject matter. They were also interconnected by their authorship and belonged to a very particular moment in time. The scenes printed here are very clearly intended to be read in dialogue with one another, and they would have also been read in dialogue with other prints and written accounts of the riots. The artists that I will be speaking about all knew each other, their professional lives overlapping by periods of residency. I'm just going to stop you from coming through quite tricky as well. I think possibly I might try and share your screen first. Okay. Yeah, you're just coming through quite slowly. I wonder if it's there. It might be some of the, I've got a Yale image in there, which might be slightly. Should I stop my share and you share it? Yes, if that's okay. Apologies. In general, I think there is some sort of things seem to be going quite slowly on our end in general today. I wonder if that's a bit tricky. Please do let me know when to change the next slide. Okay. Hopefully this will work. I can't now see my phone, but we'll keep we'll keep going. As I was speaking about today, all knew each other, their professional lives overlapping by periods of residency in Bristol. They knew one another through training, sharing studio space, collaboration, and sketching trips. Now I made this rather rudimentary diagram for my own record really I hadn't originally intended to show it, but I thought it was useful to visualize that network and the connections between these characters. And as a result of this paper to debate the existence of a coherent Bristol school, as these artists were retrospectively labeled. The riots activated existing relationships sparking collaborations between artists, booksellers and publishers, both in Bristol and in London. Connections. This moment. And as I will show, the prints that arose from the riots speak of the strong culture of landscape production that flourished in Bristol in the 1820s. But unlike much of the work these artists have done, predominantly for local patrons, the riots and their circulation of their, the riots and the circulation of their image in lithography are fast. And as I'll show appropriate mode of reproduction for works like these presented a chance to reach beyond their local market to a national and even international one. Next slide please. The whole documentation for the Bristol riots is unparalleled by comparison to other political crowd events. We have a reform rally at Peter Lou in Manchester in 1819, or the anti Catholic Gordon riots of 1780. The painted and printed depictions of the Bristol riots have received some attention, predominantly from art historians interested in the Bristol artists behind them and cultural historians looking at crowds and the depiction of cities. And I think they deserve greater prominence for the way in which they register political trauma on the landscape and particularly urban landscape itself. The fabric of Bristol was certainly left scarred by these riots. Almost overnight key civic sites were left in smoldering ruins that physically manifested the breakdown of civil society. Britain here had, metaphorically speaking, been burning for several decades. The city was a tinderbox of division, the Bristol's governing corporation dominated by merchants whose wealth was based on the exploitation of the West Indies and slavery had long been perceived in the city as corrupt, and they were against political reform. In the 1930s, reform fever had taken root across Britain, and while the rejection of the reform bill in 1831 caused unrest in other British cities, none of those disturbances compared to Bristol. For the three days sites of civic importance, including the customs house, the bishops palace and the city's three prisons. They did and ruined. The circulation of Prince of the riots overturned the image of Bristol that had despite social tensions lurking underneath the surface, promoted this city as a calm, morally upstanding and productive place. A message that was visually defined by images which presented forests of ships masks, a skyline dominated by many churches, streets devoid of dirt and bustle, and the city set within an undulating landscape that invited some commentators to compare it to Rome. Amongst the Prince arising from the riots, this sheet is unique in its mise-en-pages. A distant view of the city, from east and from west, each flanked by four smaller ones. On the catalogue record at Bristol Museum and Art Gallery, there are two artists associated with these images, Samuel Jackson and James Baker Pine, yet the printed credits on the sheet itself record only one, Samuel Jackson. Both these artists were born in Bristol and shared a studio at one time. Depictions of Bristol, its urban landscape and its surroundings were central to both of their practice. Next slide. These views are typical of the kind of work that they were known for in the city, and as such these artists had a knowledge of the best viewpoints and the specific iconographic hallmarks of Bristol's urban landscape, all of which would have enabled them to work efficiently, gathering material on the night the riots took place. Next slide please, Shauna. Some of the monochrome watercolours by Jackson that form the basis for the Prince are seen here, and oil sketches by Pine can also be connected to this sheet too, though as stated he is curiously not credited on the sheet itself. Next slide. One wonders whether the appearance of this steel engraving was a way to assert his authorship of this particular image. If you click forward again, another image will come up. It shows his name prominently etched in the foreground, in the same manner as Turner often did, and this perhaps speaks of Pine's assertion of his ambition. When it comes to ambition and self definition, it's interesting to note that Jackson and Pine chose to describe themselves differently in the 1830 trade directory of Bristol. Jackson listed himself as a drawing master. His identification with this relatively humble and steady job fits the description of him given by fellow Bristol dwelling artist Francis Danby, who lamented that Jackson possessed my quote, a genius he had not shown on account of his propensity to screw down his heart for the getting a path fence. Of course this plays into the trope that a true artist thinks only of their calling and academic recognition before they think of money. But there is a comparison with Pine to be made, who, despite also being a drawing master, described himself in that same trade directory in a more aggrandizing fashion. I think this sense of the artist's ambition is important. Next slide. By comparison to other patrons arising from the riots, this sheet doesn't bear any sense of hurried reportage, thinking again about its title, the use of the fires in Bristol, which not once mentioned the word riot. The sheet conveys a sense of distance from the chaos. The two images that occupy privileged positions of prospects, devoid of the specific detail of three nights of rioting glimpses of crowds are restricted to a smaller scenes at the site. And while compare contemporary viewers would immediately associate this sheet with the particular event. This sheet seems to be about aestheticizing riots treating it as a sublime spectacle that framed predominantly from a distance, sheds any sense of immediate threat suppressing associations of fear and instability. Jackson and Pine were both associates of Francis Danby, a heavy investor and proponent of the sublime landscape. And the riots offered them the opportunity to elevate the depiction of crystals urban landscape into something more. Jackson was one of the greatest artists to engage in the loftier register of the sublime, while also utilizing their knowledge of local topography and their skills in this genre to create images with varied appeal from the overview of the burning city to the more detailed depictions of localised fires. Next slide. The prospect view appears to have dominated. Jackson's view from Cliftonwood was isolated from the sheet and circulated in a larger format, again using lithography and this version is hand coloured, while also being a practical position for an artist to assume away from the chaos at a safe distance. This was also the vantage point onto the riots that the more affluent members of Bristol society had, those living in fashionable new builds and the suburb of Clifton, for example. Published four years after the riots, Clifton, a poem by a resident gentleman, remembered how, quote, it seemed to those from hence who gazed as if a captured city blazed. This familiar prospect maximised opportunity for collectors to compare peaceful Bristol and blazing Bristol. The landmarks of St Mary Redcliffe, church, the cathedral, ships massed, glass furnaces on the right and even a cow to signify the bucolic Clifton down are all there. Jackson was using then his own genius and knowledge of his prospective market, local gentlemen who have viewed the fires from Clifton Hill to collectors nationwide for whom a single impression of the city of lay suffice to get that halfence to use down these words. When advertising this lithograph. Next slide please. Another distant view, encompassing all of Bristol's key features again from the same vantage point, as one of Jackson's in the sheet of seven. It was noted that the London press had reported it. I've got an image of this quote. If you press the next slide, this was reported to be a desirable illustration to any future description of Bristol and even the history of England. The advert states that this print could be bound up with various histories of Bristol, or quote, former desirable addition to the scrapbook or portfolio. So what appeal might the multi view sheets have. Next slide. Drawing again on the characteristics of landscape production in Bristol prior to the riots, the panorama, a format more comprehensive than the typical view is another strong theme. The camera obscura there. It's still there today that Clifton and Jackson and Robo them responsible for the prospect views worked to produce an exhaustively comprehensive comprehensive collection of watercolors of Bristol for local collector George where Brackenridge major commission that plays over a number of years that culminated in a set of panoramas. While the collective title for the sheet might be something of an understatement, the multi view format compensates by communicating in one glance the complexity and extent of the riots as a multi site event, and in that sense gives a kind of panorama of the riot action. A topographical collectors desire for completeness might be satisfied then by this sheet, but so too might be amateur chronicler of local history, they might value its comprehension, seeing it as an economical means by which to extra illustrate published narratives accounts, or as the advert suggested histories of Bristol or England. It's easy to imagine that the