Feeds:
Posts
Comments

Posts Tagged ‘history’

My first thought was that in November, September and October ran away. But I dug a little deeper and discovered that the first ad for the return of September and October appeared in an October newspaper.

The year was 1736. Described as two new Gambia negroes, September and October were enslaved near Charleston, South Carolina. They wore brown breeches and jackets with brass or white metal buttons. No mention of shoes in this ad nor details about skin color, hair texture or their ability to speak English.

The man who wanted them returned was Thomas Monck. How long the property of Monck it is unclear. Probably not long. If long enough then he would have added to the description that they carried his brand upon their chests. That was Monck’s documented chosen way to mark property, whether horses or people.

Using the Trans-Atlantic Slave Trade Database, you can search by slave ship itinerary. I entered as place of purchase “Gambia.” In 1735 Captain John Coe departed London in the ship Princess Carolina, a vessel owned by David Godin. With a crew of just over a dozen men, he sailed to Gambia and there purchased 211 slaves. In 1736 he delivered the 180 men, women and children who had survived the voyage. Among them was likely September and October.

This image has an empty alt attribute; its file name is south-carolina_gazette_1736-10-30_3.png
South Carolina Gazette October 1736

Sources & Further Reading

https://www.slavevoyages.org/

Read Full Post »

Late evening zooms are wearing me down but I am going to try to watch tomorrow at 7pm, “Every Pecan Tree: Trees, Meaning and Memory in Enslaved People’s Live.” It is part of a lecture series produced by the Harvard Arnold Arboretum.

The title was provocative and made me think about trees in my life. I photograph a lot of trees and as the sun pours through the window now I know at some point, I hope at some point, I will bundle up and head out the door with my camera. The branches are all mostly bare of course but with several days in the 60s coming … I will try to get some before and after shots. Some things might accidentally bloom by week’s end. We’ll see …

I don’t know that I’ve ever seen a pecan tree. I’ve got books that help me identify birds and herbs, butterflies and moths but none about trees. I think I take trees for granted. The only tree I think I ever learned to recognize by leaf and seed was the maple tree because it grew next door in my Aunt’s yard and my brother grew one from one of its helicopter seeds and my dad actually planted the resulting seedling in our backyard though he did so with a big sigh because he knew one day its shade would cover his garden but he did so for the smile on my brother’s face.

Our yard was small but for the most part you don’t need a lot of space to grow trees.

We had a green gage plum tree. It was on the fence line so that meant the neighbors could pick some plums if they wanted too. My dad made wine that was apparently very tasty. He never let me drink it though. I suspect it was rather high octane. There was an apricot tree that I think produced one apricot over the span of its long life. The next door neighbor had a huge black walnut tree but I don’t remember people eating the nuts back then.

Across the street a neighbor had a towering pear tree that bloomed so white in spring. When the wind blew it was like snow was falling. The smell was divine. The fruit was so so. Small, green, hard to eat fresh but my mother would make small jars of pear jam that we’d eat on hot biscuits. Down the street was a sprawling mulberry tree. I heard stories of people making mulberry wine but mostly people hated the mess the berries made as they fell to the ground and they squished beneath your shoes. I fixed my dad a plate of them once, using my new tea party set, and he ate them with a smile. Citrus trees that people mentioned were before my time. No apples in the neighborhood and today that seems strange.

During the lecture, Tiya Miles, Professor of History and Radcliffe Alumnae Professor, Harvard University, will explore “the importance of trees as protectors of bodies and spirits, as sites of violence, as memory keepers, and as historical witnesses in the Black experience of captivity and resistance. Ultimately, time spent with these examples will underscore the centrality of the natural world to Black, and indeed, human, survival.”

If you’re interested in the lecture, you can find out more information here: https://environment.harvard.edu/event/every-pecan-tree-trees-meaning-and-memory-enslaved-people%E2%80%99s-lives

Meanwhile, I think the air has warmed just enough for me to venture out into the world with my camera. We’ll see which trees speak to me.

