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PRESENCE IN PRINT: WILLIAM HOGARTH IN BRITISH NORTH AMERICA by Colleen M. Terry A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History Summer 2014 © 2014 Colleen Terry All Rights Reserved UMI Number: 3642363 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3642363 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 PRESENCE IN PRINT: WILLIAM HOGARTH IN BRITISH NORTH AMERICA by Colleen M. Terry Approved: ___________________________________________________________ Lawrence Nees, Ph.D. Chair of the Department of Art History Approved: ___________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts & Sciences Approved: ___________________________________________________________ James G. Richards, Ph.D. Vice Provost for Graduate and Professional Education I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ___________________________________________________________ Bernard L. Herman, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ___________________________________________________________ Wendy Bellion, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ___________________________________________________________ H. Perry Chapman, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ___________________________________________________________ Matthew Kinservik, Ph.D. Member of dissertation committee ACKNOWLEDGMENTS I would like to thank my dissertation advisor Bernard Herman for his patient guidance over the many years that it took to bring this project to fruition. Wendy Bellion made numerous invaluable suggestions as a second reader. I would also like to thank H. Perry Chapman and Matthew Kinservik who gave generously of their time and advice while serving as members of my committee. I am indebted to the University of Delaware’s Art History Department for its financial support throughout my years as a graduate student, including a travel grant that allowed me to access many of the primary source materials held by the British Library and the London Library. I also received support to visit Colonial Williamsburg for a short research trip, where Carl Lounsbury, Laura Barry, and Margaret Pritchard provided me access to collections research materials that would prove significant in my quest to document specific Hogarth print owners. During a summer fellowship through the University’s Public Engagement in Material Culture Institute, I received the financial assistance that enabled me to carry out much of my primary research at the Winterthur Museum, Garden, and Library, where Librarian Jeanne Solensky provided me with important guidance during what would turn out to be my only sustained investigation of probate inventories. Before I could complete the survey of probate inventories from Suffolk County, Massachusetts for the timespan I had originally intended, I was fortunate to receive an offer of permanent curatorial employment in the Achenbach Foundation for Graphic Arts at the Fine Arts Museums of San Francisco. Though progress on the iv dissertation was necessarily slowed, with this move came opportunities I could never have foreseen and a close group of colleagues I have come to regard as family. By virtue of my new home base and limited access to the primary sources found largely in the east, my project slowly moved in a different direction from what I had originally intended, becoming one that I could instead do using digital resources available anywhere. While the pressures of the job limited my progress for some time, a fellowship at the Lewis Walpole Library at Yale University provided me the opportunity to re- immerse myself in my subject and my time in Farmington renewed my enthusiasm to complete the project. Margaret K. Powell, Susan Walker, and Kristen McDonald generously shared information and ideas about resources the library had to offer, and Cynthia Roman was a sounding board for all things related to print connoisseurship and Hogarth. It was a delight to meet another fellow at the Library during my tenure, historian Stephen Hague, who kindly offered suggestions and feedback to the ideas I generated throughout my extremely productive stay in Connecticut. I could not have completed this dissertation without the support of Karin Breuer, Jim Ganz, Debbie Evans, Victoria Binder, and Melissa Buron, all at the Fine Arts Museums of San Francisco. I would not have had the incentive to do so without the love and encouragement of my parents Angela and Dale Terry, my husband Michael Morrison, and a close group of friends who have always supported, if not completely understood, my fascination with all things British and the wonderful world of things. v TABLE OF CONTENTS LIST OF FIGURES ..................................................................................................... viii ABSTRACT ................................................................................................................. xii Chapter 1 INTRODUCTION: HOGARTH AND THE ATLANTIC WORLD ................. 1 The Cultural Language of Things: Communicating through Consumption ......................................................................................... 12 The Market for Art in British America ................................................. 19 Bound to Books: Historiography .......................................................... 32 Structure ............................................................................................... 46 2 MARKETING HOGARTH .............................................................................. 55 Hogarth’s Domestic Market ................................................................. 57 Hogarth and the British Print Trade ..................................................... 67 Building a Market: American Print Sellers, British Suppliers, and the Print Catalogue ............................................................................... 75 Print Sellers and Publicity: Newspaper Advertisements and Shop Window Displays ................................................................................. 91 Shopping by Proxy ............................................................................. 105 Conclusion: Resale and sales later in the century .............................. 107 3 CONSUMING HOGARTH ........................................................................... 127 Hogarths in the Home ......................................................................... 133 Pictures, Paintings, Prints: Probate Inventories as Sources ................ 134 Inventory search and term overview .................................................. 137 Glazed and Framed ............................................................................. 148 Case studies of room-by-room inventories ......................................... 153 Collective Biography of Hogarth Print Owners ................................. 167 Domestic Entertainments and Education ............................................ 168 Parcels of Prints and Print Portfolios .................................................. 172 The Case of Robert Edge Pine ............................................................ 176 Bound in Volume ............................................................................... 187 Libraries .............................................................................................. 194 vi Spectatorship in Shopping .................................................................. 198 Hairdressers ........................................................................................ 203 Theatre ................................................................................................ 208 Conclusion .......................................................................................... 212 4 NARRATING HOGARTH ............................................................................ 223 John Wilkes and The Times ................................................................ 229 The Analysis of Beauty ....................................................................... 240 The Four Stages of Cruelty ................................................................
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