Dennis Williams
Gone but not forgotten
This journey, like many others I have charted on here, was once again inspired by the immaculate Birmingham historian Jenni Coles-Harris, and much of the information, pictures and words are hers. I am deeply indebted to her research capabilities and skills…
The main focus of my primary interest was the painter Samuel Lines, who was actually a Coventronian, if there is such a word, and his paintings of old Brum. They are not particularly up there with Constable or Turner, but they have amazing details for anyone with a curiosity of the early development of our fair City and it’s oldest Streets and thoroughfares. So, lets begin with a bit of background info on the times Samuel Lines was active in, and see where it leads….firstly, here’s the link to one of the best Birmingham History sites on the Net….Jenni’s Georgian and Regency Streets of Birmingham Blog:
https://www.youtube.com/watch?v=T4FvJwSYUUw
The Georgian era of British history is a period which takes its name from, and is normally defined as spanning the reigns of, the first four Hanoverian kings of Great Britain who were all named 'George': George I, George II, George III and George IV. The era covers the period from 1714 to 1830, with the sub-period of the Regency defined by the Regency of George IV as Prince of Wales during the illness of his father George III. The definition of the Georgian era is often extended to include the short reign of William IV, which ended with his death in 1837. The last Hanoverian monarch of the UK was William's niece Queen Victoria who is the namesake of the following historical era, the Victorian, which is usually defined as occurring from the start of her reign, when William died, and continuing until her death.
SAMUEL LINES (1778–1863), painter, designer, and art instructor, was born in 1778 at Allesley, near Coventry, where his mother was mistress of a boarding-school. On his mother's death in his boyhood he was placed in the charge of an uncle, a farmer, who employed him in agricultural work. Lines, however, managed to teach himself the rudiments of drawing and painting, and in 1794 he was apprenticed to Mr. Keeling, a clock-dial enameller and decorator of Birmingham, for whom he worked as designer. He was employed in a similar capacity by Mr. Clay, the papier-mâché maker, and also by the die engravers Wyon and Halliday. Among other objects he was frequently employed to design presentation shovels and swords of state, manufactured by Mr. Gunby of Birmingham, a great amateur of art, with a fine private collection, and Gunby's gallery was freely open to Lines, as well as to his contemporary David Cox the elder.
In 1807 Lines commenced teaching drawing in Birmingham, using casts to draw from; he set up a school in Newhall Street, met with success, and was able to build himself a house in Temple Row (No 3), where he resided for the remainder of his life. In 1809 Lines, with Moses Haughton the elder, Charles Barber, John Vincent Barber, and other artists established a life academy in Peck Lane, New Street.
In 1814 the school, doing well, moved to larger rooms in Union Passage, and the same year they housed an exhibition which exhibited works from artists within a 30 mile radius of Birmingham. By 1821 the group had again outgrown their premises and consulted with wealthy patrons and local industrialists, the product of which was the formation of the Society of Arts which took up residence in the old Panorama building on New Street. This building was rebuilt in 1828. Lines took classes at the society and managed many of the exhibitions. In 1842 there was some disagreement within the society, which split into two, with the new group moving to rooms on Temple Row, called the Aetheneum.
Lines took a large share in the foundation of the Birmingham School of Art in 1821, and on the subsequent foundation of the Birmingham Society of Artists he was elected treasurer and curator, holding those offices till he reached the age of eighty, when he resigned, and was elected an honorary member. Nearly all the artists of the neighbourhood and many from other parts of the country received instruction in drawing at Lines's academy. A good landscape-painter himself, he possessed a great faculty of teaching others, and many of his pupils attained to much excellence. He died at his house in Temple Row on 22 Nov. 1863. He very rarely exhibited out of Birmingham.
One of his drawings was of a distant, early landmark in New Street, Birmingham....that of The Theatre...later to become the Theatre Royal...he is pictured here enjoying the view with a friend atop his House in Temple Row, No 3, next door to the now delightful pub, the Old Joint Stock....No 3 Temple Row now has a Blue Plaque installed as a commemoration of his life and work....
3 Temple Row
Lines view from Temple Row
Theatre Royal
Theatre Royal burning during Priestley riots 1792...
After several unsuccessful attempts to set the Theatre alight, in the early hours of the morning of 17 August 1792, the inhabitants of Birmingham were alarmed by the cry of Fire!'. Within a short time of discovery, the whole building was engulfed and completely destroyed by the fire, all apart from the elegant stone facade which remained for another 100 years. The Priestley riots had claimed another scalp….The Theatre in New Street….
Next door to the Theatre was Portugal House, Joseph Green's splendid home. Here you can see his furniture piled outside the front, presumably with Mr. Green himself, the renowned dandy, standing in the doorway. His house did not catch fire.