Have a good day!

Read Full Post »

When Jupiter ran away with Venus where did they go?

When they rested in a field did they look up into the night sky and try to find themselves amidst the stars?

When they sheltered beneath a tree, lips pressed tight in silence as the white man walked nearby, did Venus rest her head against Jupiter’s chest and find calm in the beat of his heart? Did he press his hand to her stomach and pray to old gods and new?

They found solace in each other but where were they to find sanctuary in New England in 1741?

Mr. Gerrish and Mr. Rawlins, of Dover, New Hampshire, wanted each of them back. They had paid for the runaway advertisement together. The child would belong to Gerrish because he owned Venus … Venus age 35 or 40 who wore rings on her fingers and gold rings in her ears and who combed her hair and usually tied it up high like an English woman.

Rawlins owned Jupiter, age 35 or so, and kept him well-dressed because as Rawlin’s property his being well-kempt was a good reflection on Rawlins.

How did they meet, Jupiter and Venus? Was one running an errand to the other’s household? Had one of them been rented into the other’s household? Maybe, just maybe, their eyes met across the market as they attended the needs of their masters’s families.

The genealogies of Gerrish and Rawlins are well-documented. As for Jupiter and Venus …their story, their lives, have been lost to time but they have not been forgotten.

Source: Boston Post Boy, June 8, 1741

Read Full Post »

“I have always wanted to paint from nature, but it is too late when my work is finished for the day, so I am confined mostly to copying. On Sundays and holidays I go out to the country and paint, but holidays are few and far between and the weather doesn’t always permit. I’ve done a few farms, and last spring I did a picture of an old New England farm which I sold to C. A. Coffin of Lynn.”

The Boston Globe, Sunday, April 30, 1911

In the spring of 1911, the Boston Globe shared the story of artist John P. Rollins. Born in Lynchburg, Virginia, in 1852, he trained as a house and sign painter. While in Philadelphia practicing his trade, he began exploring painting as an art. His efforts caught the attention of African American artist David Bustill Bowser.

Bowser mentored the young artist and even encourage him to set aside his trade and focus on fine art. But Rollins was aware, despite Bowser’s success, how hard it was to make a living as an artist especially for a Black man. Curious about the world, a world he might paint one day, he took a job as a sleeping car porter on trains traveling cross country. He finally settled in Boston and worked at Young’s Hotel located in the Financial District. He worked there for 20 years, painting during his off-hours. He managed to find time to take vocal lessons at the New England Conservatory. He sang in Baptist choirs across the city and eventually served as choirmaster for several churches including Boston’s Twelfth Street Church.

After leaving Young’s Hotel, Rollins was a messenger for a large banking house. A personable man, Rollins made connections with a mercantile and social elite who began to purchase his artwork. He was able to copy the works of great masters from a simple postcard. Both his reproductions and original art caught the attention of Boston artist and teacher Walter Gilman Page.

Page allowed Rollins access to his studio. As the two men developed a relationship, Rollins introduced Page to others in the black community who were artists as well. Like Rollins they pursued their dreams of painting while working whatever jobs they could find to make a living. They worked as elevator operators, waiters and janitors. With Page’s support, in 1907, the men formed the Boston Negro Art Club. Soon thereafter they had their first exhibit showcasing many works of art. Rollins served as Vice-President of the group.

“There’s nothing like seeing other men doing good work to make one want to keep up to the standard,” said Rollins. “But the fact of being able to sell your pictures is probably the greatest help. I have always been particularly interested in painting Venice. It has been the wish of my life to go there; from the time I was a little shaver down in Virginia … Venice has been to me like a stick of candy, way up high on a Christmas tree …”

“State Street, 1801” by James Brown Marston located at the Massachusetts Historical Society

“One of the best copies I have ever made is of ‘State Street, Boston – 1801,’ the original of which is at the rooms of the Massachusetts Historical Society. There are a number of people who take an interest in my work and when some of my friends go away and travel either in this country or in Europe they send me all the postcards they can of the scenery, and it gives me great pleasure to copy and enlarge them.”