sheet might be cut in half and bound into an October sized volume, as Lucy pelts has described in her study of extra illustration, this kind of vignette based format might also appear to new modes of rangerization in which collectors would cut and paste images into scrapbooks with or without text, enabling them to create highly personalized topographies and narratives of their own. This format therefore had much to offer the consumer. This leads me to consider the use of lithography. Apart from a few outliers the bulk of prints relating to the Bristol riots utilize this. Any of them recording collaborations between artists. The collaborative spirit had previous form in 1823, eight years before the riots, three Bristol artists, Jackson, Danby and James Johnson, had united to issue an ambitious but ultimately loss making, ultimately lost making folio of landscape lithographs of Bristol. In the ensuing years over the 1820s, the market for lithography grew, thanks to London based lithographer Charles and Mandel and his association with the publisher, not entrepreneur Rudolph Ackerman. Paul Mandel was responsible for printing several of the Bristol wire prints. Now apart from one early project involving some Royal Academicians, the process of lithography was relatively distanced from the Academy, and had heavily commercial associations, going to its application to subjects with broad market appeal, those which benefited from the ease with which fine detail and watercolour like washes could be rendered. It was also economic too, enabling a large addition from a single drawing made of a prepared block of limestone. In France however, the practice had different connotations. Because an artist could draw their image directly onto the stone, the French Academy promoted lithography for its ability to retain a sense of the artist's touch, as much for its expressiveness as for its ability to register fine detail. It was also a relatively quick way to make a print. So for a subject that was topical and required swift circulation to capitalise on interest, it was a good choice. Indeed, next slide. It was the means by which French artists, Hippolyte, Saint-Germain, and Rami circulated their depictions of the July Revolution of 1830. Comparisons, mostly derogatory and undermining, were made in the press between the ways in which Bristolian and French rebels conducted themselves, but certainly the occasions of the Bristol riots and the July Revolution shared worrying similarities for those in power. Next slide please. The choice of lithography for the Bristol riot images might have also been calculated to suit the market across the channel too. Certainly two of the prints I've shown, including this one on the left, were jointly published in Paris. The riots stimulated a network of print and France. Next slide. This lithograph, published in Bristol, was distributed by Shrewd Princella Charles Tilt, who published images from the July 1830 Revolution in France. Has it gone on? Just check. Please could you just move it on, thank you. So this was published in Bristol, distributed by Charles Tilt, who also published images from the July 1830 Revolution in France, and it's sold both in London and Paris. It was made by Louis Arche, who would go on in partnership with William Day, to challenge Hollmander's dominance in the field of lithography. And Hollmander is London press behind the sheets of 10 lithographs. He may have been brought on by second generation Bristol bookseller and picture dealer John Norton, who published that sheets and catered generally for the high end of the trade. That's okay, you can move on. Prince had more localized production. Thomas Bedford, who described his occupation in Bristol's trade directories as a lithographic printer, printed these images after sketches by Pine. I've had to go through it quite quickly. So this, but I hope that this rather hastily built up picture of the who's who behind these prints should I hope conjure a sense of the active printmaking and selling infrastructure from the interaction, activating commercial exchanges between Bristol and London and Paris too. It was also a degree of skills transfer, but it's highly likely that it was through direct or indirect interaction with Hollmander's guides and his 1824 treaties on lithography that Bristol's artists like many others up and down the country came to produce their own lithographs. Next slide please. So as I want to introduce John Skinner Pratt's picturesque antiquities of Bristol from 1834, which was also printed by Hollmander. This project was calculated to appeal to the taste and arguably political leanings of the city's antiquarian collectors who, in the context of an anxiety inducing present characterised by political reform, and the end of slavery in British colonies and signs of decline might value its purported focus on quote olden times. The same year this volume was published, the Bristol Gazette opined quote, can we fully and honestly say that we are proud of Bristol situation in the scale of British cities. Alas, the answer must be negative. It was sinking down the charts of prosperous places, and the riots set the seal on the city's decline, declining pride and self image certainly for another few years. Perhaps volume presented an aspect of Bristol's identity, which its citizens could have pride, recording and memorialising the city's ex-pat, their riots or new developments. The advertisement for this volume promised escapism for the viewer to be engrossed. Next slide. Its striking avoidance of the modern was one such way in which the volume offered escapism. Perhaps filling of the picture plane with his subjects to the exclusion of their context filtered out the harsher social, economic and atmospheric realities of life in Bristol. And while the cumulative effect is for a city unable to contain its social tension, one of fragmentation and distortion. Within the context of Prince arising from the riots, I shall concentrate on the fact that there's only one image in which Bristol's urban landscape bears the imprint of modernity. The next slide please. And that's this image of the Bishop's Palace in ruins. The figure sketching is a feature that connects this image to a self-referential tradition of antiquarian draftmanship exhibited by Piranesi, French painter Hubert Robert and Turner. The feature is also seen in the work of John Selcottman, whose drawings Proud would have studied in the collection of the Norwich-born curate of Bristol's St. Mary Redcliffe, the Reverend James Bulwer, who arrived in the city in 1830. While the figure sketching might aid the viewing of the ruins as a purely aesthetic spectacle, objectified of a close study and the practice of sketching. The inclusion of this image distinguishes Proud's series from the vast majority of picturesque pendiums. Ruin imagery might normally trigger associations of conflicts past and lessons for the present of the hubris of human endeavor. But this is complicated by the riots as being a modern act of ruination. Next slide please. That's it. The forms of decayed buildings, oh, the previous one. The forms of decayed buildings backlit by flames recall the Convention of Ruins backlit by brilliant Italian sunshine. These references played into questions on the fragility, the potential fragility of modern Britain, which could very well go the same way as classical Rome. But present-day society is implicated. Those prints with titles that explicitly mention the riots, not just as fires, trouble and challenge the picturesque lens by reference to the uncomfortable reality of the present day and the destructive legacy of very divided Britain. Next slide. Taken together, these prints arising from the Bristol riots, be they issued as single images or as part of a series, dramatically subverted representation of the city to that point. A picture which had been built up by the work of the very same artists behind these prints. Their topographical knowledge and skills were key in presenting the riots with clarity and speed. Their composition was complemented by labelling and prison to Bishop's residence to customs and toll houses. The symbolism of the places targeted by riots transformed Bristol into a cipher of crisis that was national. Every major city had such buildings and places for crowds together, and as such, these prints communicated the message that every city was at risk. These artists' local knowledge, skills and networks made for an efficient machine of production and circulation, aided by lithographic printing, the choice of which made a connection with French practice and French politics. Well, I can't exactly say that these artists made fortunes from this moment. The riot images do mark a departure point for this network. Some, like Pine, he who had identified himself as a linescape artist in Bristol's trade directory, moved to London shortly after. But Samuel Jackson, he who had identified himself as a drawing master, moved into the gentile suburb of Clifton and becoming the city's most prominent resident artist. Watercolours that he made of the suspension bridge designs showed a more optimistic Bristol landscape. Its object of modern spectacle no longer a frightening blaze, but now a technological wonder. Thank you very much. Thank you, Amy. That was great. Apologies to everyone for the sound issues we've both been having. But thank you very much, Amy. And we'd now like to welcome Dr Lizzie Jeklin, who is keeper of art at Tynan with Archives and Museums. Hi, I'm from Northern Bund and thank you very much for having me. I hope everybody can hear okay. So my focus today is Thomas Hare's views of the collieries in the counties of Northern Berlin and Durham, published between 1839 and 1844. And this series of etchings takes us on a journey around the collieries and coal transport hubs of Northeast England. At a time when the area known as the Great Northern Coalfield was crucial to fueling the country's firesides and industry with steam power allowing the winding and pumping of engines and the rapid expansion of rail. As the collieries that he depicted were ultimately transient additions to the landscape. Thomas Hare's endeavor is credited as providing some of the only surviving views of the region's mining landscape during the first half of the 19th century. And this series and particularly the watercolors it is based on has received sporadic attention since the 1960s, and in particular Douglas Glenn Dennings illuminating research accompanies exhibitions of the watercolors between 2000 and 2010. And this paper aims to spotlight the series again with expanded consideration of the wider context of landscape prints at the time that her published his views, and also of how this series might have been consumed. The text accompanying her prints was by local historian Marvin Ross, and it emphasizes the publications aim to reveal the impact of coal on the region's