Rediscovering

the Lines Family:

Drawings of Birmingham and
Beyond in the Nineteenth Century
RBSA Gallery
Exhibition Catalogue
 About the Exhibition

Portrait of Samuel Lines,

William Thomas Roden (1817-1892)
1863
Oil on canvas
1003 x 1245 mm
©Birmingham Museums & Art Gallery

2
 About the Exhibition

Rediscovering the Lines Family: Drawings of Birmingham and Beyond

in the Nineteenth Century
30 April – 23 May 2009

The artist Samuel Lines (1778-1863) was one of nineteenth-century

Birmingham’s most respected drawing masters and played an integral role in
the establishment of the Royal Birmingham Society of Artists (RBSA).
Samuel acted as both Curator and Treasurer during his time with the Society,
only retiring in 1862, less than a year before his death. With his five sons:
Henry Harris Lines, William Rostill Lines, Samuel Rostill Lines, Edward
Ashcroft Lines and Frederick Thomas Lines, Samuel also ran a successful art
academy at his home on 3 Temple Row West (opposite St. Philip’s
Cathedral) where they taught local tradesmen and aspiring artists the
rudiments of art and design. They also taught the children of many
distinguished families, including Louisa Ryland who later helped fund the
building of the Municipal School of Art on Margaret Street. The whole family
was largely responsible, both directly and indirectly, for much of
Birmingham’s artistic output.

Rediscovering the Lines Family: Drawings of Birmingham and Beyond in the

Nineteenth Century will show, for the first time, drawings by the sons of
Samuel Lines, predominantly Henry Harris and Samuel Rostill, from the
RBSA permanent collection. Following the purchase of the drawings by the
RBSA in 2005 they became the subject of significant doctoral research, from
which this exhibition has been derived.

The drawings capture popular nineteenth-century attractions in the Midlands,

showing the charm that appealed to many tourists and travellers of the day.
The escalating Napoleonic wars, coupled with better road maintenance,
partially contributed to the rising popularity of these British holiday
destinations. Depicting areas such as Edgbaston, Bridgnorth and Lichfield,
the drawings act like picture postcards, showing places of historical and local
interest. Now they are able to offer the viewer nostalgic images of a bygone
era. The nineteenth century was a period of considerable change, a theme
echoed throughout this exhibition. Birmingham’s population was growing fast,
expanding seven fold over the period 1801-1901 and much of its land was
3
 About the Family

taken over by factories or housing. Therefore, this exhibition not only

examines the drawings as depictions of popular nineteenth-century
destinations, but also as visual documents of the Midlands’ changing urban
and rural landscape.

Samuel Lines (1778-1863)

Samuel was born in the small village of Allesley, Coventry, where he and his
siblings were cared for by their Uncle, William Rostill, after the death of their
mother in 1787. Samuel’s first encounter with art occurred in 1792 when a
portrait of King George III by Sir Thomas Lawrence (1769-1830) was
presented to the people of Coventry. Samuel recalls that: ‘it took such a firm
hold of my mind that I became an ardent admirer and lover of works of
art.’1 As a result, Samuel moved to Birmingham at the age of sixteen to
begin his career in art through an apprenticeship with Mr Keeling, a
clock-dial enameller.

The late eighteenth century had seen Birmingham secure its reputation as
Britain’s leading toy and trinket manufacturer, producing goods such as
jewellery, buckles and buttons. As a result, nineteenth-century Birmingham
was a hub of artistic activity, supporting a range of artistic trades that
required creative workers. There was a demand for decorative objects, such
as japanned goods and portrait miniatures, that required designers with artistic
skills. This helped to shape Birmingham’s unique development into a city of
creativity, rivalling that of London.

In 1807, Samuel set up his first drawing academy on Newhall Street,

offering tuition to local artisans and aspiring artists. Here, Samuel focused
upon teaching basic design skills such as drawing figures, landscapes and still
life studies. In 1809, Samuel collaborated with a group of local artists
including Charles (1784-1854) and Joseph Vincent Barber (1788-1838) to
establish a larger art institution. This was to be called the Life Academy and
aimed to provide art tuition on a larger scale. Samuel contributed by teaching
at the new institution that was situated on Peck Lane. As the Life Academy
expanded, it needed new premises to accommodate the growing number of
students. Therefore, in 1814, the Academy relocated to Union Street and
4
 About the Family

began to promote its first exhibition of fine arts. However, it was not long
before it evolved into a new society that would incorporate both the fine arts
and manufactured arts, thus supporting a broader spectrum of artists. As a
result, the Birmingham Society of Arts was established in 1821, changing its
title to the Birmingham Society of Artists in 1842. In 1868, the Society gained
its Royal warrant and has since been known as the Royal Birmingham Society
of Artists.

Throughout his time at the RBSA, Samuel also ran his own drawing academy
(a continuation of his original academy established in 1807) at his home on
Temple Row West. It was here that the Lines artistic dynasty began.

Henry Harris Lines (1801-1889)

Judging by the amount of his work that has survived, Henry Harris Lines was
possibly the most prolific of the brothers. It is certain that he was taught to
draw and paint by his father. This was common during the early 1800s when
the artistic education of an artist’s child would begin at home. Henry
Harris was enrolled into his father’s teaching school from a young age but was
also given a modest education at Thomas Wright Hill’s Hilltop School (later
known as Hazelwood School).

Born in Birmingham in 1801, Henry Harris’ artistic merits were recognised

when he exhibited Caesar’s Tower, Kenilworth Castle at the Royal Academy of
Arts (RA) in 1818. Between then and 1846, Henry Harris exhibited a total of
fourteen pieces at the RA, which exceeded the number of exhibits by Samuel
senior and Frederick Thomas Lines combined. All of the works exhibited
were landscapes depicting the Midlands, Cornwall and Yorkshire. Henry
Harris was also a keen exhibitor at the Birmingham Society of Arts where he
showed his work on a regular basis from 1827 to 1885. A skilled landscapist,
he was able to capture the natural beauty of the places he visited, places yet to
be touched by the industrialisation that was rapidly encroaching upon
the countryside.

The cholera epidemics in Birmingham caused Henry Harris to relocate to

Worcester in approximately 1832. By this time he was married to his wife
5
 About the Family

Emma and had a young daughter, Elizabeth (b.1825). He had two more
daughters after settling in Worcester: Emma (b.1828) and Catherine (b.1829).
Catherine was known to take up painting, showing a talent for still life studies.
She became the only daughter to exhibit alongside her father at the
Birmingham Society of Arts exhibitions in 1860 and 1862. Tragically,
Catherine died before her artistic potential could be fully developed.

