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Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NOTE TO USERS Copyrighted materials in this document have not been filmed at the request of the author. They are available for consultation at the author’s university library. Figures 1-34 on pages 46-66 This reproduction is the best copy available. UMI’ Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. IMAGE AND OBJECT IN NINETEENTH CENTURY AMERICAN COLLECTIONS OF EAST INDIAN PAINTINGS ON MICA by Joanna L. Frang A thesis submitted to the Faculty of the University of Delaware in partial fulfillment for the requirements for the degree of Master o f Arts with a major in Early American Culture. Spring 2003 Copyright Joanna L. Frang All Rights Reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1413556 ___ ® UMI UMI Microform 1413556 Copyright 2003 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. IMAGE AND OBJECT IN NINETEENTH CENTURY AMERICAN COLLECTIONS OF EAST INDIAN PAINTINGS ON MICA by Joanna L. Frang Approved: __ J. Ritchie Garrison, Ph.D. Professor in charge of thesis on behalf of the Advisory Committee Approved: fames Curtis, Ph.D. Director, Winterthur Program in Early American Culture Approved: Mark W. Huddleston, Ph.D. Dean, College of Arts and Science Approved: Conrado M. Gempesaw II, Ph.D. Vice Provost for Academic and International Programs Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Oh, East is East, and West is West, and never the twain shall meet, Till Earth and Sky stand presently at God’s great Judgment Seat, But there is neither East nor West, Border, nor Breed, nor Birth, When two strong men stand face to face, though they come from the ends of the earth! -Rudyard Kipling,The Ballad o f East and West [Salem] was the doorway to the country for the spice and tea and the merchandise of the Orient, Sumatra, Calcutta, and Zanzibar, and the town was plethoric with the increment there from. -Mary Harrod Northend, Salem resident and historian, 1906 iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS I am grateful for the unflagging assistance and support of a number of institutions and individuals in production of this thesis. I would like to thank Karina Corrigan, Martin Mahoney, Michelle Morello, and William Sargent of the East Asian Export Art Department of the Peabody Essex Museum for granting me virtually unrestricted access to their extensive collections of East Indian artifacts and hefty filing cabinets of supporting resource materials. I extend my appreciation to curator Susan Bean, Kristin Weiss, the Maritime Department, and the staff of the Museum’s Philips Library. I am grateful to the Massachusetts Historical Society and the Baker Library of the Harvard Business School for allowing me access to, and permission to reproduce, their resources concerning the Wigglesworth family and East Indian sailors and merchants. I extend heartfelt appreciation to Kemble Widmer for graciously hosting me in his Newburyport home during its restoration over the summer of 2002. Our conversations over freshly-grilled dinners fueled my continuing interest in the history of the North Shore. Special thanks to Milo Beach for clearing the sawdust from the doorstep of his library as it was in the final stages of renovation, and also to his wife for preparing us a perfect summer al fresco lunch. Winterthur conservators Lois Price and Richard Wolbers iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. kindly examined mica paintings loaned from the Peabody Essex Museum: the cooperation of both institutions was invaluable to the development of this thesis. Throughout this project, Ritchie Garrison’s calming support on our Tuesday meetings challenged me with tough but necessary questions that have inspired my writing. Hollie Davis’ careful editing and keen ability to clarify my arguments have been invaluable helps. It goes without saying that this thesis could not have been written without the support of my family and friends, especially that which came to me over long distances. Special thanks to Amanda Glesmann for her flawless performance in the dual roles of friend and manuscript editor. Closer to home, Sarah Woodman’s inexplicable enthusiasm for my topic and our discussions over the perils of studying collections has been a constant source of camaraderie. Lastly, to those friends and family who inspire me to look for all things rosy and humorous, they will never fully know the magnitude of my love and appreciation. v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS LIST OF FIGURES.............................................................................vii GLOSSARY..........................................................................................ix ABSTRACT..........................................................................................xi TEXT........................................................................................................1 ILLUSTRATIONS..............................................................................46 ENDNOTES.........................................................................................67 BIBLIOGRAPHY................................................................................ 79 APPENDIX........................................................................................... 8 6 vi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF FIGURES Figure 1. Man with umbrellas ............................................46 Figure 2. Man preparing beetlenuts...................................47 Figure 3. Map o f India........................................................ 48 Figure 4. “39. Kit-nuit-gah or Khaun-su-mah house & table servants.” ...............................................................................49 Figure 5. “Khidmutgur.” .................................................................. 49 Figure 6 . Man with umbrella........................................................... 50 Figure 7. “18. Hindu woman with her child.”.............................. 51 Figure 8 . “Goat Milking.”................................................................. 51 Figure 9. A painter............................................................................ 52 Figure 10. Artist at work .................................................................. 53 Figure 11. Brama riding a goose...................................................... 54 Figure 12. Puppeteer ......................................................................... 55 Figure 13. Hookah bearer .................................................................55 Figure 14. Fruit seller ....................................................................... 56 Figure 15. Water carrier or post carrier ...........................................57 Figure 16. Water carrier or post carrier ...........................................57 Figure 17. Covered palanquin, possibly for bride..........................58 Figure 18. View in the Bazaar leading to the Chitpore Road 59 Figure 19. Sirkar ................................................................................60 Figure 20. Sirkar ................................................................................60 Figure 21. Sirkar ................................................................................60 Figure 22. Sirkar ................................................................................60 Figure 23. Sirkar ................................................................................ 61 vii Reproduced with permission
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