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Facing Philadelphia: the Social Functions of Silhouettes, Miniatures, and Daguerreotypes, 1760-1860

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Facing Philadelphia: the Social Functions of Silhouettes, Miniatures, and Daguerreotypes, 1760-1860 W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1996 Facing Philadelphia: The social functions of silhouettes, miniatures, and daguerreotypes, 1760-1860 Anne Ayer Verplanck College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, History of Art, Architecture, and Archaeology Commons, and the United States History Commons Recommended Citation Verplanck, Anne Ayer, "Facing Philadelphia: The social functions of silhouettes, miniatures, and daguerreotypes, 1760-1860" (1996). Dissertations, Theses, and Masters Projects. Paper 1539623891. https://dx.doi.org/doi:10.21220/s2-t7h6-fh38 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. 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. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproductionFurther reproduction prohibited without prohibited permission. without permission. FACING PHILADELPHIA: THE SOCIAL FUNCTIONS OF SILHOUETTES, MINIATURES, AND DAGUERREOTYPES, 1760-1860 A Dissertation Presented to The Faculty of the Program in American Studies The College of William and Mary in Virginia In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Anne Ayer Verplanck 1996 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 9720979 Copyright 1997 by Verplanck, Anne Ayer All rights reserved. UMI Microform 9720979 Copyright 1997, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. APPROVAL SHEET This dissertation is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy A a M (s<. Anne Ayer Verplanck Approved, November 1996 Jy/. JcYdri\ Mdtgafretta M. Lovell University or California at Berkeley Gr4y~Gundaker Lillian B. Miller National Portrait Gallery Alan. Wallach 'James P . Whittenburg Department of History Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS Page ACKNOWLEDGEMENTS iv LIST OF ILLUSTRATIONS viii ABSTRACT xiv INTRODUCTION 2 CHAPTER I. THE SOCIAL MEANINGS OF PORTRAIT MINIATURES IN PHILADELPHIA, 1760-1820 23 CHAPTER II. THE SILHOUETTE AND QUAKER IDENTITY IN PHILADELPHIA 66 CHAPTER III. 'THE LIKENESS IS SO ADMIRABLE IT QUITE OVERCAME ME1: MINIATURE PATRONAGE AND PRODUCTION IN PHILADELPHIA, 1820-1860 118 CHAPTER IV. "THEY CARRY THEIR RELIGION . INTO EVERY ACT OF THEIR PUBLIC AND PRIVATE LIVES": QUAKER DAGUERREOTYPE CONSUMPTION IN PHILADELPHIA, 1839 to 1860 183 CONCLUSION 265 APPENDIX 279 BIBLIOGRAPHY 3 03 iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS I am indebted to Margaretta Lovell for her generous support and kind criticism throughout this project. Alan Wallach provided guidance and encouragement throughout the dissertation and during the years of graduate work that preceded it. Lillian Miller generously commented on the dissertation, providing numerous insights about the Peale family. James Whittenberg's teaching and critiquing strengthened this project. Grey Gundaker provided important insights, for which I am indebted. Barbara Carson did not directly participate in this project, but nonetheless substantially helped shape my thinking about material life. The College of William and Mary, through the American Studies Program and the Commonwealth Center for the Study of American Culture, provided financial support for which I am most grateful. The Philadelphia Center for Early American Studies served as my research and intellectual base in Philadelphia; Richard Dunn, Judith Ridner, Deborah Prosser, Jacquelyn Miller, and Donna Rilling are among those who contributed to a collegial, productive environment. Winterthur Museum, Library, and Gardens granted me a month's fellowship; I thank them for the opportunity to use the institutions's rich resources. The National Portrait Gallery provided me with a year­ long Smithsonian Pre-doctoral Fellowship and one of the most iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. productive and stimulating environments I have known. I thank, in particular, Ellen Miles, Brandon Fortune, the rest of the denizens of the third floor, and Carolyn Carr for their advice and encouragement. I also would like to thank the Research and Scholars Center at the National Museum of American Art for providing me with a second home. Scholars of portrait miniatures generously shared their expertise. Robin Bolton-Smith provided numerous insights and access to her research files; I have heavily relied on the material she assembled and this dissertation simply would not be the same without it. Carol Aiken has served as a wonderful sounding board and source of information. The late Dale Johnson provided me with access to records and miniatures that enhanced this project. Anne Sue Hirshorn has generously shared her knowledge of Anna Claypoole Peale. Although the institutions whose collections I examined are noted in the footnotes, these references do not begin to acknowledge my debts. I particularly would like to thank the staffs of the National Museum of Art/National Portrait Gallery Library, the Catalog of American Portraits, Winterthur Museum, the American Philosophical Society, Wyck, the Historical Society of Pennsylvania, the Rosenbach Museum and Library, the Pennsylvania Academy of the Fine Arts, the Library Company of Philadelphia, the Quaker Collection at Haverford College, the Friends Historical Library at Swarthmore College, Chester County Historical Society, the v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Archives of American Art, the Maryland Historical Society, Independence National Historical Park, the Metropolitan Museum of Art, the Philadelphia Museum of Art, the International Museum of Photography, and the Abby Aldrich Rockefeller Folk Art Center. Several individuals shared their personal collections with me, and to them I am greatly indebted. Keith Arbour and David C. Ward read the dissertation in its entirety; I thank them for their advice and fortitude. Keith read parts of the dissertation several times and provided encouragement throughout the project. Others read and commented on chapters: Carol Aiken, Karie Diethorn, Brandon B. Fortune, J. Ritchie Garrison, John M. Groff, Emma Lapsansky, Jack Lindsey, Ann Smart Martin, Ellen Miles, Mary Panzer, the late Lewis Rabbage, Robin Bolton-Smith, and Shirley Wajda. Each had comments that enriched this work. The Philadelphia dissertation group of PARSS at Penn provided very useful advice at an early, critical stage. Susette Newberry rescued me from putting my foot in mouth when it came to daguerreotypy on at least one occasion. Paula Warwick helped broaden my knowledge of portraiture. Many people helped keep the project in perspective; I particularly would like to thank Jane Allen, Karie Diethorn, Phyllis Hunter, Don and Suzanne Linebaugh, Ann and Karl Martin, Meg Mulrooney, and Jon and Katie Prown. My new colleagues at the Maryland Historical Society granted me vi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. encouragement and a flexible schedule at a crucial time, also would like to particularly thank my family for their patience and encouragement throughout this project.
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