In Worcester, Henry Harris was able to embark upon a new career as an

archaeologist, spending much of his time surveying the British Camp on the
Malvern Hills. This married his skills as a talented draughtsman and a
methodical scientist. The nineteenth century brought with it a renewed
interest in history and archaeology as a result of the founding of new
societies which aimed to promote and develop historical, literary and
philosophical knowledge. Although sometimes considered merely a hobby
for amateurs, for Henry Harris, archaeology was a serious vocation that he
pursued in scholarly solitude. Two years after his death, his daughter
Elizabeth published a series of his accounts in The Ancient Camps on the
Malvern Hills which proved to be a highly academic study of Roman and
British activity within the area.

William Rostill Lines (1802-1846)

Due to a lack of records and documentary evidence, very little is known

about Samuel’s second son, William Rostill. However, information does
reveal that he was a modeller when he died of an abscess in the neck at the
age of forty four. Although an active exhibitor at the Birmingham Society
of Arts in its early years (from 1827-1835), he was one of the lesser known
brothers. It has also become evident from his exhibition pieces that he was
adept in sculpting busts and wax models of classical subjects and figures.

Samuel Rostill Lines (1804-1833)

Samuel Rostill was best known for his studies from nature and landscapes,
much like his elder brother Henry Harris. Both had an extremely similar
drawing style and the same inquisitive attitude towards their subjects.
Although he did not exhibit at the RA, Samuel Rostill was able
6
 About the Family

to gain at least one prestigious silver medal from the Royal Society of Arts in
1827 and was also a regular exhibitor at the Birmingham Society of Arts. The
year after his death, possibly as a mark of respect, none of the members of
the Lines family contributed to the annual Birmingham exhibition.

Samuel Rostill often accompanied his eldest brother, Henry Harris, on

sketching trips and both exhibited works that depict similar, if not the same,
locations. Samuel Rostill was an accomplished painter, but was probably
equally known for his work in S & J Fuller’s Progressive Drawing Book,
Studies of Trees published shortly before his death (an example of which can
be seen in the exhibition). He made drawings for the lithographs that illustrate
the volume containing a series of highly detailed plates of tree studies, close
to those that can be seen in the exhibition. These books contained a selection
of compositions, aimed at teaching aspiring young artists. Furthermore, they
were able to provide Samuel Rostill with an alternative source of income. If
it were not for his untimely death, it is highly likely that Samuel Rostill would
have had a career equalling that of his eldest brother.

Edward Ashcroft Lines (1807-1874)

Edward Ashcroft only exhibited four pieces at the Birmingham Society of

Arts between 1827 and 1839. There is no further evidence to suggest that he
was as accomplished as his brothers since there are no records of any awards
or medals.

However, Edward Ashcroft had ambitions beyond those of his brothers. In

1864 he emigrated to New Zealand during the gold rush, with the ultimate
aim of establishing his own art school. He left England with his daughter
Mary, and her husband William Henry Whitmore. Initially, they settled in
Auckland but later moved permanently to Coromandel (although they had
the intention to return to Auckland), a small town on the north east coast
that grew from the gold findings at Driving Creek in 1852. Edward Ashcroft
took with him a large collection of his father’s teaching materials, including
varnished studies for students to work from, and a selection of his own works
including still life studies and portraits. However, he died in New Zealand in
1874 and never realised his dream of opening an art academy.
7
 About the Family

The teaching aids that Edward Ashcroft took to New Zealand were kept there
with the family until they were purchased by Mr Bruce in the 1950s. He later
‘returned’ the pieces to Birmingham. The large collection, consisting mainly
of works on paper is now kept at the Birmingham Museum and Art Gallery’s
Museums Collection Centre.

Frederick Thomas Lines (1808-1898)

The youngest of Samuel’s sons, it is thought that Frederick Thomas was

educated in the same way as his siblings. However, unlike them, he had the
opportunity to travel to London. Here he trained to be a portraitist with
Shrewsbury-born artist, Richard Evans (1784–1871). Evans had moved to
London in approximately 1804 and acquired a job in the studio of
Sir Thomas Lawrence (1769-1830). It seems that Frederick was also officially
employed in Lawrence’s studio. After the death of Lawrence, Frederick
Thomas went on to teach drawing at Edwin Hill’s Bruce Castle School in
Tottenham. He returned to Birmingham after the death of Samuel Rostill to
help his father in his academy of arts.

Frederick Thomas was also a frequent exhibitor at the Royal Society of

Arts, the RA in London and the Birmingham Society of Arts which he joined
as a member in 1837. Despite being known as a portrait painter, he was not
limited to this genre and often joined his brothers in making studies from
nature and landscapes. Pontcysyllte Aquaduct (no.10) shows a perfect example
of how he was able to adapt his artistic abilities.

Frederick Thomas married Sarah Breedon Butler and they had two children;
Frances Elizabeth and Frederick Joseph Butler Lines (known as F.J.B.). The
family lived in Handsworth, which was then a wealthy suburb of Birmingham.
F.J.B. was the third generation of the Lines family to show an artistic streak, as
demonstrated in Stile and Trees (no.35).

1
Samuel Lines, A Few Incidents in the Life of Samuel Lines, 1862, p.8

8
 Foreword to the Catalogue

Showing works spanning three generations of the Lines family, this exhibition
emphasises the family’s role and reputation within Birmingham’s artistic
community in the nineteenth century. Each drawing on display demonstrates
the family’s abilities as highly skilled draughtsmen who all showed a life-long
dedication and commitment to art.

This catalogue lists the drawings on paper by the sons of Samuel Lines from
the RBSA permanent collection, as well as paintings and related objects on
loan from outside collections.

The drawings from the RBSA permanent collection were purchased in 2005.
At the time it was not clear which individuals had executed each piece. This
catalogue attempts to attribute the drawings by referring to exhibition
catalogues from the Birmingham Society of Arts 1827-89, Henry Harris
Lines’ personal exhibitions ledger book and various other records and
documents. The drawings are identified by their catalogue number, title,
artist, date and object number. The size of the image is given in millimeters,
width before height. Please take note of the following abbreviations:

Inscr. – inscriptions
bl. – bottom left
bc. – bottom centre
br. – bottom right
cl. – centre left
c. – centre
cr. – centre right
tl. – top left
tc. – top centre
tr. – top right

All research for the exhibition and accompanying catalogue has been
undertaken by Connie Wan, Curator of the exhibition, as part of her doctoral
thesis.

