In 18th century terminology, “fame” described great achievement or notable works. It was an aspirational concept, a goal to strive for that granted a person a degree of immortality. With the rise of print media and the dissemination of words and images via newspapers, broadsides, and biographies, ordinary citizens could at last attach a face to a famous name.
“The accessibility of printed material in the 18th century is at the root of modern celebrity,” said Katie McKinney, the Margaret Beck Pritchard Curator of Maps and Prints. “As print media’s reach expanded, so did the concept of fame. Writers, actors, criminals, politicians and military leaders could achieve celebrity status — sometimes against their own wishes or best interests.”
Portraits of Power
1694
Wilhelmus III (King William III)
Engraved by Pieter Van Gunst after work by Jan Hendrik Brandon
In the 18th century, portraits of royals were expressions of loyalty as well as reminders of the power of monarchs. King William III and his wife, Queen Mary II, took the throne of England in 1688 in a moment known as the Glorious Revolution. They ruled as co-monarchs and reunited Britain after a period of upheaval. William & Mary was named for these monarchs, who issued the charter that established the college in 1693.
This likeness of King William III was considered a masterful example of engraving and would have been unaffordable for most people. Yet William’s and Mary’s images were also used on everyday household objects like dishes and mugs, as well as coins. Fragments from vessels bearing the royal likenesses or monograms have been discovered in Maryland and Massachusetts and at Jamestown.
Portraits of Power
1710-1712
Tee Yee Neen Ho Ga Row (Hendrick Tejonihokarawa)
On Nee Yeath Tow no Riow (Ho Nee Yeath Taw No Row or Johannes/John Onekaheriako)
Engraved by Pieter Schenk after work by John Faber
When a diplomatic envoy of four Haudenosaunee (Iroquois) representatives arrived in London in 1709, their appearance caused a sensation. Plays, ballads and even fashion trends arose from their visit. Numerous portraits of the delegation, dubbed “The Four Indian Kings,” were made and copied by engravers, who sold their work in a variety of sizes and price points. Queen Anne commissioned full-length portraits of the men, and engravers produced mezzotint copies to send back to the New York colony.
Mezzotint engravings are created when a copper plate is textured with a serrated tool. The textured areas hold ink, and the image is created by burnishing or smoothing the textured surface. Mezzotint engravings of the Haudenosaunee were sent to colonial centers of government. The engravings sent to Williamsburg were displayed in the Council Chamber at the Capitol.
Theater and the Arts
1769
David Garrick, Esqr.
Engraved by Valentine Green after work by Thomas Gainsborough
David Garrick (1717–1779) was the most famous and influential actor and playwright of the 18th century. Although he never visited America, his plays were staged throughout the colonies, including in Williamsburg. Garrick was instrumental in repopularizing the works of William Shakespeare, whose bust tops the pillar on which Garrick is leaning.
Thomas Gainsborough painted the portrait that serves as the inspiration for the engraving. The portrait hung in the town hall of Stratford-upon-Avon, Shakespeare’s birthplace. Williamsburg’s Virginia Gazette reported that Garrick was involved in planning Shakespeare’s 1769 jubilee, which helped make Stratford-upon-Avon a tourist destination. As Garrick’s fame grew, newspapers advertised printed copies of the portrait for sale.
Theater and the Arts
1750
Mr. Woodwarde in Character of ye Fine Gentlemen in Lethe
Engraved by James MacArdell after work by Francis Hayman
1750-1753
Figure of Henry Woodward
Bow Porcelain Manufactory
Henry Woodward (1714–1777) was an English actor known for his comedic performances. This print shows Woodward portraying “The Fine Gentleman,” one of his most celebrated roles, from David Garrick’s play Lethe: or Esop in the Shades. In the play, Woodward’s character is dressed in an absurd outfit. He pokes fun at the custom of the time in which wealthy Englishmen traveled throughout Europe on the grand tour and, once home, adopted foreign dress, customs and tastes. Although Woodward never came to the colonies, performances of Lethe appeared in New York, Philadelphia, Annapolis and Charleston.
Prints were not only a way to possess an image of a favorite actor; they also served as inspiration for decorative arts like this porcelain figure.
Extraordinary Lives
1770
Elizabeth Dutchess of Hamilton & Brandon and Dutchess of Argyll
(Elizabeth Gunning, Duchess of Hamilton and Brandon and Duchess of Argyll)
Engraved by John Finlayson after work by Catherine Read
Elizabeth Gunning, a noted beauty, was one of the most frequently depicted women in Britain during the mid-18th century. Born in Ireland to a family of minor nobility, Elizabeth (1733–1790) and her sister Maria became instant celebrities when they were presented to London society in 1751. The Duke of Hamilton was so taken with 17-year-old Elizabeth that they married that same evening, sealing the nuptials with a bed curtain ring. After the Duke of Hamilton’s death several years later, Elizabeth married John Campbell, who became the 5th Duke of Argyll. Both Elizabeth and Maria suffered from the white lead in the cosmetics they wore. Elizabeth recovered, but her sister died from lead poisoning at the age of 27.
The modern-day tabloid has its roots in the 18th century. Broadsides, magazines and periodicals containing the latest news, political stories and scientific discoveries were published. In addition, readers could learn about society figures and their scandals.
Crime, Fashion and Gossip
1770-1790
Shoe
Silk, linen, leather and wood
Just as they do today, famous people in the 18th century influenced fashion. Print media helped trends spread quickly. When Princess Frederica of Prussia married King George III’s second son, Frederick, in 1791, her footwear caused a sensation. Her low-heeled, pointed-toed shoes inspired a style known as the “York heel,” a notable change from the taller heel that was fashionable in the early 1770s. Some women adapted the shoes they already owned to stay current with the trend. These shoes, which were made circa 1770 and then remade in the 1790s, had their formerly high heels cut down to mimic Frederica’s look.
Crime, Fashion and Gossip
1755-1760
Portrait Plaque of Elizabeth Canning
Lead-glazed earthenware
1754
Elizabeth Canning
Etching and letterpress
On New Year’s Day 1753, teenager Elizabeth Canning (1734–1773) left her mother’s home. When she returned almost a month later, Canning was injured and dirty and claimed to have been kidnapped and held in a hayloft. Press coverage of the story led to immense public support for Canning, and her alleged captors, Mary Squires and Susannah Wells, were tried and convicted. However, newspapers, the public and the courts soon began to question Canning’s tale. Witnesses recanted their testimony, and alibis changed. Canning was found guilty of perjury and sent to the Connecticut colony. To this day, it remains unclear what really happened to Elizabeth Canning.
America and Revolution
1775
George Washington, Esqr.
Possibly published by John Sayer and John Bennett
English print publishers were eager to profit from the public’s interest in the war in America. They published a series of portraits of military officers, including this one of George Washington (1732–1799).
Although the print says it is “Drawn from the Life by Alex’r. Campbell of Williamsburgh in Virginia,” the artist’s name is fictitious. The true artist’s identity is unknown.
Lt. Col. Joseph Reed sent a copy of the print to Martha Washington. In a 1776 letter to Reed, George Washington, at the behest of his wife, thanked Reed. Washington added, “Mr Campbell whom I never saw (to my knowledge) has made a very formidable figure of the Commander in Chief giving him a sufficient portion of Terror in his Countenance.”
This exhibit is funded through the generosity of Michael L. and Carolyn C. McNamara. Celebrity in Print is on view in the Michael L. and Carolyn C. McNamara Gallery of the Dewitt Wallace Decorative Art Museum is part of the Art Museums of Colonial Williamsburg.