Art Collecting and Middle Class Culture from London to Brighton, 1840–1914

Regular price €179.80
A01=David Adelman
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art history
art world
artists
arts institutions
Author_David Adelman
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bourgeoisie
Category1=Non-Fiction
Category=AB
Category=ACV
Category=ACX
Category=ACXD
Category=AGA
Category=GLZ
Category=GM
Category=HBJD1
Category=HBLL
Category=HBTB
Category=JBCC
Category=JBSA
Category=JFC
Category=JFSC
Category=NHD
Category=NHTB
class
collection
COP=United Kingdom
critics
dealers
Delivery_Pre-order
elite
eq_art-fashion-photography
eq_history
eq_isMigrated=2
eq_non-fiction
eq_society-politics
Harriet Trist
Henry Hill
Henry Willett
John Hamilton Trist
Language_English
library
middle class
museum
networks
PA=Temporarily unavailable
paintings
philanthropy
plantation
politics
Price_€100 and above
PS=Active
social circles
softlaunch
status
urban
Victorian
wealth
William Coningham

Product details

  • ISBN 9781032538235
  • Weight: 453g
  • Dimensions: 174 x 246mm
  • Publication Date: 28 Jun 2024
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Hardback
  • Language: English
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This study explores the interplay between money, status, politics and art collecting in the public and private lives of members of the wealthy trading classes in Brighton during the period 1840–1914.

Chapters focus on the collecting practices of five rich and upwardly mobile Victorians: William Coningham (1815–84), Henry Hill (1813–82), Henry Willett (1823–1905) and Harriet Trist (1816–96) and her husband John Hamilton Trist (1812–91). The book examines the relationship between the wealth of these would-be members of the Brighton bourgeoisie and the social and political meanings of their art collections paid for out of fortunes made from sugar, tailoring, beer and wine. It explores their luxury lifestyles and civic activities including the making of Brighton museum and art gallery, which reflected a paradoxical mix of patrician and liberal views, of aristocratic aspiration and radical rhetoric. It also highlights the centrality of the London art world to their collecting facilitated by the opening of the London to Brighton railway line in 1841.

The book will be of interest to scholars working in art history, museum studies and British history.

David Adelman is an independent researcher in nineteenth century cultural history.