9
 Catalogue
1
Self Portrait
Frederick Thomas Lines
1820-30
Watercolour on paper
230 x 300mm
BIRSA:2007X.539

Believed to have been painted between 1820 and 1830 by Frederick Thomas Lines, this
self-portrait depicts a shy and somewhat guarded young man. From an early age he showed
signs of great talent as a portraitist and, unlike his brothers, travelled to London to train. The
self-portrait itself is modest and does not depict any tools or objects that would allude to his
occupation as a portraitist. Nor does it reveal his social status, despite portraiture being one of
the most profitable, and indeed respectable, forms of art in the nineteenth century.
2
Near Edgbaston
Unattributed
1830
Pencil on paper
270 x 195mm
Inscr. br.: 19 May 1830/ near Edgbaston
BIRSA:2007X.484

A topographical view, Near Edgbaston was drawn on a local sketching trip, made possibly by
Henry Harris or Samuel Rostill Lines. This work is typical of the nineteenth-century style
of landscape composition, echoing William Gilpin’s discourse upon the Picturesque. In his
popular Observations on the River Wye, and Several Parts of Wales etc. Relative Chiefly to
Picturesque Beauty, he stated that drawings of rivers such as the Wye should comprise: ‘the
area, which is the river itself; the two side screens, which are the opposite banks, and mark
the perspective; the front-screen, which points out the winding of the river.’1 Gilpin’s
descriptions can be observed in this drawing, which employs one of the basic compositional
structures favoured by Gilpin and other landscapists of the period.
1
W. Gilpin, Observations on the River Wye, and Several Parts of Wales etc. Relative Chiefly to Picturesque Beauty,
1782, p.18
10
 Catalogue
3
Moseley Park/Edgbaston
Unattributed
1830
Pencil on paper
210 x 262mm
Inscr. underneath top image cr.: Moseley Park May 19th
1830, and underneath bottom image br.: Edgbaston 1830
BIRSA:2007X.534

This drawing records both Moseley Park (above) and Edgbaston (below) in 1830, depicting
them as large expanses of park and farmland. Possibly by Henry Harris or Samuel Rostill
Lines, due to their strengths in this subject matter, it is most likely that both drawings were
made on the same day. Near Edgbaston (no.2) and Uprooted Tree in Water (no.41) are also
inscribed with the same date. Edgbaston and Moseley were both dramatically different in
the 1830s. They were considered rural idylls, making the area particularly attractive to local
artists.

4
Worcester Beacon, Colwall Oaks
Henry Harris Lines
1877
Pencil on paper
248 x 176mm
Inscr. bl.: 16 6 at girth at 3, bc.: 22 in girth at 5, and br.:
Worcester Beacon/ Colwall Oaks/ april 28. 1877/ H H Lines
BIRSA:2007X.494

Henry Harris Lines moved to Worcester in 1832, where he established himself as an

archaeologist as well as drawing master and artist. Worcester Beacon, Colwall Oaks is an
example of how Henry Harris combined his skills as a draughtsman and scientist by visually
recording the oaks and measuring their girths. His inscriptions regarding the girths of the
oaks suggest a special interest in them, perhaps with regards to their age and therefore
historical significance.
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 Catalogue
5
Rhinog Fach
Henry Harris Lines
Undated
Watercolour on paper
525 x 366 mm
Inscr. bl.: H H Lines, and on mount: Rhinog Fach
BIRSA:2007X.232

(Detail)

Purchased by the RBSA in 1991, this painting was previously known and catalogued as Fig-
ures in a Mountainous Landscape. However, the mountains have since been identified due
to a small and almost illegible inscription on the mount. The unique formation of the moun-
tains has also helped to confirm the location as Rhinog Fach, Snowdonia. The Lines family
made many trips to North Wales at a time when it was fast becoming a popular destination
for artists due to its breath-taking scenery and large variety of natural flora.

6
Bridgnorth
Attributed to Henry Harris Lines
1828-29
Pencil on paper
257 x 180mm
Inscr. bl.: Bridgnorth
BIRSA:2007X.505

(Detail)

Depicting the town of Bridgnorth, this drawing was made from the far bank of the river
Severn which divides the High Town from the Low Town. Distinctive landmarks
belonging to the town are clearly visible, including the leaning Bridgnorth Castle and the
tower of St. Leonard’s Church. The drawing also depicts the domed tower of St. Mary’s
Church, designed by Thomas Telford, who was also responsible for the design of
Pontcysyllte Aquaduct (seen in no.10). Members of the family made few known visual
recordings of Bridgnorth, other than Henry Harris Lines who exhibited two pieces related to
Bridgnorth at the RA (1819 and 1821). He also showed a painting entitled View on Severn,
Bridgnorth at the Birmingham Society of Arts exhibition in 1829. It is therefore quite
possible that this drawing was a study for the painting.
12
 Catalogue
7
Kempsey on Severn
Attributed to Henry Harris Lines
1871
Pencil on paper
208 x 135mm
Inscr. br.: Sept 25. 1871, and on mount br.: Kempsey (?)
BIRSA:2007X.518

Although unsigned, the date and location of this drawing would suggest that it was executed
by Henry Harris Lines. Kempsey is a village to the south of Worcester, a five-mile journey
from Henry Harris’ home. The village is also known for significant Roman activity, with a
Roman camp situated nearby. This makes it a site of artistic and historic interest for Henry
Harris. Furthermore, a piece entitled The Village of Kempsey, on the Severn by Henry
Harris was exhibited at the Royal Birmingham Society of Artists in 1872, supporting the idea
that this drawing was an initial sketch for the subject.

8
Severn above Worcester
Attributed to Henry Harris Lines
1877
Pencil, charcoal and white chalk on paper
255 x 180mm
Inscr. on mount bl.: Severn above Worcester, br.: 1877
BIRSA:2007X.495

This is the only Lines drawing in the RBSA collection that includes the use of charcoal and
white chalk. As a result, the mark-making process has become less refined in comparison to
the other drawings on display. The drawing highlights two contrasting features of the
Midlands in the nineteenth century: industry and agriculture. Depicting a river and a bridge
with figures tending livestock, the countryside seems peaceful and untouched by the industrial
age. Yet to the right of the river, a figure is seen steering a boat, likely to be carrying coal,
the product and fuel of the Industrial Revolution. Despite being made in the late 1870s, the
drawing is a stark reminder that industry was still growing. The exact location of this
drawing is unknown, but in view of the date and the proximity of the river Severn to his
home, it is likely that Henry Harris Lines made this quick sketch on one of his many walks in
the country.
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 Catalogue
9
Rural Scene with Small Bridge
Attributed to Henry Harris Lines
Undated
Pencil on paper
220 x 167mm
Inscr. on mount br.: size 20 by 26 inches/ from a picture in
the possession of Mr W Roberts Esquire
BIRSA:2007X.485

Drawn after a print of a landscape ‘in the possession of Mr W. Roberts’, great attention has
been paid to the details in the image. W. Roberts bought several of Henry Harris Lines’
paintings throughout the late 1820s, often favouring landscapes or studies from nature. It
is therefore likely that W. Roberts was a patron of Henry Harris and allowed him access to
study his own personal collection of prints.