landscape, describing the margins of our noble rivers fringed with the states and machinery, necessary for affecting the shipment of the jetty treasure with the places depicted described as full of bustle and activity. Thomas Harrison here then was an artist etcher and engraver from the Newcastle area, and actually based in Camden in London at the time of this project, although he apparently still spent considerable time in the northeast and the northeast makes up much of his subject matter. Very little is known about his life beyond the details of his birth death and addresses, though we do know he exhibited some paintings at the Royal Academy and was involved in print series, including the project we're exploring today, and which is the thing that he has primarily remembered for. Here, who was assumed to have been professionally trained as an engraver, chose etching to translate his own series into print. He etched several of the views himself and employed Joseph Brown to etch several others, including the one that you can see at the moment, and with the remaining views etched by three other engravers. So to start with the prints themselves, the image on your screen now is perhaps one of the most officially impactful in the series of 40 views. And it shows Percy main colliery, a colliery which belonged to the Percy family in what was then a pit village and is now part of the wider area of North Shields on the river time, not far from Newcastle. This colliery had been sunk in 1799 and was open for a century before it closed. His prints are based on watercolor views he made between 1828 and 1842. And so it was quite a long term endeavor in that way. The 42 of the watercolors survive in the Hatten Gallery collection in Newcastle University, which is how I came to be interested in series. And before they came to the Hatten in the 1990s, they seem to have been permanently displayed in the now defunct mining faculty of what is now Newcastle University, and having previously been owned by a local coal owner. And so this map just quickly indicates for you the area that we're talking about and with the setting for each one of the views represented in her series and seen with a red dot. So you can hopefully see that quite a bit of the activity was focused around Newcastle. And we also have views further south in County Durham and the coastal hubs where the coals were shipped from. And you can see to the watercolor that the Percy pit view was based on and hair often chose this vignette like format for the watercolors and the finished prints. So they're quite large in scale. And I think all previous writing on his views has emphasised their historic value in terms of their accurate depiction of topography that's now lost. And topographical accuracy is also emphasised in the publications preface, which states, the design of this work has been to afford faithful delineation of the various objects connected with the working and shipment of coal. And not to produce a display of pictorial beauty at expense of tooth to nature. Still, I think images like this one reveal interest in the dramatic potential of industrial subjects with silhouetted figures seen looking on in the burning braziers contrasting against the darkest surroundings. So I find step has statements and views in relation to the ideas that we've seen recently and from scholars, including Felicity, my own and John Marrill and John barrel around the ways that topographical prints have perhaps sometimes been categorised to separately and or considered simply descriptive. And clearly for this series, accuracy is really important. And but there are still lots of other things happening to when it's quite a complex image and has a lot to reveal following study. And in this print we see her engaging with both a specific and changing landscape and but also an atmosphere in the wake of the sort of industrial activity that's happening. This view is probably more typical of the series as a whole. And we see the way that hair sets mining related activity into the context of a wider and actually karma landscape. And the colliery shown in the background here was still a recent addition to the landscape in 1826. And just to give an idea that hair was probably seeing the landscapes of his own youth sort of changing around him. And that's one of the things that we believe he was interested in depicting. And most of the works reveal a close relationship between the watercolor and the finished print. So there are some differences and here if you look at the boat and the two images, for example, you can see that hair made some changes, and perhaps it's relevant that this particular plate he etched himself. Oh, sorry. And so this view shows a pit somewhere south of Sunderland, and the accompanying text in the publication is relatively short and so might serve to give you a flavor of the kind of description that accompanied the prince, and written by Marvin Ross, but I suspect with considerable input from here. And so for this view the publication noted this colliery, which receives its name from a latch or Brooke in its vicinity is situated about a mile west from Heighten, and it's the property of the Marquis of London Dairy. In the summer of 1824, and the shaft is 80 fathoms deep. And he goes on to note how the water passes from the workings and details of the winding engine before stating. The coals are shipped at Siem Harbor by means of the railway from Pittingdon and Heighten. The quantity in heap gives the colliery that volcanic appearance, which we have endeavoured to represent in our view. And while we can't know for sure, I don't think if her really witness to the phenomenon of surface fires burning on the coal heaps or not. And it's quite interesting that the text takes pains to emphasize that the drama we see in the scene and represents the actual appearance of the heaps. Meanwhile, this view of Jarrow colliery demonstrates a closer depiction of the colliery buildings also seen in some of the views. And publishing the prints as sketches of the coal mines in 1839 and soon, soon afterwards advertised them as views of the collieries to be released in parts, which then occurred until the complete volume was published in 1844. This volume includes title pages for both the 1839 and the 1844 iterations of the printed views. The publisher was London based and but the views were printed locally in Newcastle upon time. And the author of the text Ross is noted on this title page, also as the author and editor of other locally printed topographical publications. The volume is quite a substantial publication and physically quite large scale with 52 pages, including the etchings and illustrated title page. And two of the 42 etchings that appear in the series, we use to illustrate the preliminary remarks with the other 40 accompanied by descriptions of each colliery along the lines of the one that we heard about. And this statement from the publication's preface has generated particular interest in which the authors say the coal mines of the North occupy a prominent position in the scale of national production and commerce, but their appearance has been considered so repulsive as to forbid the investigations of the artist. While we know that this claim is not entirely true. And I think his endeavor was very unusual and unique and depicting such a large group of northeast collieries in one place in this way. And so unsurprisingly commentators have emphasized its uniqueness at a time when technical illustrations were more likely to accompany discussions about coal mining than landscapes of this kind. So much depiction of mining related subject matter in her stay there was print based on the production of this kind of material was increasing at the time that his series appeared. What I'm excited with and perhaps contributed to increasing awareness of working conditions in the mines with illustrations such as those accompanying the 1842 Royal Commission report on the employment of women and children, apparently having considerable impact. But those illustrations emphasize the difficulties of a narrow underground landscape, and which is in contrast to the wider surface kind of topographical landscape views that were usually employed by her in his theories. Though in two of the prints he did attempt to give a sense of the underground world as seen here. And the views and the accompanying text have been criticized for not reflecting the dangerous working conditions and lives of the miners at this time. And the text accompanying the series to communicates the authors appreciation of the coal industry, and sometimes almost to the point of romanticizing the collieries and the miners, and which might be expected for a publication on such a topic that was at least partly funded by colliery owners, and which I will come back to. Here, the son of the lamp black manufacturer may also according to records I have found have been a partner in the coal tar business at the time, and his and Ross's local connections to colliery owners implied by the text to suggest that they were hardly neutral observers of what was then a very dangerous industry. I would also balance that by saying there are many references within the text accompanying the prince to issues including poor working conditions and disasters such as explosions. So it is not entirely one sided at a time when political change was beginning to happen. I mentioned that while much mining imagery of the 18th and 19th centuries was printed, it might more often take the form of technical illustrations than landscape prints. But it is important to emphasize that printed views of the wider mining landscape did exist. In the sense that while his endeavor was unusual and its focus and scale, there was an existing context for it, particularly in the Northeast, that can help us situate it in its time. In the Northeast England for a moment, and of course we can't look at too many examples of mining landscape prints in general. But I was particularly intrigued to just flag up one example of an unusual series of actions published a decade before hairs depicting mining towns in Mexico. These prints made after the artist Emily Elizabeth Ward, and I think would be an interesting series to explore another time. But the next two artists I'm going to mention have been noted before in books referencing hairs views. I think it would be remiss not to briefly mention some of the best known examples by Turner and Buick as possible precedents for hair. When I was more unusual perhaps actually exhibiting an oil painting landscape of a coal subject in a prestigious forum with his keelman painting seen in the top left there. I think one or only a couple of coal related paintings shown at the RA around this time. But more in keeping with our Prince focus today, the lower left view of shields was a subject in Turner's River of England series. And I think if you look on the right you can see