Hallam, John

Introduction:

JOHN HALLAM (1791-1836) was an itinerant profilist known for distinctive bronze-highlighted work and much scarcer cut plain black profiles, 2 of which, illustrated in McKechnie, carry Hallam's cast brass hangers which bear his name above a Royal crown. Hallam's background was unknown.

However, in 2022 a partial theatre handbill was discovered on the rear of one of his works advertising a benefit for "Mrs. Hallam" and "...appropriate scenery by Mr. Hallam". Further research discovered Hallam was also an actor, scenery painter, singer, composer of comic verse, and finally a Manchester publican.

Hallam is best known for bust sized bronze-highlighted works painted on card. Often signed and sometimes dated below the bustline, as far as known his earliest recorded work is dated 1817. Of note are a small number of profiles painted within decoratively embossed card borders.

All profiles are housed in papier mâché frames, some of which bear a brass hanger cast with his name surmounting a laurel-wreathed Royal crown. A small number of works are recorded bearing "EDINH MUSEUM" hangers. Commentators suggest that Hallam probably operated a "sideshow" at the city's "University Museum" which contained medals, paintings and sculptures when it opened in 1819. A rare small trade label printed "I. Hallam. Gold Bronze Tint Profilist to the Prinicipal Nobility of the Kingdom" is also recorded.

Without a signature or "Hallam hanger", a broad shadow behind a sitter's back and below the bustline are useful attribution tools, as is the poor representation of sitters' ears, a skill Hallam's brush never entirely mastered. Note that Diana Joll's June 1993 and November 1999 SCC newsletters offer more attribution tools as well as colour images of Hallam's profiles.

In a Bridgnorth, Shropshire handbill of the 26th of December 1821, Hallam offers "likenesses in 2 minutes..." and a variety of specimens on show "...including several public characters...". Likely these were stock profiles of the newsworthy. He also offered "...likenesses of all description accurately copied...".  Open for business between 2 and 4pm, a 2-hour working day would not appear fiscally viable. However, the following paragraph reveals his main source of income.

Dated the same day, a playbill shows "Mr. and Mrs. Hallam" performing at the "Theatre Bridgnorth". A month later, at the same venue Hallam introduces his newly composed songs. These, and several more Bridgnorth playbills prove a conclusive link between Hallam the profilist and Hallam the entertainer.

The first record of his stage career is given in a playbill from the "Beverley Theatre" , Yorkshire, in 1812 and Hallam's obituary in the MANCHESTER COURIER " records him "...Late of Stanton's Company...".

Actor/Manager Charles Stanton (1768-1838) opened the Cockpit Theatre, Bridgnorth in 1811. As its name implied, it also doubled as a cockfighting pit. The town's new theatre in West Castle Street opened on the 11th of December,1821. A handbill records 8 verses of  "A new song expressly written for the occasion, which was sung to great applause by Mr. Hallam".

Hallam's obituary also records him "Late of the Theatres..." of Stafford, Ashburne, Oswestry, Wrexham and Nantwich. Likely he painted profiles in all these locations. However, given the temporary nature of an acting company's stay in any town, it's unsurprising that so far no records of any description for Hallam were found in any of the places named.

In fact, Hallam's family circumstances remain virtually unknown. His wife's name and any potential offspring remain a mystery. It's possible he was never baptised or legally wed. What is known is that one, and probably two of his teenaged sisters married in a double ceremony at Pocklington, Yorkshire, in January 1819. This might suggest Yorkshire roots for the Hallams, but baptismal records for both women were also not forthcoming. Both though, to a greater or lesser extent, were connected to theatricals and both, unlike their brother, were illiterate, as were their spouses.

Isabella Hallam (1800-1834) was described in her obituary in the MANCHESTER COURIER as the "eldest sister of John Hallam, Portland Street, of this town". As widow Broughton, she married London-born "comedian" James Westley in Manchester in July 1832 and died in Liverpool in August 1834. Two obituaries record her dying "...after a long and painful illness..." and mention was made of general respect for her acting talents.

Margaret Hallam (born ca.1801) wed a mariner. Her first child, Isabella, likely named after her sister, was born in Pocklington in 1820. She would go on to marry "comedian" George Pugh Granger in Tynemouth in 1839.

By 1830 Hallam himself appears to have virtually retired from the stage and puchased, or leased the Legs of Man Tavern in Manchester's Portland Street. Likely, it was a popular hostelry. In the MANCHESTER COURIER of the 25th of January 1834, he was one of ten publicans fined (at 2 shillings and sixpence, his was the lowest penalty) for having "disorderly people" in his house and for keeping "untimely hours".

Two years later, in October 1836, John Hallam is given a fulsome obituary in the MANCHESTER COURIER: "On the 17th inst. at BUXTON where he had gone for the benefit of his health, Mr. John Hallam of the LEGS OF MAN Portland Street...His talents as a comedian were rarely excelled and in acts of benevolence his hand was always ready to relieve...those in need". He was buried on the 20th of October 1836 at Disley near Stockport, Cheshire, "aged 45 years".

NOTE - It may be that Hallam had some interaction with profilist William Jeffreson (ca. 1780-1841). Recent research discovered Jeffreson and his wife were also actors, and in the HAMPSHIRE TELEGRAPH of the 18th of May 1818, Hallam is recorded painting scenery at the Portsmouth and Portsea Theatre, a venue on the Jeffreson's "circuit". As Hallam was known to have been painting profiles by 1817, it's possible he encouraged his fellow thespian to take up the art, as Jeffreson's profiles are first recorded ca. 1818.

Revised 27 November 2022 (Brian Wellings, with research assistance from Cynthia McKinley)