10
Pontcysyllte Aquaduct
Frederick Thomas Lines
Undated
Pencil on paper
280 x 167mm
BIRSA:2007X.479

(Detail)

Pontcysyllte Aquaduct is a prominent landmark on the ancient route from the Midlands to
North Wales and it is therefore likely that Frederick Thomas Lines came across the site on
one of his visits. The aquaduct was built by Thomas Telford in 1795 and took ten years to
complete. Situated near Llangollen, the structure is made from cast iron and was used in the
Industrial Revolution as a canal way to transport coal and iron to and from the Midlands.
The name ‘Pontcysyllte’ was taken from a triple-arched bridge further up the river and is a
literal translation from Welsh meaning ‘the bridge that connects the river’.

The drawing is highly finished, which suggests that it may have been an illustration for a
travel guide or a similar publication. The illustration would have been popular amongst avid
travellers of the time, with its strong connections to local industry and the significance of the
bridge as a major tourist attraction.
14
 Catalogue
11
Crowhurst, Sussex (after David Cox)
Henry Harris Lines
1820
Watercolour on paper
590 x 330mm
Inscr. on mount br.: H.H. Lines after D. Cox 1820
Crowhurst
On Loan from a Private Collection

(Detail)

David Cox’s (1783-1859) biographer, Nathanial Neal Solly, mentions that Henry Harris
Lines travelled with Cox to Yorkshire in 18301. The extent of their relationship is not known,
but this watercolour after David Cox highlights the influence that Cox had upon Henry
Harris, and many other Birmingham artists.
N. Neal Solly, Memoir of the life of David Cox, 1875, p.69.
1

12
Hawthorne at Wall, Lichfield
Unattributed
1838
Pencil on paper
220 x 287mm
Inscr. bc.: Hawthorne at Wall in Litchfield [sic.]/ Sept 12th
1838
BIRSA:2007X.496

Wall was a place of interest to antiquarians of the nineteenth century, such as Henry
Harris Lines. The small village near Lichfield, is the site of a Roman staging post that also
houses foundations of an excavated Roman bath house. Named ‘Letocetum’ during the
Roman period, Wall is located near the Roman military road to North Wales known as
‘Watling Street’ (now the A5). Therefore this tree study may have been drawn by an artist
who was en route to North Wales.
15
 Catalogue
13
St. Martin’s Lane, Westminster No. 2
Samuel Rostill Lines
Undated
Watercolour on paper
350 x 414 mm
BIRSA:2007X.476

(Detail)

St. Martin’s Lane was the location of William Hogarth’s (1697-1764) St. Martin’s Lane
Academy. The Academy became the basis of the RA and this watercolour study by Samuel
Rostill Lines can be considered a homage to the birthplace of Britain’s most prestigious
art institution.
14
Allesley
Attributed to Samuel Rostill Lines
1828-29
Pencil on paper with white gouache
200 x 258mm
Inscr. br.: W Turner/ allesley
BIRSA:2007X.497

Samuel Rostill Lines painted several scenes of Coventry during the late 1820s, exhibiting
eight scenes of the town at the Birmingham Society of Arts in 1829 alone. Coventry, and
particularly Allesley, was a place of importance for the family as it was the birthplace of
Samuel Lines senior. The view has been drawn from the path by Allesley church, looking
down the main high street. Astonishingly, much of what is seen in the drawing still remains
today. The inscription ‘W Turner’ refers to William Turner, the father-in-law of Samuel
senior’s cousin. Turner lived in Allesley and possibly on this specific street. Also, Samuel
senior’s uncle, John Rostill, was an ale seller at the ‘Rainbow Inn’ which is located on the far
left hand side of the street. The ‘Rainbow Inn’ remains operational to this day.
16
 Catalogue
15
Northgate, Bridgnorth
Henry Harris Lines
1818-29
Pencil on paper
265 x 190mm
Inscr. bc.: Northgate Bridgnorth
BIRSA:2007X.501
The Northgate is currently home to the town’s museum. The drawing of the Northgate (the
single archway in the centre) has been made from outside the town walls, looking towards the
gate and through to the lower High Street. The tower on the far left of the drawing is that of
St Leonard’s church, although it cannot actually be seen from this angle.

The Northgate was built at around the same time as the other four gates of Bridgnorth, in
approximately 1260 and is now the only gate still standing on the town’s perimeter. The gate
was one of the main entrances into the town but it has also had an unusual history of uses
notably as a prison, a town hall and a Blue Coat Charity School.

The dating of this drawing has been problematic as it was clearly made before the opening of
the second archway (no records document this) and, of course, before the current
battlements were added, much later, in 1910. However, Henry Harris Lines painted the town
from 1818 onwards, and later exhibited View on Severn, Bridgnorth at the Birmingham
Society of Arts in 1829. It is therefore likely that this study was made between 1818 and 1829.
16
In the Hall at Haddon
Unattributed
Undated
Paper on pencil
200 x 257mm
Inscr. tl.: Lower compartment of screen lefthand corner only,
tr.: Screen middle side compartment, cl.: Upper compartment
Screen, cr.: Screen middle compartment center [sic.], and c.: in
the Hall at Haddon
BIRSA:2007X.482

The attribution of this particular drawing has been especially difficult since the Hall was
a common subject for Henry Harris Lines, Samuel Rostill Lines and Frederick Thomas
Lines who frequented the then uninhabited Hall on a fairly regular basis from about 1831.
The drawing shows the screen in The Great Hall that was used to separate the hall from the
kitchen quarters.
17
 Catalogue
17
The Ramparts (of Richmond Castle)
Attributed to Henry Harris Lines
1831
Pencil on paper
223 x 275mm
Inscr. bl.: Sept 26th 1831, and br.: the ramparts
Richmond
BIRSA:2007X.535

Ruined castles such as the eleventh-century castle of Richmond, Yorkshire, were popular
subjects for paintings in the eighteenth and nineteenth centuries and were often
depicted amongst vast landscapes. The eighteenth century saw an increase in travel within
Britain and the ruins became fashionable landmarks for tourists and artists to visit. The rough
and irregular forms of the ruins were also preferred by Gilpin who believed the variation in
textures represented nature more realistically1.
1
William Gilpin, Observations on the River Wye, and Several Parts of Wales etc. Relative Chiefly to Picturesque
Beauty, 1782, pp. 26-67

18
Kenilworth
Henry Harris Lines
1834-35
Pencil on paper
143 x 191mm
Inscr. bl.: Kenilworth, and br.: H H Lines
BIRSA:2007X.233