hair covered a very similar subject within his views for 20 years later. The hair surely would also have known Thomas few interviews of the Tine Valley's mining activity and made around 50 years before his own, and sometimes relatively hidden as tail pieces and publications such as the history of British birds. The other Prince series to publish in the years leading up to his endeavor with probably also form interesting comparisons, but today I'd like to focus on another relatively little known series, which I think forms an interesting point of comparison with his views. And this project was black moors views on the Newcastle and Carlisle railway, published in Newcastle, Carlisle and London between 1836 and 1838, and in the full volume in 1839, the same year that her own views began to appear in print. This series was based on drawings by the leading Northeast artist John Wilson Carmichael, and hair was actually employed this time in the capacity as one of the engravers for this slightly earlier series. This publication subject matter was similarly modern, it depicted still in progress railway line between Carlisle on the West to Newcastle on the East. And on the screen, you can see it's view of the new Scotswood railway bridge, and which was actually engraved by Thomas hair after Carmichael's drawing. These prints were advertised for sale locally at a similar price to his prints, and in the same Newcastle newspapers. The format of the series with brief information company each view also bears some relation to his endeavor with both series being sold in parts, and one engraver apart from her, Thomas prior also contributed to both of the series. And most notably of all, this series didn't ignore the impact of coal on the landscape of the Tine Valley, and as we see here in this view of Wylam. And so it seems that Carmichael and Blackmore did not find collieries to revolting for consideration, as has preface accuses artists in general. Instead, we find here another print publication that purposefully embraces the modern industrial subjects of the North, and one that hair actually worked on, and perhaps actually simultaneously with the preparation of his own series. And I'd now like to think a bit more about how hair series was consumed. It's difficult to measure its commercial success, though we know that he was at least in a position to see its various parts through and from 1839 to completion and surviving copies of the 1844 publication can be accessed in some libraries that are quite rare. And in terms of who else was buying the series, the preface specifically thanks local and national colliery owners for subscribing. And as such, these mine owners have been considered the publications key audience, and Glenn Denning asserted that the publications expense as a group of issues, and it's specialist subject matter means that it was not intended for a general readership. And this may well be so, but some of the general information given within the text and advertisements for the series and regional publications might suggest that hair hopes to also appeal to a broader local audience, and as well as a local and national group of colliery owners. And lists of subscribers for some other locally printed publications may support this possibility if we consider them valid comparisons. For example, and Ross he wrote the text for her series had previously co authored and printed the historical topographical and destructive view of the county Palatine of Durham, and the first part of which was sold for a shilling in 1830. And the first of the series was eventually published. And while some are listed as land and colliery owners, most are local working people, and with disposable income. And there is a wide range of jobs represented, including blacksmiths builders, farmers, grosses, iron mangas glass manufacturers, shipbuilders booksellers, and also a number of pit men. And the first of them were MacKenzie's and historical topographical and descriptive view of the county of Northumberland, also included some pit men, and suggesting that there was perhaps an audience there too. Hair advertised his more lavishly illustrated series in parts of three views at a slightly higher price of two shilling six pence and the prince going up to four shillings for an Indian proof. The paper by have located appeared in the Newcastle current, a paper described in 1846 as having a large circulation throughout Newcastle, North and South Shields, Durham, and the northern counties, and is taking a particular interest in agriculture, shipping and mining within the area. So perhaps this was the most effective way to reach local land and business owners, as well as workers alike. And one point of comparison, the current itself cost five shillings per quarter in 1839. And so one part of his views was about half that. I hope that further study of subscribers and advertisements will help to build a clearer picture of his potential audience, and how far colliery views such as the ones that he made may have held a more general appeal for audiences within the region. His prints have been consumed, both in relation to the text but accompanied them, and a standalone views. Today has prints are probably most often seen within the context of the 1844 volume, either within a special collections and library, and or within a number of facsimiles that have been made after the original books, or I think more probably now probably within a Google book that exists. And as such text and image have usually been considered together, and if perhaps too much in isolation from other material of the time. And in terms of the facsimiles and the Google book, without a sense of the materiality of the etchings that you get with the prints and with the original 1844 edition. But other contexts, the works might be studied within now do emphasize them as prints. And for example, at the laying art gallery, individual sheets are kept in boxes of British landscape prints, alphabetized by location. So in this context, they are seen alongside commoner subjects of the day, such as not ambulance many castles, as well as a handful of other prints depicting the industrial subjects found in the region. By contrast, when her views were pirated in the 1860s, they were reworked to bring the machinery glimpsed in them up to date, and placed alongside maps and technical illustrations and text in a category of technical literature outside of art and landscape all together. And this serves to emphasize the series complexity in terms of the different categories that potentially straddles. Since at least the 1950s, the watercolors have also been seen in art and industrial museum exhibition contexts, and often but not always in as a standalone group. And I don't have time to go into this in detail, but this slide showing old exhibition posters might give you a brief flavor of that. To conclude then, most previous research on this series has focused on the collies that had depicted and celebrated the series unique record of the northeast mining landscape. While this is valid and forms the key reason that the series has been remembered to the extent that it has, there are arguably wider political literary and artistic contexts still ripe for fuller exploration. A key stated aim of heirs was to see the apparently ignored collies of the north, depicted within landscape art, making the artistic and print production contexts I have touched upon highly relevant. Perhaps in the future, study in fields such as landscape prints, the development of the northeast regional identity, and of course a change in climate will lead to new and expanded interpretation of the northern areas endeavor which I do think is a fascinating and genuinely quite unusual series of prints. Thank you very much. Thank you, Lizzie. That was excellent and opens up all sorts of possibilities for further research as you say. We'll be taking a short comfort break and we'll be starting again it at in 10 minutes at about, well, should we say 10 past eight minutes. We'll see you all very shortly. Hello everyone welcome back. Our final speaker today is Dr. Moreno Neil, who is very kindly joining us from a different time zone. She's associate professor of art history at Wake Forest University. Over to you. Thank you. That was exciting I just had some technical difficulties during the break. But I think we are back. Thank you for this opportunity to present this material, and also just a little caveat to say that this is very much a work in progress a little less polished than the previous two presentations so I appreciate your patients, and also any feedback. In the 1920s, John Constable embarked on a publication of medicine, various subjects of landscape characteristics of English scenery from pictures painted by John Constable are a now typically referred to as English landscape scenery, or English landscape. In the series David Lucas the max intense were published in parts between 1830 and 1832, but Constable republished the series in 1833 with extensive revisions. For many of our historians English landscape appears to be a compelling articulation of Constable's artistic identity, a kind of visual autobiography that begins with the artist own home and functions as a summation of Constable's views about nature and landscape. It is worth recalling that the artist undertook this project during the moment of rapid technological change in printmaking, and this paper will explore Constable's choice of steel as a matrix for these prints. There are 11 surviving steel plates related to this project, and 10 of them are now in the collection of tape written, and I've listed them on the slide. My comments will focus on spring and noon, both created under constant. Sorry, your slides are not being, they're not visible at the moment, did you share. Okay, I'll be terrible. Let me see if I can fix that. Thank you. How about there better. It looks like it's coming up now. Okay, great. Yeah, and my computer is cranky this morning. So, um, just, I'll let more, I'll let sure to help you with this but just in terms of, can you see that now with the list was a bit cropped earlier but you're okay now. Okay, do you see a list that work. Yeah plates with supervision. Perfect. Okay, they're listed on this slide. The comments will focus on spring and noon, both created under constant supervision and included in English landscape. As Anthony Griffiths has noted, the rise of steel had profound consequences for the print trade deeper and harder than copper steel was more difficult to work but ensured a longer print run. The implications however range from these practical considerations to the symbolic associations of material with industry. In fact, we'll explore the use of steel plates in order to reconsider Constable's artistic identity in English landscape, especially in relation to Lucas's artisanal identity and industry. By focusing on the extent steel plates, the