After its debut in 1907 the Negro Art Club had a few more exhibitions. By the time Rollins was interviewed by the Boston Globe in 1911 the group had likely disbanded. A 1920 Census shows that Rollins was still working as a porter at the bank and one can hope that he was still painting. Whether any of his paintings survive is unknown.

Sources and Additional Reading

https://en.wikipedia.org/wiki/David_Bustill_Bowser

Read Full Post »

If you only listen to the first 6 minutes, it’s illuminating. And if you pour yourself some tea and make a plate of snacks, listen to the full hour.

https://www.loc.gov/item/2015669138/

It is the Pete Seeger oral history interview conducted by Joseph Mosnier in Beacon, New York, 2011 July 22. I also highly recommend: https://www.loc.gov/collections/civil-rights-history-project/articles-and-essays/music-in-the-civil-rights-movement/

Read Full Post »

Honestly, I have no words. I think Stephen Colbert captures it best for me. Check out his video in the following New York Times article: https://www.nytimes.com/2021/01/07/arts/television/stephen-colbert-trump-capitol.html

p.s. the subject line … I worry that, as I did after Biden won the election that first night, I worry that, once more, now that the riots are (so far) done, I hear people saying,”well, this is the end.” It is not. During World War II, after many defeats, the British finally obtained a victory. Some may have thought, well, this is the end. The year was 1942. Winston Churchill’s reply? “This is not the end. It is not even the beginning of the end. But it is, perhaps, the end of the beginning.”

Read Full Post »

Joseph A. Horne, 1943

Joseph Anthony Horne will not be remembered as one of Roy Stryker’s greatest Farm Security Administration – Office of War Information (FSA/OWI) photographers such as Dorethea Lange, Gordon Parks and Walker Evans but there is much to be gleaned from his photographs. With his camera, Horne primarily focused on the Washington, DC area where he lived with his wife and son. My understanding is that Stryker did not give specific direction on what to shoot but, once a region or event was selected, photographers had great leeway to shoot as they pleased and he would sort through the photos later. You can read more about the background and evolution of the photography project here. The photos of these photographers, including Horne, are available at the Library of Congress. What I find increasingly interesting about Horne’s photographs is seeing where his eyes gravitated.

He took these photos in the summer of 1943 in Franklin Park, Washington, DC. It appears to be a circular park with benches around the circle and from Horne’s photos it appears that white people settled on benches on one side of the circle and black people on the other side.

But when it came to listening to the presenters, like the Catholic Evidence Guild, all could stand together. Or at least the children could stand up front.

I’ve learned that Franklin Park, DC’s largest green space, will soon be transformed. It will become a destination point for residents and visitors. Horne’s photos reminds us that the park used to be quite the destination spot for a mix of peoples in the 1940s. Hopefully in 2021 that will be true once more in the park.

Franklin Park

Read Full Post »

Photo by Arnold Genthe between 1920 and 1926.

Yesterday I was looking for inspiration and one of my favorite sources for such is to peruse the online collections of the Library of Congress. What a treasure. I used those collections extensively when pulling together a “walk through history” through the life of Joseph Anthony Horne. And as part of that journey I learned about photographer Arnold Genthe (1869-1942). Genthe is best known today for his photographs of Chinatown, the aftermath of the 1906 San Francisco earthquake and his dreamy portraits of actors and actresses like Isadora Duncan, politicans like Theodore Roosevelt and literary figures including Jack London. I revisited his Library of Congress collection with a different eye, I suppose, than previously and was delighted to discover photographs he’d taken in the 1920s in New Orleans. One of the things he sometimes did in Chinatown was to walk the streets and hide his camera to try and obtain those candid shots of people just living not posing for the camera.

Photo by Arnold Genthe, between 1920 and 1926.
Photo by Arnold Genthe, between 1920 and 1926.

But he also made eye contact with people and there must have been something about him such that they would pause just a moment for him.

Photo by Arnold Genthe, between 1920 and 1926.