Many artists visited Kenilworth Castle during the 1800s, including David Cox and Joseph
Mallord William Turner (1775-1851) who both painted the attraction in the 1830s. Signed by
Henry Harris Lines but undated, this drawing was made between 1834 and 1835, most likely
as a study for the painting Kenilworth exhibited at the Worcester Fine Art exhibition of 1835.
18
 Catalogue
19
At Weening
Attributed to Henry Harris Lines
1845-46
Pencil on paper
290 x 230mm
Inscr. cr.: Hornby Castle Weening Church
BIRSA:2007X.516

Note: Hornby Castle BIRSA:2007X.517 on verso

A distant landscape showing Hornby Castle on the left and Weening Church in the centre.
Henry Harris Lines was the only one in the family to ever exhibit a piece related to Hornby
Castle. This was entitled Hornby Castle, Lancashire and shown at the Birmingham Society
of Artists in 1846, on sale for £50. In his personal exhibitions ledger book he notes that the
painting was later ‘in the possession of Mr. F.T. Lines’, a likely truth as the brothers were
known to purchase or give each other paintings1.
Henry Harris Lines, Exhibitions Ledger Book 1827 – 1886, Worcester City Art Gallery and Museum,
1

WOSMG:2006:22:77

20
Richmond Castle
Henry Harris Lines
Undated
Oil on canvas
425 x 325mm
Inscr. bl.: H H Lines
Presented by Miss Elizabeth Lines to the Worcester Victoria
Institute
On Loan from Worcester City Art Gallery and Museum
WOSMG:FAO/363
(Detail)

This painting shows how Henry Harris Lines adapted his subjects to suit his artistic or
historic interests. Previously, in The Ramparts (of Richmond Castle) (no.17) he demonstrated
his interest in the castle’s structure. In his approach to this painting however, he has adopted
the style of landscapists of the Italian style, notably Richard Wilson (1714-1782). The
painting was donated to Worcester Victoria Institute (now Worcester City Art Gallery and
Museum) by Henry Harris’ daughter Elizabeth Lines, probably in 1904.
19
 Catalogue
21
Buildwas Abbey
Attributed to Samuel Rostill Lines
1829
Pencil on paper
179 x 234mm
Inscr. bc.: Buildwas Abbey, and br.: 1829
BIRSA:2007X.506

The Cistercian Abbey of Buildwas was built during the period 1150-1190. The structure of
the building is considered typically Cistercian, consisting of a cruciform shape with transepts
on both sides of the crossing and a nave of seven arches in length (two of which can be seen
in this drawing). The site originally covered 34 acres to provide the monks with enough land
to be self-sufficient, but it gradually diminished following the dissolution of the monasteries
in 1536. After this date, a Tudor mansion was built on the estate and the rest of the land was
used as a farm. The building was eventually sold to Walter Moseley in the late seventeenth
century and it remained the property of the family until the twentieth century. Buildwas
Abbey was a very popular destination for artists, a practice encouraged by Walter Michael
Moseley who owned the estate in the early nineteenth century. He was the first owner to
take an active interest in the historic importance of the property and went on to publish an
account of his findings in 1814. Through its reputation as a landmark of beauty and interest
to antiquarians, Buildwas Abbey became synonymous with artists such as John Sell Cotman
(1782-1842), Paul Sandby (1730-1809) and J.M.W. Turner.

The view seen here has been drawn from the south transept of the abbey, looking diagonally
through the crossing towards the nave. The two drawings of Buildwas Abbey (see also
Buildwas Abbey, Shropshire no.22) on display are extremely similar. The only difference is the
handwriting style of the draughtsman’s inscription, suggesting that they were made by separate
individuals. Even so, it is still difficult to determine which artist executed which drawing.

Research into the titles of works exhibited by the brothers has revealed that Samuel Rostill
exhibited a piece entitled Buildwas Abbey in 1829 at the Birmingham Society of Arts. This
strongly suggests that this particular study was executed by him.
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22
Buildwas Abbey, Shropshire
Attributed to Henry Harris Lines
1829-1838
Pencil on paper
277 x 204mm
Inscr. br.: Buildwas Abbey Shropshire
BIRSA:2007X.507

The draughtsman of this drawing has chosen a more panoramic view when depicting the
Cistercian abbey, showing its dilapidated tower and a portion of the nave. Although Henry
Harris Lines did not exhibit his painting Buildwas Abbey, Shropshire, until 1838, it is not
unlikely that he made a visit with his younger brother earlier in 1829, and then revisited the
subject at a later date.

23
Holt Church
Attributed to Henry Harris Lines
1829
Pencil on paper
262 x 187mm
Inscr. on mount tr.: Holt Church Worcestershire as it
appeared in 1829/ 1829
BIRSA:2007X.519

It is likely that this study was created by Henry Harris Lines during 1829 as stated in the
inscription ‘Holt Church, as it appeared in 1829’. He later went on to exhibit a painting
entitled Holt Church in the Birmingham Society of Arts in 1830, where it was sold to Mr W.
Betts for the sum of £10. Although the painting no longer exists, it is possible that this
drawing was an original study.

The church depicted in this drawing is known as St. Martin’s Church situated in the village
of Holt on the outskirts of Worcestershire. Built opposite Holt Castle sometime after 1066,
it was once the centre of village life before the erection of Telford Bridge (in 1826) at Holt
Fleet. This shifted the population to Holt Heath, where local residents live today.

A fully completed oil painting complements this drawing, as seen in no.25. It is signed by
Henry Harris Lines and dated 1876, suggesting that it is not the version exhibited at the
Birmingham Society of Arts, but a later one made by Henry Harris.
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24
Farewell Lichfield
Unattributed
1841
Pencil on paper
256 x 176mm
Inscr. br.: Oct 5th 1841/ Farewell Litchfield [sic.], and c.
on church structure: Brick/ Stone
BIRSA:2007X.502
(Detail)

A study of a church in the village of Farewell, Lichfield, this particular drawing may be linked
with Stowe, Lichfield (no. 30) and Stowe, Lichfield (Interior with Woman) (no.31), all
depicting churches in the area. This particular church has a distinctive brick and stone
structure, as noted by the artist.