correspondence between Constable and Lucas as it pertains to corrections and retouchings, as well as what those negotiations reveal about the dynamic between printer, printmaker and painter. Constituate Constable Lucas and the works they created together within an emerging culture of the industrialization of print. Steel is an ancient material, but it was not uniformly produced in England until the 1740s. James Watt first suggested the use of steel for engraving in 1812. But the transformation of steel into printing plate only came about in 1819 when Jacob Perkins pioneered the soft steel plate. Steel was treated as iron in a process known as decarbonization to make it softer for the purposes of engraving, and then it was recarbonized as steel before printing. This process required careful attention to method and temperature since the metal could work, crack or break during softening or hardening. By September 1820 Perkins had sold 1000 steel blocks, each one inch thick to match its interest. The benefits seemed immediate plate standardization lower cost larger print runs. Some of the extent steel plates for English landscape come from G Harris and Company, which traded as George Harris until 1832, and then became William Eastwood. So those plates marked Harris such as spring and noon from 1832 or before. John Martin also use steel plates from Harris, a number of which survived and are marked with the 51 shoe lane address in Farringdon, the firm's premises until 1825. It is likely that they maintained their own production on premises at Harp Alley when they relocated the following year, since that address was registered for fire insurance in 1826. It seemed to be a thriving business in 1828 George Harris's will lists his employees as a foreman, a Clark and seven workmen. The number for Harp Alley address appears on the plates for spring and noon, while the designation Eastwood for Harp Alley appears on the back of the plate for Gilling and mill dorseture, dating it to after 1832. Another and presumably later plates, such as Hamstead Heath, heroin the distance mill near cold Chester and Aaron dill mill and castle, come from a chef field maker register, that is Charles register and sons with premises on blue boy street in the industrial shales more district of the city. As an innovation and printmaking steel was relatively short lived, but it flourished in the early 1820s, when lithography had not yet taken hold as a print medium. Constable's interest in the effects of cura scuro it likely influenced his decision to use medicine as the medium for his prints. John Fisher suggested in a letter of October 1 1822 that the artist consider lithography by constable was drawn to the tonal effects achieved only by medicine. Lucas in February 1832 demonstrates how constable directed directed Lucas is use of dry point to control light and shade. And in 1833 he added a new subtitle to the work, principally intended to mark the phenomenon of the carousel nature. To safeguard the durability of steel created challenges and opportunities. For example, it required a hybrid working method, since the harder steel made the deep blacks less intense than with a copper plate. It was common practice for engravers to etch the main design, especially darker areas before rocking the remaining ground. The process of the steel plate for noon reveals the combined techniques of etching engraving and medicine, despite extensive rust damage. For example the sky seems to be conjured by the rough bird created by the medicine rocker, while the shorter strokes of etching give form to the grass and shrubbery. The areas of gleaming steel plate form the white wool of the sheep. Another material required the printmaker to work harder, according to bamboo gas going a steel plate required about three times more rocking than a copper plate. The MW Turner use medicine on steel plates for Rivers of England, and he tried steel for the labor studio room, but abandoned it is too difficult. Apparently he did not get beyond rocking it, and legend has it that he tried a saw blade. Maybe Jillian Forrester will have to correct me on that one. The plate for spring which Lucas probably began in 1830 suggest the challenges of material. He rocked the plate with more lateral than vertical pressure, creating an asymmetrical configuration of birds with areas of deep scraping etching and cross hatching. The proof suggests the prolonged nature of the back and forth between Constable and Lucas. With each progress proof Constable is resolving the skies, lightning them over the center of the composition and delineating the striations in the clouds. Lucas use dry point to add texture to the clouds above the mill and surely seven F scraping out other areas, such as the tree roots in the left foreground with intensive roulette work, which also appears in the top left corner of the progress proof surely seven G. Lucas's tools are now in the collection of the Fitzwilliam museum in Cambridge, and the variety of rockers attest to the labor intensive nature of his work. Perhaps Lucas sought to convey this effort by detailing his exertions to Constable with notes such as quote worked up to the state in one night from half past 10 to five in the morning and quote sounds like an undergraduate. With spring Constable added the rook steering the proof stages of the engraving. And as a result the birds are very sharply etched into the plate etching also produce the amazing texture achieved in the body of the flower horse. On the plate some marks vacillate between representation and abstraction, as the horizon line disappears into the thicket of cross hatching the steel plate convey these hard one artistic effects over a longer print run. The introduction to Westmoreland Cumberland Durham and Northumberland illustrated the shirt sun and company 1832 with engravings with draw with engravings excuse me after drawings by Thomas Allen and George Pickering, declared that steel engravings were capable of quote, clothe like grace and effect, and that they quote ushered in a new era in the empire of space and quote, the longer print run contributed to this expansion of the art. As Prince found a steady market among the growing middle class. Don Martin switched from copper to steal with the engraving of bell chasers feast in 1826 assisted by Thomas lepton, who was awarded a gold medal by the Society of Arts for his quote application of soft steel to message and quote. In the 1820s, however, steel engraving was also associated with industrial ideas, volume similarity exactitude associated with what one critic called quote microscopic finish and quote. It's wider acceptance by the end of the decade, also signaled a decline for many, a loss of depth and of richness. Indeed in CF partingtons engravers complete guide from 1825. He describes engravers as partaking in quote, mechanical execution, and the printing of engraved plates as a quote mechanical impression. Partington was also thinking about the ways in which the durability of steel could be used to the advantage of engravers and printers as a labor saving device, especially when used alongside other devices such as the ruling machine. This slides back and forth in an even motion creating a series of close straight parallel lines and a grounded plate. Invented by Nikola Conte to assist in the publication of the description of Egypt, the ruling machine provided a practical solution to Conte's monumental challenge of creating hundreds of engravings. The finished product project would include more than 840 plates, many of them on a large scale in a timely fashion. The equipment work that would have taken engravers six months could be completed in a few days, and with a regularity that only a machine could achieve. In this context, the Industrial Association of Steel as a material came to the fore. It is significant then that Jacob Perkins, whom I mentioned earlier as the pioneer of soft steel plates undertook his experiments in the hopes of benefiting financially by using the plates to create paper money that cannot be counterfeited. An American inventor and mechanical engineer Perkins traveled to London in 1819 in an attempt to win the £20,000 prize offered by the British government to create unforgible banknotes. He developed a mechanical process known as siderography, might need some help with that pronunciation, where an impression is transferred from a steel plate to a steel cylinder and printed using a rolling press. Steel is used here to increase productivity and to face the hand of the artisan. Later in the 1820s, other devices invented by Perkins included a machine that designed its own patterns for banknotes in an attempt to foil counterfeiters, with the goal being to remove the human hand entirely from steel engraving. At the same moment, technical illustrations were also being created as steel engravings, and these images were designed for mass reproduction and distribution. As Francis Robertson has argued, steel engraving began to function as quote, the embodiment of industrial ideals. Had printmaking likewise descended into the realm of technological innovation, and therefore unskilled labor. This question prompted, in part by the rapid expansion of print in the preceding decades, led to the select committee of parliament that convened in June 1836 to investigate the claims of engravers against the Royal Academy. The Academy emphasized the notion that artists were original, while engravers were subordinate near copyists. In the select committee testimony, the engravers chafed at the characterization of engraving as copying, a description that allied them to the commercial aspects of the practice. I wonder if Constable himself was inspired to comment upon this debate with the fascinating transformation that happens between the first and second state of the vignette, Hampstead Heath, that concludes English landscape. In the first state the standing man looks off into the distance and his hands, presumably his sketching, not visible. In the second state Constable has transformed this figure from an artist sketching in the landscape into a laborer, pickaxe in hand, and gaze down cast. It is as if he is unable or unwilling to appreciate the magnificent sky above him, or the rainbow that appeared behind him, a feature that was also added in the second state. Is this figure with his pickaxe, a sharpened metal point that breaks the surface, a substitute for the engraver Lucas, resolutely focused on the steel ground in front of him, rather than the expanse of land and sky beyond. Is he slouching off after the completion of this project? He turns his back on the magnificent contrast between light and dark. Constable also introduced a donkey in the second state, a beast of burden who carries the load for others. Constable is using industrial materials and methodologies, availing himself of the strength and reproducibility of the steel plate. At the same