New Orleans was one of the world’s great banana ports. I can imagine Genthe, perhaps on assignment in New Orleans, taking a morning stroll with his camera to the wharves and capturing the work of the day, the unloading of bananas. He captures the dignity and beauty of men hard at work. They did not pose for him but they did stop and smile at him.

Photo by Arnold Genthe, between 1920 and 1926.

Sources & Additional Reading

https://en.wikipedia.org/wiki/Arnold_Genthe

https://www.loc.gov/pictures/collection/agc/

Read Full Post »

DSCN0284

And so what I have I been up to besides photographing Spiderwort like crazy?

I’ve been enjoying delving into the past to research the people who may have worked and/or worshipped at Trinity Church in the City of Boston. You can check out recent Facebook posts here: https://www.facebook.com/TrinityBostonShop/

I’m having a lot of fun with instagram. I know I’m late to the game but I don’t mind: https://www.instagram.com/cynthiaestaples/

I’ve also been trying to be more disciplined about redefining for myself what exactly does it mean to be a part-time freelancer in today’s world. A number of places I would have done work for won’t be reopening for quite awhile and certainly not reopening in the same way as in the before Covid-times. AND even as I have the luxury to take time to ponder such a thing with a roof firmly over my head and the refrigerator full of food, I cannot help but weep at what’s happening across the U.S. right now. The saying comes to mind, this too shall pass, but pass into what?

Read Full Post »

Padova,_cappella_degli_scrovegni,_esterno

Exterior of the Scrovegni Chapel, also known as the Arena Chapel, in Padua, Italy

This particular walk (or ramble) through history began after reading a footnote by stained glass historian Virginia Raguin. In her online history of stained glass in America, there is a footnote that reads, “Client and patron intermingled intellectually and socially; Brooks, H. H. Richardson, and La Farge had viewed Giotto’s Arena Chapel in Padua together. See John La Farge, The Gospel Story in Art (New York, 1913, repr. 1926), 279. ” I first learned of Reverend Phillips Brooks, architect H. H. Richardson and painter and stained glass designer John La Farge through their creative collaboration that produced the National Historic Landmark Trinity Church in the City of Boston. But what were they doing hanging out socially? What was The Gospel Story in Art that, if indeed it was published in 1913, it was done so after La Farge’s death? Who was Giotto and was there something special about his Arena Chapel?

BrooksRichardsonLaFarge

Phillips Brooks (1835-1893), Henry Hobson Richardson (1838-1886), John La Farge (1835-1910)

The first question is easy to answer. Born in the 1830’s, these gentlemen were of a generation. Though ostensibly from very different backgrounds, they were each members of a larger social class that would have socialized in the U.S. and abroad. With earned and/or inherited family wealth, they were expected to travel … the oceans were no barrier to lengthy tours of Europe, Asia and the Middle East. The men were also connected by their attendance and/or connection to elite schools like Harvard, Yale and Princeton. They would have attended the same literary and art salons in Boston, New York and elsewhere. Richardson and Brooks were friends long before Richardson entered the competition to build the new Trinity Church in Copley Square. And Richardson and La Farge were well-acquainted long before La Farge was asked to orchestrate the interior decoration of the new church. It would not be unheard of for these three men to be meandering about Europe and somehow meet up at a church. As for the second question …

JonesandLaFarge

Painting of Mary Caldawader Jones, and self-portrait of John La Farge

Apparently, The Gospel Story in Art, was a labor of love for La Farge that he never completed. Today La Farge is most well-known for his stained glass windows but he began his career as a painter and muralist. Throughout his life he studied art (even when he thought he was to become a lawyer), and eventually he would become a prolific writer and lecturer on the subject. La Farge died in 1910 but his friend New York socialite and philanthropist Mary Caldawader Jones compiled his work, with the illustrations that he used as reference for his text, and had the book published in 1913.  In the preface she explains that La Farge “had cherished the wish to write a book on the representation of the Christian story in art, a work for which few men were so well-fitted. Born and educated in the older faith of Christendom, he brought to his task not only the reverence of a believer, but also full knowledge of the widely different forms through which the life of Christ has been expressed by artists.”