25
Holt Church
Henry Harris Lines
1876
Watercolour and pencil on paper
460 x 308mm
Inscr. br.: H H Lines 1876
Presented by Miss Elizabeth Lines to Worcester Victoria
Institute in 1904
On Loan from Worcester City Art Gallery and Museum
WOSMG:FAO/272
(Detail)

This watercolour of the interior of Holt Church is related to the drawing Holt Church (no.23)
attributed to Henry Harris Lines. The watercolour, currently in the permanent collection
of Worcester City Art Gallery and Museum, was donated by Elizabeth Lines, one of Henry
Harris’ surviving daughters. Holt Church is a prime example of Henry Harris’ approach to
studying church interiors. It shows an honest and faithful representation of the structure that
remains little changed today. The date of the painting also demonstrates that Henry
Harris revisited themes from earlier years, and that he was still able to recall fine details
recorded nearly half a century before. Although the drawing Holt Church (no.23) is not
signed, this painting confirms that it was executed by Henry Harris.
22
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26
Hampton Lovett
Unattributed
Undated
Pencil on paper
180 x 233mm
Inscr. br.: Hampton Lovet [sic.]
BIRSA:2007X.523

The church of St. Mary and All Saints of Hampton Lovett lies just north of Droitwich and is
noted for its Norman features. This drawing depicts one of the doorways, posssibly the north
door that is blocked and ‘supported by cylindrical shafts, with plain cushion capitals, and
having star and roll mouldings.’1
Worcester Archaeological Papers, 1858
1

27
Upton Cressett
Attributed to Henry Harris Lines
1832
Pencil on paper
221 x 267mm
Inscr. on the pew cr.: Oak/plastered/make this an inch long,
and br.: Upton Cressett
BIRSA:2007X.508

The composition of this drawing, showing St. Michael’s church in Upton Cressett, is very
similar to that of Holt Church (no.23), demonstrating a particular compositional formula used
by Henry Harris to emphasise the more significant features of a structure.
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28
Llanberis
Attributed to Henry Harris Lines or Frederick
Thomas Lines
1827-1829
Pencil on paper
222 x 275mm
Inscr. br.: Llanberris [sic.]
BIRSA:2007X.521

This drawing depicts the interior of Nant Peris church, situated in the village of the same
name some two miles from Llanberis in North Wales. Nant Peris is the older village of the
two and was originally the more significant until the population at Llanberis slowly overtook
it. Llanberis was a favourite destination for several Birmingham artists, including Samuel
Lines senior and David Cox, who popularised the landscapes of North Wales in the 1800s.

The drawing also shows a rood screen (originally used to separate the choir from the nave) in
its original position. It was placed to the west of the south transept to aid the support of the
loft above. The screen was moved later in the nineteenth century to its current location to the
west of the nave, towards the rear of the building and to the immediate right of the entrance
to the church.

The oldest parts of the building date back to the fourteenth century. It has a highly unusual
character which, from a historical perspective, would make it an attractive feature for Henry
Harris Lines. To support this attribution further, an oil painting of the same title was
exhibited by him at the Birmingham Society of Arts in 1829 and it is likely that the drawing
was made on a trip earlier in that year. However, to complicate this, Frederick
Thomas Lines also exhibited Interior of Llanberris [sic.] Church, North Wales at the RA in
1829. This suggests that both visited Llanberis on the same trip, and made studies of the
same subject.
24
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29
Tettenhall Church
Frederick Thomas Lines
1830
Oil on card
345 x 490mm
BIRSA:2007X.477

(Detail of clutter seen in the foreground)

This painting of St Michael’s and All Angels church in the village of Tettenhall,
Wolverhampton, was painted by Frederick Thomas Lines, who was more renowned for his
portraits than studies of church interiors. Originally a Norman style structure, built upon the
site of a Saxon church, it was constructed in the tenth century. Reputedly founded by King
Edgar, it was a collegiate church and known as one of four ‘King’s free chapels’ (‘Libera
capella regis’) in the Staffordshire area.

The painting is one of the few remaining early images of the church before it was burnt down
in 1950. It was possibly made during the extension of the south aisle that began in 1825. This
would explain the clutter seen in the foreground. Few records describing the interior
structure of the church remain from this period, but it is likely that this painting depicts the
arch leading from the Wrottesley Chapel (located in the north chapel) into the chancel, since
the only remaining rounded Norman arch was situated there.

However, Samuel Lines senior also made a watercolour study of the church in 1828
(Worcester City Art Gallery and Museum ) entitled Tettenhall Church, Wolverhampton.
Samuel’s composition looks centrally up the nave, depicting the rounded arch to the right
towards the east end of the south aisle which would contradict the previous theory.
Establishing the exact location within the church from which this painting was made has,
therefore, been problematic.
25
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30
Stowe, Lichfield
Unattributed
Undated
Pencil on paper
180 x 238mm
Inscr. br.: Stowe Lichfield
BIRSA:2007X.520

This drawing depicts St. Chad’s church, Stowe, just one mile from Lichfield’s town centre. In
the nineteenth century, the city was considered an important ecclesiastical centre for pilgrims
who visited the Shrine of St. Chad who founded the church in AD 669. He became the first
Bishop of Lichfield where he set up a monastery on the site and dedicated it to St. Mary. It
was not until after his death that it was re-dedicated in his name.

The trefoil-headed south door is the focus of this drawing. The architecture of the church is
unusual due to the amalgamation of different styles and features added to the building at
various periods of its history. This drawing plays a part in documenting some of the more
distinctive features of the building. The door seen here is thought to have been inserted
during the early part of the thirteenth century and is possibly the oldest surviving part of the
building. At the time it was inserted, it was placed at the west end of the building and used as
the west entrance to the church. However, it was later moved (possibly sometime in the
fourteenth century when the tower that now stands in its place was built) to its current
position on the southern side of the structure.

The porch over the door that can be seen in the drawing was not added until sometime in the
nineteenth century and so was relatively new when this drawing was executed. The building
of the porch left the original wooden door that covered the doorway defunct and so it was
removed and used as the porch door instead. It is possible that this drawing was made at the
same time and by the same artist as Farewell Lichfield (no.24) in 1841.
26
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31
Stowe, Lichfied (Woman in Interior)
Unattributed
Undated
Pencil on paper
180 x 237mm
Inscr. br.: Stowe Lichfield
BIRSA:2007X.522

Complementing the previous drawing of St. Chad’s (Stowe, Lichfield no.30), this interior
drawing looks towards the rear of the church. Drawn from the south aisle and looking
towards the west tower, it alludes to the previous situation of the trefoil-headed south door
as seen in Stowe, Lichfield (no.30). The door was originally inserted at the west end, but later
moved to its current position on the south side. The draughtsman appears to have known this
and drew the views as a visual record of the changes.