time the reworking edits and additions contribute to the sense that the artist is using these materials or this material against the grain. The message hints of prints after Constable, yet they often have no exact pictorial reference. Lucas reworked the plates in light of Constable's instructions, and Constable would even alter individual impressions. As Iris Ween has noted, quote, such interventions once again turned the reproduction into an artist's original quote. The prints from English landscape are unique and yet repeatable entities. It is also part of the complex ecology of steel, described by Tony Fry and Ann Marie Willis in their study of material, a web of relations that demonstrates how steel functions in the modern world as material, and also as I hope to explore further as metaphor. Thank you. Thank you very much. It's great to see Constable's prints being put into a wider context. I'd like to welcome all our speakers and Mark Beck now and we'll convene the panel. Great. Thank you so much. Can you all hear me okay and thanks so much. Thank you so much, Mona for that really fascinating paper. Wow, all three of you given us so much to think about three fantastic papers. We're sorry there were a few technical issues with the sound, both for Felicity at the beginning, and for Amy I'm afraid, but we were able to, don't worry Amy, your arguments and your observations did come through loud and clear, even if the presentation wasn't always perfect. And luckily with Lizzie and with more than we seem to have avoided those questions, those problems. So, what I'd like to suggest that we have a few minutes where we can respond to each other in as part of a panel discussion questions that you might want to ask each other as speakers, particularly about things that seem to respond to overlap with your questions in your own papers that you've picked up from other from the other presentations, but also I'm sure that Felicity and I would love to ask you some questions in response to your, your presentations as well. And then after a few minutes we'll turn to our audience and to questions from yours we already got some coming in. Can I please urge those of you have been watching and listening and enjoying these really complex and fascinating arguments on the part of all three of our speakers. So please ask, at least a single question if not more, and then we can feed that response back to, to all our speakers we've got plenty of time we've got half an hour or more to really investigate these subjects and, and these presentations. So, I mean I'm very happy to kick off. The couple of questions, I mean a question really I guess for Amy to begin with from me. And I'm sure there are questions that will link all three papers but Amy, can I just ask you a very basic question about whether you, with your particular vignette or your particular set sheet of images. You saw them in any way as having been produced with a mind to it and an accompanying text that they were that is there any relationship with either a text that was written published or imagined, or does that sheet really stand quite separately from any such commentary. Yeah, in that case, and in most of the cases of the images that I showed. They weren't particularly intended to go with texts, the wall that all right now I should clarify there weren't specific texts that they were supposed to be married to. It was rather a kind of general thing that I think there certainly were narrative accounts of the riots published, and it was assumed that these images would go with them but I think, you know I don't know the timings of publications. I don't know most of these images but I get the sense from the kind of the collaborations that either used existing connections or kind of well tried interested partnerships between artists and publisher or printer, even. There was rather a scramble to get these prints out there. And I think these artists, by and large, mostly were not working with people who are producing texts, except for. And there was a series of watercolors produced by William James Muller, but that was for a kind of private commission. Right. So he was to grangerize his own kind of luxury account of his rights which was published so, while they did find their way so they did find their way into various texts, I don't think they were commissioned or originally conceived as such, although it's inevitable that they would have known that that's how they would have been destined to be used by whoever bought them. Thank you very much for Amy, particularly from the group that. Yeah, more now. Thanks. I put a question in the chat, but I'll just repeat it. I'd love to hear more Amy. If you had a chance to think about lithography as the sort of printmaking medium for these images of kind of uprising revolted people it was amazing to see the kind of that we showed from around that same period and I always think of lithography as this kind of smooth stone surface and yet the images themselves are so, you know, at times violence and their depiction of revolt. And I was wondering if that was ever commented on at the time that this kind of smooth matrix was creating, you know, part of creating these sort of violent images. It's a really, really good point to make. I don't think I haven't thought too much, because my initial focus on these images wasn't specifically on them as prints, it was rather the kind of, you know, the image of Bristol that they presented. So, I'm coming to the, you know, that more minute focus on them as prints and lithographs, lithographs, you know, a bit fresher. But I couldn't, I haven't, you know, in looking over the past month or so I haven't seen any specific references to them as lithographs per se, but you're very right in that there's quite a shocking contrast between lithography. I think these artists works and I think it does come across in perhaps volume picture antiquities. It's a very crisp, clean, can sometimes be quite a cold medium. And yet the images that I showed where there was lots of smoke and lots of kind of, you know, action you've got a very real sense of the smoke and the dust and the chaos. And it seems to go, you know, it seems a transformed use of that medium. But I think looking at those images of the French, the July Revolution of 1830, those techniques were certainly in play there and maybe it, maybe the connection with France could be explored more in that, as I said, it was to for its expressive purposes, rather than it's kind of ability to render detail as you'd need for an architectural illustration or topographical image. And Tim, I noticed I'm just, we just checked the Q&A, Tim Baringer has made the really useful suggestion that I might compare these lithographic representations to those of the 1831 Christmas riots in Jamaica. And he's really usefully given the information that there are patrons of those that included slaveholders and members of the West India company with evident Bristol links. So I think it's going to be more widely. Can I, can I ask a question to all three of you about about the timing of these different sets you're all looking at. It's very, it's very interesting about troubling our sense of what the landscape print series might have looked like if you think about, you know, the kind of work that that you're most producing, Lizzie, that you looked at the stuff that you're looking at, Amy, in many ways the kind of imagery that we're looking at, we've been looking at today is not quite what we might have had in mind as it were when we I think Felicity and I commissioned or convened this series. And then even the way you're talking about Constable and his set and the prints after Constable Mourner, you're making them look very different in a way to how we may have looked at them in the past and in a way that seems, as we've suggested in this, the kind of the of this particular session, you know, you've been twining them with around industrialization in a way that makes a link between your work and Liz's work so fascinating, and then politics coming into it too. It's an interesting moment about whether you could reflect a bit on the timing we're talking about here this really long 1830s and about whether you think that's a moment when the aesthetics of landscape imagery and of the print series might be might be might be being troubled or becoming so crowded or contradictory or competitive I do some thoughts on, on, on whether the genre is undergoing some kind of change or crisis at the time. I can probably answer that quite with some initial thoughts I think turner's activity in the field of print series and printmaking is quite an indicator that the market was becoming very saturated and that things were changing. And just from, you know, he's certain of the later print series either didn't come to fruition or didn't. They weren't as small as earlier print series certainly. So that's, that's an indicator that something in the 1830s was changing, but then from looking at lithography, I think the 1820s was still a period when it was being refined, and when it was being promoted and used but not to the exhaustive amount that Mona referenced in her paper where later lithography is a kind of primary medium and it's used in lots of reportages using the London Illustrated News and with woodcuts and it becomes that kind of almost cheap and cheap and mode of reproduction. It was definitely towards the end of the 1830s a shift there in such a way that had the timing of the Bristol riots being different. I wonder what medium these artists would have preferred their images to be circulated within them, you know, if it was later, whereas in the early 1830s, particularly if you look at France and the kind of academic privileging of lithography there. It does seem to have still had a kind of some degree of prestige attached to it and speed, which was necessary but you know it wasn't too far distance from Mezzatine, from the kind of more traditional forms of being engraving. Yeah, Mona and Lizzie I wondered about the overlaps that you saw between the imagery you're looking at. Lizzie I think we unmuted at the same time would you like to go ahead. Well, I was just going to say quickly that one of the things that is interested me in thinking about your question mark is to look at, you know, theories of remediation. So, you know, one of the surprising things for me when I started looking at these prints was the fact that steel was the matrix for them. And so I was trying to think about how a new media, as it were, gets incorporated into an older practice and then also sort of transforms that practice. And I think that you're absolutely right that there is a kind of crisis happening in the 1830s but I feel you know as someone who's primary research topics usually fall later what I am finding so fascinating and wonderful that many of you already know about the 1830s is that it seems to be a kind of full of moments of