GospelStoryInArtLaFarge

I found the reference on Page 297 referred to in the footnote, and, if I do the math correctly based on some other information I know, the three men likely stood in that chapel in 1882. Yet I know from other letters, memoirs, etc. that at least Brooks and La Farge had visited the chapel earlier in their lives, La Farge in 1856 just as he was beginning his artistic studies in Europe, and Brooks possibly in 1865 as he took a respite from preaching in Philadelphia. The young La Farge was so moved by what he saw that, once back in the U.S., he purchased etchings of Giotto’s paintings.

By 1872, Brooks was Rector of Trinity Church in Boston. His friend Richardson was overseeing construction of the new church. They’d discuss wanting the interior to be colorful, atypical of a traditional Episcopal church. When, in 1876, they commissioned John La Farge to decorate, did they reference Giotto and the chapel in Padua?

DSCN3126

decorative detail of wall inside Trinity Church

H. H. Richardson died in 1886, and his friend Phillips Brooks passed away in 1893. Whenever the two men had stood in the Padua chapel with La Farge, this is what La Farge remembered of the moment in The Gospel of Art. “Let us turn once more to Giotto, as the greatest of all those who represent the history of Our Lord. … 

ChapelViewFromEntrance

LaFargeQuote

ChapelViewTowardEntrance

In his book, La Farge references Giotto (c. 1267-1337), an Italian painter and architect, at least 49 times. He includes excerpts by Leonardo about Giotto as a leading figure in resurrecting art“…it was in truth a great marvel that from so rude and inapt an age Giotto should have had strength to elicit so much that the art of design, of which the men of those days had very little, if any, knowledge, was, by his means, effectually recalled into life.” A noted painter during his day, Giotto’s work in the Scrovengi Chapel, also known as the Arena Chapel, is considered his masterpiece. Frescoes depict the life of Mary and Jesus.

LastJudgementDetail

detail from Last Judgment fresco

La Farge writes:

LaFargeQuote2

JoachimShepherds

scene from the life of Joachim

“Were we to stand before the painting of Giotto in Padua, we should find it difficult to realize, in our present habit of passing over legends, how important these legends once were …”

AscensionDetail

detail from the Ascension

“If a movement of line can give the impression of sound, Giotto has done it … “

angel

angel

In earlier essays in his life, La Farge describes how his youthful travels in France and Italy, and in England among the Pre-Raphaelites, influenced his understanding and use of color. But only in this book do I suspect that he rhapsodizes about Giotto in a book that is about art and perhaps about La Farge’s connecting with his faith. One can only wonder what lasting impressions were made when a 21-year old La Farge first walked into that church.

Sources & Additional Reading

https://en.wikipedia.org/wiki/Scrovegni_Chapel

https://en.wikipedia.org/wiki/Giotto

https://en.wikipedia.org/wiki/John_La_Farge

https://en.wikipedia.org/wiki/Henry_Hobson_Richardson

https://en.wikipedia.org/wiki/Phillips_Brooks

http://college.holycross.edu/RaguinStainedGlassInAmerica/Home/index.html

http://college.holycross.edu/RaguinStainedGlassInAmerica/Museum&Church/Museum&Church.html

Image Metropolitan Museum of Art, Mary Cadwalader Rawle Artist: William Oliver Stone (1830–1875) Date: 1868 Medium: Oil on canvas Dimensions: Oval: 12 x 10 1/2 in. (30.5 x 26.7 cm) Classification: Paintings Credit Line: Gift of Mrs. Max Farrand and Mrs. Cadwalader Jones, 1953

The Gospel Story in Art by John La Farge page 297

The Gospel Story in Art (Archive.org)

Playful Padua by Rick Steves

Web Gallery of Art: Frescoes in the Cappella Scrovegni (Arena Chapel), Padua

Read Full Post »

Older Posts »