32
Llanbedr Well
Henry Harris Lines
1872-73
Pencil on paper
220 x 279mm
Inscr. bl.: Llanbedr Well July 15th, and br.: H H Lines
BIRSA:2007X.532

A painting named The Village Well, Llanbedr was exhibited at the Royal Birmingham Society
of Artists in 1873 by Henry Harris Lines and it can be assumed that Llanbedr Well was an
original study for the painting. Llanbedr Well shows the ancient holy well at Llanbedr-y-
Cennin, approximately five miles north of Bettws-y-Coed. The well itself is known as
‘Ffyonnen Bedr’ (‘Peter’s Well’) and was a healing place for cure sick children.
27
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33
Floodgate, Perry Mill
Attributed to Henry Harris Lines
1830
Pencil on paper
210 x 266mm
Inscr. tr.: 1830, and br.: april 29th/30/Floodgate, Perry
Mill
BIRSA:2007X.487

Floodgates and mills were popular motifs for Henry Harris Lines and a host of other
nineteenth-century artists as they were often associated with the rural countryside.
Floodgates were devices that diverted water, usually from a stream, to a waterwheel. The
floodgate here is most likely to be situated near the mill by the old Perry Barr Hall, near
Handsworth. Henry Harris made a painting from this study called Floodgate, Perry Barr
sometime in 1830, again for W. Roberts who bought it for the sum of £30.
34
Vaughton’s Hole
Henry Harris Lines
1831
Pencil on paper
279 x 197mm
Inscr. bl.: Vaughton’s Hole 1831/ H H Lines, and on
mount: now Vaughton St B’ham
BIRSA:2007X.490

This drawing is one of the few signed by Henry Harris Lines depicting a floodgate on the
River Rea at Vaughton’s Hole. Conditions there were not pleasant, even in the later
nineteenth century, as documented by Father James Pollock who published Vaughton’s
Hole: Twenty-five Years in It in 1890. A later account recalling the area in the nineteenth
century made by Howard S. Pearson, dated 1922, also comments that Vaughton’s Hole and
other locations were ‘scenes such as would not now be tolerated for an hour.’1 Henry Harris
Lines later exhibited a painting entitledVaughton’s Hole now Vaughton St. Birmingham as it
appeared in 1835 at the Royal Birmingham Society of Artists in 1875. This was sold to the
Birmingham and Midland Institute for £15.
H.S. Pearson, ‘Romances of Old Birmingham’, The Central Literary Magazine, January 1922, p.169
1

28
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35
Stile and Trees
Frederick Joseph Butler Lines
1863
Pencil on paper
Inscrib. bl.: FJBL, and br.: 2 hours/ Nov 2 1863
190 x 240mm
On Loan from a Private Collection

(Detail)

A drawing by the third artistic generation of the Lines family, Frederick Joseph Butler Lines,
known as F.J.B. Lines. The son of Frederick Thomas Lines, he showed promising artistic
skills from a young age and was much encouraged by his father. However, there is little of
F.J.B.’s work in circulation.
36
River Cole, Shirley
Samuel Rostill Lines
Undated
Pencil on paper
580 x 405mm
On Loan from a Private Collection

Another example of Samuel Rostill Lines’ aptitude for drawing from nature, this study
depicts a wooden bridge over the River Cole in Shirley. Again, a sketch made locally, it shows
how the family were able to make the most of their natural surroundings.

37
Stream with Brick Wall and Fencing
Unattributed
1854
Pencil on paper
231 x 273mm
Inscr. bl.: June 21/54
BIRSA:2007X.493

This study of a small stream running between two high brick barriers also depicts two tree
stumps. It is therefore possible that this sketch was made as a visual record of the stream after
the trees were removed.
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38
Mill with Waterwheel (View of a Water-Mill near
Ridware)
Attributed to Henry Harris Lines
1873-74
Pencil on paper
263 x 189mm
BIRSA:2007X.524

A watercolour study made after this drawing is currently held in the collection of the Victoria
and Albert Museum (V & A), entitled: View of a Water-Mill, Near Ridware. The V & A
further suggests it may be Pipe Ridware, near Lichfield, Hamstall Ridware or Mavesyn
Ridware near Rugeley. However, neither Henry Harris Lines nor his brothers exhibited
pieces related to any of these mills except for Mavesyn Ridware. It has therefore been
attributed to Henry Harris and dated shortly before 1874, when he exhibited a painting
entitled Mavesyn Ridware Mill at the Royal Birmingham Society of Artists, advertised at £50,
and later at the Crystal Palace exhibition of 1875 at the reduced price of £30. Unfortunately
the painting did not sell.

39
Near Coalbrookdale
Unattributed
Undated
Pencil on paper
266 x 205mm
Inscr. br.: near coalbrook dale
BIRSA:2007X.499

Coalbrookdale was able to contribute significantly to the Industrial Revolution during the
eighteenth century. This was due to its proximity to various water sources that were needed to
power the machines used for manufacture, allowing industry to grow. Mills were a common
sight in the area and they often had various functions including grinding corn and forging and
boring metal.
30
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40
Town Mills, Bridgnorth
Attributed to Henry Harris Lines
1818-29
Pencil on paper
265 x 179mm
Inscr. on mount br.: Town Mills Bridgnorth
BIRSA:2007X.498

(Detail of the town mill buildings)

Bridgnorth’s town mills are situated to the north of the town and the site has been home to a
multiplicity of different industries. The first mention of the mills dates back to 1225 and they
were subsequently given to the town by King Henry III, under the great seal to the burgesses
in 1227 for the grinding of corn1.

The mills became central to the Industrial Revolution when Abraham Darby of
Coalbrookdale (the son of Abraham the elder) and Thomas Gooldney leased the site in
June, 1760 to use as an iron foundry. They were effectively overseers of the foundry and it
was the brothers George and Thomas Cranage who, at Bridgnorth, revolutionised the iron
industry by refining their iron-smelting process by using coke rather than charcoal in the
reverberatory furnace2. Although their process was soon improved upon by other iron
founders, they had set the precedent on which those developments were based.

The most significant changes to the mills took place in 1854 when William Whitmore rebuilt
the site, using a ‘Castellated pseudo-gothic style after the manner of Apley Hall.’3 Apley Hall
was Whitmore’s stately home that he designed earlier in 1811. When the rebuild was
completed, it was leased to Joseph Macowen and again used as a wool spinning mill.

The buildings seen in the drawing were made before the rebuild by Whitmore, therefore
dating it to pre-1854. This also suggests that this drawing was made on the same visit to
Bridgnorth when Northgate, Bridgnorth (no.15) and Bridgnorth (no.6) were executed.
1
C. Fothergill, ‘Fort Pendlestone – in the Mill of History’, Bridgnorth Journal, Jan 25 1985, p.5
2
Ibid., p.5
3
Ibid., p.5
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41
Uprooted Tree in Water
Unattributed
1830
Pencil on paper
195 x 270mm
Inscr. br.: May 19th 1830
BIRSA:2007X.483

This drawing of an uprooted tree in a stream was made on the same day as Moseley Park
and Edgbaston (no.3) and Near Edgbaston (no.2). It demonstrates the curiosity of the
draughtsman and his great attention to detail when recording something as seemingly
insignificant as a dead tree.