crisis. And so it's interesting to think about how, you know, sort of artistic questions around landscape. In many ways go hand in hand with bigger questions about religion politics industry, and to see the kind of aesthetics of landscape as a sort of cumulative partner in those debates, rather than merely kind of reflecting them as it were which I think is maybe a more traditional reading. Yeah, I think in his case, it's quite interesting because a number of the existing images that showed mining, such as the slightly kind of crude woodcuts that I showed alongside the reports were not very similar to his etchings. So at the kind of time that he was working, the sort of amount of printed imagery, and including printed imagery of mining, and was sort of increasing at that same time and sort of not that long afterwards you get things like the large engraved illustrations and the illustrated London news that would have shown more of the lives of the miners and things, but I think her sort of has an interesting position in that because he's almost like quite consciously if we believe what he says in the preface, elevating subjects into a field of kind of landscape prints that he might have associated more with the likes of Turner, and kind of trying to bring them back into that I guess what was that point very well established sort of idea of a series of kind of finer landscape prints so I think that's all that's all really interesting in relation to him. And that's kind of why the more that I've got into thinking about the series, the more I think it's just sort of never ending really is to trying to understand that wider context and why these images were unusual and if they were unusual. And, and the choice of etching as well is quite interesting. Thank you. First, did you want to ask questions of the panel before we turn to the growing list of questions from the audience. Yeah. Just a general question for everyone. And you will touch on this in different ways but what do you feel is unique about the series itself what is it about issuing images together that we should be looking at what does it bring to the table and so to speak. Any responses. This is a difficult question, but having is picking up on what Lizzie was saying just then about the kind of the suitability, as it were, of certain certain features of a landscape the suitability of those features for different registers of artistic production. But that a lot in relation to other other parts of work that I've done, particularly when it comes to the industrial landscape of the. The print series does, you know, we, we have this sense of hierarchy that's imposed on us through our historical education quite often. And actually, it's, I find that the print series is really liberating and exciting because you find things within these series that you don't really find elsewhere. And so that that's where I think the series has great value and also it allows you to, it's more, you know, thinking about the way in which an idea is articulated across through a piece of what you then have a body of work to think about which even if it's one artist behind the series, as the case of Constable, or multiple artists in the case of many of the topographical series or volumes that go with text, you have a kind of essay, as it were. So you have multiple paragraphs of ideas playing out within, within one whole that you can look at all together. So I think, you know, for viewers then that creates a more complex and fascinating choice and for us too. As I mentioned in my paper, there's also that, that danger, and Lizzie mentioned it too, of seeing works, you can then take lots of pitfalls too about working across series that there's more. Thanks. Thanks, Amy. Mona and Lizzie that your thoughts on this issue of the series. Well, Lizzie, you let me go first last time. So would you like to take a turn. Thank you. And I mean, it's such an interesting question more broadly. And, but I guess in terms of her series specifically it's quite an interesting one because I'm not sure if I actually said this during my talk on it or not but one of the things that's said in the preface to the series is that he's he's hoping to actually suggest a new field of artistic sort of illustration like it's that kind of lofty idea that this series by kind of presenting all of the collies together in this way will suggest a whole new subject matter for artists almost. And I think, for her, the fact that he created the whole series may have been entwined with his own idea of creating an artistic legacy. Because he kind of believed he was filling this vacuum that nobody else have done. And I suppose it has, I mean, it's born out really because he's not very well remembered but I don't think he'd be remembered at all if it wasn't for this series. Just jump in and say that I think with English landscape there's almost a sense of it as a kind of organic entity that grows and changes over time and as you wonderfully discuss Felicity in your recent tape papers. I would say it has an afterlife that's really colored how it's perceived and how it's talked about today. And one of the things that I find to be a particular challenges, you know, how can you say something new about constable at this point. And so I found that thinking about this series in relationship to material was one way to maybe a strange constable a little bit from this project and provide a kind of new new way of thinking about it. I was struck, Lizzie, when you talked about when with the advert you showed about the part minute is this issue about instalments or releasing a set of series in parts I think that is fascinating aspects of so many of these series that they're done in that way. And that that hair was, but he was quite not vague but not entirely certain about the timetable for their release wasn't in the advert. But then that sense of subscribers getting groups of these images, and then waiting for the next group and that idea of something collected and comes together over time, where sometimes that might be a very rational and carefully regulated process and other times even with turn is Libre with with other examples. It's a much more haphazard the gaps between the instalments is not, you know, that whole idea of the release dates and the timetables release, shifting that, you know, the sense of how one actually consumes these as an in growing and unfolding pieces of work. Okay, look, I'm sorry, I'm not conscious of time, and we have lots of participants lots of questions so can we start hitting the questions I'm going to do that is that okay for this if I just start reading out some of the questions maybe. So we'll, going back to Amy. And there's a couple of questions from john hints one about whether these print these prints were printed and published locally in Bristol or in London. I think you touched on that, and about the print runs many of these images, do you have a sense of scale and sort of preventing that question from Julia Elkins and what's the market for these prints who are the buyers of the depictions of the rights and fires. Any thoughts you might have on that sort of those related questions. These are the things when we're working on Prince and Prince series that I always got these questions in my mind and they're not necessarily as easy as I'd like to be. I don't have any figures for the print runs of these images but I do know. Certainly, I found an advert for one that went into a second print run. So that's, you know, evidently, there was a kind of a demand there. And what was the other part of question and they were published. Yeah, published in London and Bristol. Publishers and booksellers joined forces with London print sellers and books and publishers to make sure there was a greater field of distribution, these works that they were local impetus but then a national distribution. And the other part of the question who would, who would consume them well that's in the advert I think that I discussed that's the greatest clue for that so far people who were collectors of topography people who had a particular interest in Bristol. So the advert suggests a history of England, you know, and this was a national event that should be registered in your. So this was, you know, certainly had a broad appeal. And I think in terms of the, the kinds of people the, you know, the typical market for prints topographical prints in particular. Middle class, genteel audience who wanted to be seen to be part of that discussion part of those conversations about places and their importance. So that answers those questions. Yeah, thanks Amy. There's a question from Jillian Forrester, in response to Lizzie your talk Lizzie about the fact that for Jillian the execution of the collars Prince reminded her of john sell Cotman's antiquarian etchings. And she wonders if hair is also appealing to an antiquarian market or simply unconsciously absorbed that style is there not many precedents for his industrial subject matter. I think that is a really interesting question relationship between this new imagery of industrialization and the antiquarian imagery and be good to get your thoughts on that. Yeah, I get the feeling myself that although the kind of context for images of mining at the time was not so much in the field of landscape although hopefully I showed it there was some precedent. The hair really is somebody who was working as a commercial engraver and as well and was involved in other series. And I think probably had a good knowledge of other topographical print series and it feels like reading through the views of the collars does feel a little bit like I'm reading through a, you know, a more traditional topographical publication of is almost like the collars are in place of the great houses and there is that sort of shared and sense of that sort of aesthetic tradition there to some extent although obviously they are industrial subjects and they do look different. Yes, and my opinion is that he was very much looking at those kind of precedents and artistic precedents as much as just the, you know, being shoehorned into that kind of idea that they're industrial or technical in some way. I have a follow up question from Sally bills which for you Lizzie which I think it's really interesting about whether you think this imagery of industrialized Sally was asking about whether industrialization was seen as part of and part yeah part of the economic holdings of the countryside estates are celebrated by landowners are struck by the fact that there was a mention that one of the collars is owned by a Marcus and and you talked about in fact that that the owners of these collars seem to have played an important role in the publication if not exclusive are those are those images of collars now become part of the kind of pictorial paraphernalia of of land ownership and of local power, do you think I think that's Sally's point. It probably needs further