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3 Businesses of all scales, including those related to daguerreotypes, benefited from expanded transportation and distribution networks during the nineteenth century. The same conveyances that moved finished goods brought materials and potential customers for daguerreotypes to communities. Daguerreotypists established businesses in cities and some towns, and their itinerant counterparts took the medium to more rural locales. 2 Yet unlike ink, books, and clocks, portraits required consumers-the sitters, or simulacra in the form of earlier images-to be present and participate in their making. Peddlers traversed New England and the South, selling ink, books, tinware, and myriad other merchandise. Steamboats, trolleys, carriages, and railroads carried finished goods. 1), were one of many types of antebellum cultural products that were increasingly available, not just in metropolitan areas but throughout the nation. 1 Daguerreotypes, singular images on silvered copper supports ( fig. After 1839, cased photographic images-daguerreotypes and, later, ambrotypes-supplemented older portrait forms, such as oil paintings, watercolor miniatures on ivory, and cut-paper silhouettes. In cities, towns, and much of the countryside in the United States during the middle decades of the nineteenth century, one could have a portrait rendered in a variety of media. By analyzing their production and consumption in a specific social and cultural context, we can further understand the reception of daguerreotypes in an expanding market economy. The introduction of daguerreotypes did not spur a direct, immediate decline in other commissions, but instead affected the appearance of, and the methods for creating, painted and printed portraits. For others, viewing daguerreotypes conjured deep emotions associated with separation and loss, or other feelings that received heightened attention in this period. Yet for some Philadelphians, long-term interest in scientific discovery translated into efforts to refine daguerreotypic processes and steadily patronize the medium. Novelty, availability, and price are reasons typically associated with daguerreotype consumption. After 1839, daguerreotypes supplemented older portrait forms, and cities such as Philadelphia became major centers for the production and consumption of photographic images.
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By the mid-nineteenth century, one could have a portrait rendered in a variety of media virtually anywhere in America.