42
Woodland Track
Unattributed
1852
Pencil on paper
170 x 243mm
Inscr. br.: Decr 29th/52
BIRSA:2007X.510

This drawing is an example of a typical tree study by the Lines family. Focusing on one large
tree prominent in the foreground, with a series of smaller trees in the background, it leads the
eye up the path into the distance. The quality of execution shows an artist truly dedicated to
the subject.
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43
Large Rocks in Bank
Unattributed
1844
Pencil on paper
180 x 239mm
Inscr. br.: Novr 20 1844/ Sandstone
BIRSA:2007X.536

Bearing a striking resemblance to the work of John Ruskin (1819-1900), this drawing depicts
one of Ruskin’s preferred subjects - rocks. This motif was common amongst the works of
many nineteenth-century landscapists, as the rough and rugged surfaces of a rock would add
contrast and textural variety to its surrounding flora.
44
Steep Bank, Rocks and Trees
Unattributed
1844
Pencil on paper
184 x 243mm
Inscr. br.: December 4th 1844
BIRSA:2007X.529
(Detail)

A very similar study to Large Rocks in Bank (no.43), this drawing again demonstrates the
family’s attention to detail in representing nature.

45
The Teme, Ludlow
Attributed to Henry Harris Lines
Undated
Pencil on paper
230 x 160mm
Inscr. bl.: the Teme Ludlow
BIRSA:2007X.528

A study of the river Teme, flowing past Ludlow.

33
 Catalogue
46
Elmley Lovett
Unattributed
1850
Pencil on paper
210 x 139mm
Inscr. bl.: Elmley Lovett Sept 14th 1850
BIRSA:2007X.515

Stone steps leading down a bank in Elmley Lovett, Worcestershire.

Objects Case
47
Samuel Lines Travel Journal: Account of a Tour in North Wales
Samuel Lines
1825
On Loan from Birmingham Museum and Art Gallery
1988P54
Written in 1825, this travel journal was written by Samuel Lines, documenting one of his
many expeditions to North Wales. Within the volume, there are detailed descriptions of the
scenery and also general notes on the journey itself.

48
S & J Fuller’s Progressive Drawing Book by Samuel Lines, Studies of Trees
Inscr. on inside cover: 1831
S & J Fuller: London, On Loan from Worcester City Art Gallery and Museum
WOSMG:2006.22.70
Samuel Rostill Lines was responsible for the drawings in this progressive drawing book,
designed to help artists practise their drawing skills at home.

49
Daguerreotype of Samuel Lines
Undated
On Loan from Worcester City Art Gallery and Museum
WOSMG:2006.22.10

Text © Connie Wan 2009

34
 Selected Bibliography

Andrews, M., The Search for the Picturesque: Landscape Aesthetics and Tourism in Britain,
Scolar: Aldershot, 1989
Bellett, G., The Antiquities of Bridgnorth, W.J. Rowley: Bridgnorth, 1856
Dent, R.K., The Making of Birmingham, Simpkin, Marshall and Co.: London, 1894
Fawcett, T., The Rise of English Provincial Art: Artists, Patrons, and Institutions Outside
London, 1800-1830, Clarendon Press: Oxford, 1974
Fothergill, C., ‘Fort Pendlestone – in the Mill of History’, Bridgnorth Journal, Friday January
5 1985, p5
Gilpin, W., Observations on the River Wye, and Several Parts of South Wales, etc. Relative
Chiefly to Picturesque Beauty made in the Summer of the year 1770, (1st ed. reprinted),
Surrey: The Richmond Publishing Co. Ltd, 1973
Hill, J. & Midgley, W., Royal Birmingham Society of Artists, The Society and Cornish
Brothers Ltd.: Birmingham, 1928
Hopkins, E., The Rise of the Manufacturing Town – Birmingham and the Industrial
Revolution, (revised ed.), Sutton Publishing Ltd: Gloucestershire, 1998
Hutton, W., The History of Birmingham, George Berger: London & James Guest:
Birmingham, 1836
Jones, F., The Holy Wells of Wales, University of Wales Press: Cardiff, 1954
Lines, S., A Few Incidents in the Life of Samuel Lines, 1862
Pearson, R., The Victorians and the Ancient World : Archaeology and Classicism in Nine-
teenth-Century Culture, Cambridge Scholars: Newcastle-upon-Tyne, 2006.
Philpott, L.C., Allesley Lands and People Being a Brief History of Some Properties and Their
Owners, Vol. II, 1970
Potter, G., A Provincial from Birmingham : some account of the Life and Times of H. H.
Lines, Artist and Archaeologist, Worcester, 1969
Solly, N.N., Memoir of the Life of David Cox, Chapman and Hall: London, 1873
Upton, C., History of Lichfield, Phillimore & Co.: West Sussex, 2001
Wildman, S. & Birmingham Museums and Art Gallery, The Birmingham School : Paintings,
Drawings and Prints by Birmingham Artists, Birmingham City Museum and Art Gallery:
Birmingham, 1990
Wolff, J., The Social Production of Art, 2nd ed., Macmillan: London, 1993
35
Rediscovering the Lines Family: Drawings of Birmingham and Beyond in the
Nineteenth Century shows selected works on paper from the RBSA
permanent collection by the sons of Samuel Lines (1778-1863), one of the
Society’s founder members. The exhibition reveals the extent of the family’s
works, from landscapes to church interiors and explores how these
demonstrate the different purposes and uses of drawing.

Admission Free
Exhibition Open:
30 April-23 May 2009
Monday to Friday 10.30am - 5.30pm
Saturday 10.30am - 5.00pm
Sunday 1.00pm - 5.00pm
Closed Bank Holidays

Royal Birmingham Society of Artists

4 Brook Street, St. Paul’s, Birmingham, B3 1SA
T: 0121 236 4353 F: 0121 236 4555
secretary@rbsa.org.uk www.rbsa.org.uk

Patron
Penelope, Viscountess Cobham
Founder Patrons
Samuel Bath & Associates
The Grimmitt Trust
Welconstruct Community Fund
The RBSA would also like to thank its Corporate Members:
Judd Medical Ltd, Domino, Weston Beamor Ltd, GVA Grimley,
BDO Stoy Hayward, Coley and Tilley, Birmingham Assay Office, Bonhams,
Brewin Dolphin Securities, J Hudson & Co. (Whistles), Birmingham Interaction,
Lion PFS

Registered Charity No. 528894 The RBSA gratefully acknowledges the support
Registered Company No. 122616 of the Bryant Trust