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Portrait of a Woman in SilkHidden Histories of the British Atlantic World$
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Zara Anishanslin

Print publication date: 2016

Print ISBN-13: 9780300197051

Published to Yale Scholarship Online: January 2017

DOI: 10.12987/yale/9780300197051.001.0001

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Coda

Coda

1791

Chapter:
(p.310) Coda
Source:
Portrait of a Woman in Silk
Author(s):

Zara Anishanslin

Publisher:
Yale University Press
DOI:10.12987/yale/9780300197051.003.0019

This chapter presents some final words about the transatlantic network of four who created Anne Shippen Willing's 1746 portrait. When Willing died in 1791, her portrait survived her, hanging on the walls of her family's Philadelphia townhouse. Passed through generations of her descendants, it ended up on display at the Winterthur Museum in Delaware. Robert Feke left his mark in the dozens and dozens of portraits he painted that hung on walls scattered throughout the former colonies. Many of these portraits, like that he painted of Willing, also would be bequeathed to family and (in some cases) become museum pieces. Today Feke's portraits are in museums across the United States. Anna Maria Garthwaite and Simon Julins each have an immortality of a sort in the textiles they produced. Garthwaite remains visible in her designs at the Victoria and Albert Museum in London and the silks woven from them. Julins, too, remains present in his extant silks, which still exist strewn about the Atlantic World. All four persist individually through the material culture they left behind.

Keywords:   Anne Shippen Willing, portrait, Robert Feke, Anna Maria Garthwaite, Simon Julins, material culture

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