In his drawing from 1821, you can also see a distant Windmill, which I think is Chapman's Mill on Holloway Head..?
The main focus of my primary interest was the painter Samuel Lines, who was actually a Coventronian, if there is such a word, and his paintings of old Brum. They are not particularly up there with Constable or Turner, but they have amazing details for anyone with a curiosity of the early development of our fair City and it’s oldest Streets and thoroughfares. So, lets begin with a bit of background info on the times Samuel Lines was active in, and see where it leads….firstly, here’s the link to one of the best Birmingham History sites on the Net….Jenni’s Georgian and Regency Streets of Birmingham Blog:
https://www.youtube.com/watch?v=T4FvJwSYUUw
The Georgian era of British history is a period which takes its name from, and is normally defined as spanning the reigns of, the first four Hanoverian kings of Great Britain who were all named 'George': George I, George II, George III and George IV. The era covers the period from 1714 to 1830, with the sub-period of the Regency defined by the Regency of George IV as Prince of Wales during the illness of his father George III. The definition of the Georgian era is often extended to include the short reign of William IV, which ended with his death in 1837. The last Hanoverian monarch of the UK was William's niece Queen Victoria who is the namesake of the following historical era, the Victorian, which is usually defined as occurring from the start of her reign, when William died, and continuing until her death.
SAMUEL LINES (1778–1863), painter, designer, and art instructor, was born in 1778 at Allesley, near Coventry, where his mother was mistress of a boarding-school. On his mother's death in his boyhood he was placed in the charge of an uncle, a farmer, who employed him in agricultural work. Lines, however, managed to teach himself the rudiments of drawing and painting, and in 1794 he was apprenticed to Mr. Keeling, a clock-dial enameller and decorator of Birmingham, for whom he worked as designer. He was employed in a similar capacity by Mr. Clay, the papier-mâché maker, and also by the die engravers Wyon and Halliday. Among other objects he was frequently employed to design presentation shovels and swords of state, manufactured by Mr. Gunby of Birmingham, a great amateur of art, with a fine private collection, and Gunby's gallery was freely open to Lines, as well as to his contemporary David Cox the elder.
In 1807 Lines commenced teaching drawing in Birmingham, using casts to draw from; he set up a school in Newhall Street, met with success, and was able to build himself a house in Temple Row (No 3), where he resided for the remainder of his life. In 1809 Lines, with Moses Haughton the elder, Charles Barber, John Vincent Barber, and other artists established a life academy in Peck Lane, New Street.
In 1814 the school, doing well, moved to larger rooms in Union Passage, and the same year they housed an exhibition which exhibited works from artists within a 30 mile radius of Birmingham. By 1821 the group had again outgrown their premises and consulted with wealthy patrons and local industrialists, the product of which was the formation of the Society of Arts which took up residence in the old Panorama building on New Street. This building was rebuilt in 1828. Lines took classes at the society and managed many of the exhibitions. In 1842 there was some disagreement within the society, which split into two, with the new group moving to rooms on Temple Row, called the Aetheneum.
Lines took a large share in the foundation of the Birmingham School of Art in 1821, and on the subsequent foundation of the Birmingham Society of Artists he was elected treasurer and curator, holding those offices till he reached the age of eighty, when he resigned, and was elected an honorary member. Nearly all the artists of the neighbourhood and many from other parts of the country received instruction in drawing at Lines's academy. A good landscape-painter himself, he possessed a great faculty of teaching others, and many of his pupils attained to much excellence. He died at his house in Temple Row on 22 Nov. 1863. He very rarely exhibited out of Birmingham.
One of his drawings was of a distant, early landmark in New Street, Birmingham....that of The Theatre...later to become the Theatre Royal...he is pictured here enjoying the view with a friend atop his House in Temple Row, No 3, next door to the now delightful pub, the Old Joint Stock....No 3 Temple Row now has a Blue Plaque installed as a commemoration of his life and work....
3 Temple Row
Lines view from Temple Row
Theatre Royal
Theatre Royal burning during Priestley riots 1792...
After several unsuccessful attempts to set the Theatre alight, in the early hours of the morning of 17 August 1792, the inhabitants of Birmingham were alarmed by the cry of Fire!'. Within a short time of discovery, the whole building was engulfed and completely destroyed by the fire, all apart from the elegant stone facade which remained for another 100 years. The Priestley riots had claimed another scalp….The Theatre in New Street….
Next door to the Theatre was Portugal House, Joseph Green's splendid home. Here you can see his furniture piled outside the front, presumably with Mr. Green himself, the renowned dandy, standing in the doorway. His house did not catch fire.
In his drawing from 1821, you can also see a distant Windmill, which I think is Chapman's Mill on Holloway Head..?
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