research to try and figure out how much all the landowners would have been pleased that those aspects of their land ownership were appearing in print but obviously we do know that at least some of her subscribers were collaring but as you've just sort of hinted at yourself there. While we might think of the mines being run by industrialists, a lot of the money was still with quite traditional landowners in the area such as like in northern blend of Percy family and so it's quite a diverse and interesting picture I think and actually I think that would be a really interesting point to to take forwards and think about more. So thank you. Maybe sorry, Lizzie one last one for you then there are plenty for you as well Mona, but there's a question from Iris been for you Lizzie which is about have you whether you've come across comparisons metaphorical comparison between cathedrals and industrial buildings and structures. She was reminded that the depiction of the Percy main color with its special perspective over the corner might remind one of cathedral paintings so the kind of the idea of these structures as kind of modern cathedrals. Oh well I love that point I think that's fascinating and to be honest no not really but I guess one thing I might link back to and the publication is that the language that is used in some of the text accompanying reviews. sort of glorifies coal and you know the treasure and everything it brings the economy in a way that is all you know almost glorifies in a similar kind of way. And it's obvious that both hair and Ross who provided text and have a, I think I have mixed feelings about the mines but they kind of they are just celebrating and glorifying the industry to quite an extent in the text. And that yeah that's really interesting about cathedral imagery and another thing for for me to think about some more so thank you. Yeah, there's some questions from for you Mona there's one from Annie Lyles actually a great console expert of course and Annie asked, do you think it might have been console himself or opted for steel for the medicines of English landscape or else Lucas. I think it's a wonderful question. And I think I'm, I'm still trying to figure out the answer to that one. Obviously as she points out Lucas was already familiar with the material. But it just seemed such a strange. Honestly, it just seemed such a strange decision to me that Constable would have chosen steel. So I wonder if it if it had something to do with Lucas's input. Honestly, because I think there, there are still all sorts of very valid questions about what Constable hope to achieve with this series. And you know the chief advertisement of steel would have been that you could make many more of them. And you know there's been much discussion in the scholarship about the, you know, failure, potentially we could say the failure of this project or the fact that it didn't fell well it didn't reach a large audience that there were so many that were auctioned off after Constable's death. I think it's a wonderful question and I think it's, it's for future further and future consideration. Victoria Hepburn, again for you Mona, who says she's really interested in the issue of rust on the steel plates, a problem that Lupton admitted to and is aware of when he received his gold medal. Any thoughts on that problem in relation to the themes of your paper. That's also a great question and there's no, there's no sort of discussion in the correspondence between Constable and Lucas that I've come across yet that that might be something that they're, they're worried about, but it definitely would have been something to worry about. And in fact, in the images that I showed of the extent plates, there are a few that have significant rust damage. And that was perceived as the kind of vulnerability of steel as a material. In addition to the initially the kind of trickiness of the decarbonization recarbonization project. So, again, I think that that's, that's a wonderful question. And that's definitely one for further consideration. Thanks. I've got a few more questions that are here that are going to jump around between speakers if that's okay so I'll jump back to you Lizzie if that's okay. Liz, John Hynx asked whether you're familiar with RS Chaddick's prints of the industrial landscape of the black country. There's some interesting similarities. But these are he admits that these are later prints and the ones that you're discussing. I'm afraid I'm not but I will make a note of that and look them up. So thank you. And Paul spent a long has Lizzie asked whether you think the vignette format has particular relevance or importance for these industrial views. Yeah, that's an interesting one that I've sort of been pondering the whole time I've been looking at them and most of the images in the series are in the vignette form although not actually all of them and which itself is quite interesting. Honestly, I think I mentioned they're quite large. And so they're not, you know, like Buick's tiny vignettes that they're nothing like that they're quite large scale. And, and I wondered whether perhaps the fact that a number of mining illustrations are, you know we're made as book illustrations so you do see the kind of technical illustrations and if the mines are often the vignette form. I think that influenced it or perhaps in my mind it's more likely that hair studying examples by Buick who I'm sure he would have known Buick's prints well and but also I think looking at his watercolors. He knew, you know, he knew Turner's example well and one of the first things I thought when I saw the watercolors themselves at the Hatten was that they really reminded me of Turner's vignette watercolors. I'm in the turn of a question. That's just, you know, that's just sort of my opinion having seen them but it's definitely made me wonder about that. And so I suppose the short answer is I don't know but I think, you know, it may be that some of these influences were at play and when he decided to go with the vignette form for a number of the prints. This is a question I think for actually probably all of you but there's a question from Marius Quinn who's asking about the theme of the disruptions of modernity becoming rendered as fine or, I guess, a certain kind of pleasurable visual spectacle or the sublime and some of the prints discussed. You ask whether that'd be too bold and appraisal that sense of even something like the riots in Bristol being turned into this, it kind of spectacular visual spectacle, Amy, or the collars that you're looking at, Lizzie, whether they actually can become transformed into something like, you know, the volcanic eruptions of Vesuvius or something like that, or whether that's the case for Constable's clouds, who knows, but I mean I don't know what your thoughts on this issue about whether these disruptions of modernity or of contemporary life actually being translated into something which have kind of sublime as a public appeal. I think in the case of the riots, that's definitely the case and it's not too bold and appraisal at all. I think that was part of the appeal certainly of the distant view. It's a very shocking and striking image. So I think, yeah, that's certainly an effect that the artists behind them were going for. Is a tradition of images of cities on fire that they relate to. I suppose the Great Fire of London is the only thing I haven't really had much chance to go into, but I think just looking through them, it's certainly, fire is used, you know, it's used to silhouette the ruins of the ruins and it's used to kind of signal from afar that something is very wrong in this city. So it's, it's definitely used as a visual tool to draw people in, and to make the, in the case of the Prince, you know, visually exciting. Lucy Moore, any more thoughts on response to Maris's question about, yeah. I think it's very similar with hair, although he sort of specifically says that, you know, he's not using artistic effects to enhance the images that I think he does. The fact that the use of fire as well is quite interesting in the more dramatic of the scenes. And, and, yeah, I mean, they are quite a mixture of images but certainly the ones that I've pointed to, and during the PowerPoint. I think they do kind of fall into that tradition of sort of the idea of the sublime landscape imagery and sort of employing that in the depiction of the dramatic potential of industrial scenes. Any thoughts. And one thought by by saying that in some ways, I feel like we're back at your original point mark about the sort of 1830s and the this kind of disruptions of the aesthetics of landscape. I think that in many ways it feels like the fact kind of aesthetic question with which you began is, is, you know, right. The same question really is this, this theme of the disruptions of contemporary life. Well, given we've, we've circled back maybe that's inappropriate and it is two minutes past two in fact so we're running slightly late. I think maybe we should draw it to an end there. Jamie, Lizzie, Mona, I'm sure. Well, Felicity will no doubt want to join me in thanking you all for three tremendous papers I can't tell you how pleased we are both are to have such. We always knew this would be the case we'd have such a strong start to our series but you set the bar very high in terms of the level of analysis and an interpretation that you offered us and I think you just brought this this whole cat subject of the landscape of the series alive in your very different ways so brilliantly today so many many thanks to you all and we very much hope you'll continue to join us as the series unfolds and and bring your contributions to bear on the speed on the on the presentations by other speakers. And just to say that our next the next installment of this series of, you know, we talk about hair issuing is his, his prints in parts Lizzie well we're doing something rather similar we have another set or another part set of talks coming up on Thursday. We hope we can be even more regular than hair was we know there's going to be Thursday next Tuesday and the following Thursday, and you'll get this fantastic sequence of series talk series I suppose we should call it unfolding over the next couple of weeks. So we're beginning the next stage of which is on Thursday so I hope you'll join us then. Please see any other thoughts, final thoughts you wanted us to offer. Thank you. Thanks to the team at the PMC have had to actually cope with some quite challenging issues today technically the fact that we got through to two o'clock and manage to enjoy such fantastic papers as a testament to all the work they've been putting in behind the scenes as well. Thanks everyone, and see you all again I hope on Thursday. Okay, bye bye for now. Thanks. If you're still there showing a thank you very much. You're welcome. Thanks everyone for joining us and we'll see you on Thursday.