DOCSLIB.ORG

IMAGES of SLAVERY: George Fuller's Depictions of the Antebellum South Sarahbums

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
IMAGES of SLAVERY: George Fuller's Depictions of the Antebellum South Sarahbums IMAGES OF SLAVERY: George Fuller's Depictions of the Antebellum South SarahBums Fig. 1. George Fuller. NEGROSWAITING AT THE DEPOT. Late December, 1857. Pencil on paper. This drawing and all others in this article, which are being illustratedhere for thefirst time, are from a sketchbookmeasuring 512 by 103/4"inches, in a private collection. T HREETIMES IN THE I850s, George Fuller (1822- Fuller was no stranger to the life of the itinerant 1884)visited the Deep South, in each case remaining portrait artist. During the 1840s this native of Deerfield, there for several months. His primary motive was to Massachusetts, was almost constantly on the move, seek fresh opportunities for portrait commissions in painting faces in various parts of New England and areas where the competition might reasonably be sup- western New York State. It was simply necessary posed less fierce than in New York, Fuller's adopted business, for the most part routine and often dull. The city during the decade.' Southern states, however, opened up surprising new avenues of experience to the Yankee painter. He re- SARAH BURNS, Assistant Professorin the School of Fine corded those in memoranda, in letters to Arts at Indiana University, has written several articles experiences on nineteenth-centurypainting, including "A Study of family and friends in the North, and in a fascinating the Life and Poetic Vision of George Fuller (1822- sketchbook containing his impressions of slave life. 1884)" published in the Autumn, 1981, issue of the Fuller used this sketchbook in Montgomery, Ala- JOURNAL. bama, during the winter of 1857-1858. The cardboard- The American Art Journal/Summer 1983 35 x ; bound pad, measuring 5V2 by 103/4 inches, contains *?? '; . seventy-eightdrawings, sixty-three in pencil and the w.: rest in and ink or ink wash. About *: . ..;.... ..:: . ."*'S:. '. .... .:.f k ??? ?::::;n;:- pen thirtydepict ~~~~:?..*'I'I'E ???:? '????:::: .. * : :: b .:;*:?*;I: slaves and plantationscenes; the rest are landscapes, .:~~~~~~~~!ur :: studies of plant life, and the like. A few of the slave scenes are littlemore than thumbnail scribbles, crudely I:ii:: ?:::: ??' set down. The selectionpresented here representsthe 11. ??:.: best of Fuller's black genre drawings,in both the ar- sense. The later s tistic and the documentary drawings I.- ?I: provided motifs for several of Fuller's black genre paintings(see Figs. 24, 25 and 27-31). The materialin the Alabamasketchbook, which remainsin the Fuller family, has never untilnow been published. The purposes of this article are to examine the Fullerletters and sketches, whichtogether comprise a unique illustrateddiary createdduring a most critical periodof Americanhistory, and to discussmore briefly the subsequent paintings and their significance.In orderto amplifyand corroborate Fuller's own observa- tions, other personalaccounts of the Southernexperi- ence and slave conditions will be cited where ap- propriate. Fuller's first two trips producedno sketches of importance,but his diaryjottings and lettersare worth citing, since they incorporateprose vignettes of the painter's daily life in strange, new places. In late November, 1849,Fuller boarded a steamerbound from New York to Charleston,South Carolina.He carried with him a letter of recommendationto a Charlesto- nian, Elisius Mowry, from his friend, the landscape Fig. 2. Fuller. OUR PAGEHARRY. February 22, 1858. Pencil on painter, SanfordGifford (1823-1880).2 It is not clear paper. whether Fuller initiallyplanned to establishhimself in Charlestonor to move on shortly.The prospectsfor businessin Charlestonmay not havebeen encouraging. Whatever the situation, Fuller did proceed almost immediatelyto Augusta,Georgia, where he remained 1000 ... amongst those baptizedwas one so white I from early December, 1849, until August 1, 1850. could not detect the dark shade." Later that month these months Fuller was active both in During quite Fuller called at a plantationin the countrysidenear makingand in teachingart. Augustaand "Saw Negroesat workin the fieldsfor the His terse entries an outlineof his journal provide firsttime, men and women, ploughingand planting."4 routines. On one "Mrs. typical daily Februaryday However, a slave auctiondid producea hot burst Dodge sat. Improvedcrayon of child. Madean outline of indignantsentiment. In a letterhome Fullerrelated for her frombrother's In the on picture. eveningcalled his reactionsto the sale of a lovely youngquadroon: Miss Wilde." A fortnightlater, Fuller "Paintedon of child. Gave lesson in Inthe Who is thisgirl with eyes largeand black? The bloodof the picture drawing. evening white and dark races is at enmity in her veins - the called on Mrs. Gould."3 former predominated.About 3/4white says one dealer. With one notable exception, Fuller's entries on Three fourthsblessed, a fractionaccursed. She is under aspects of slave life were equally terse and neutral. thy feet, white man. ... Is she not your sister?... She Twice he witnessed mass baptisms.In mid-February impressesme withsadness! The pensiveexpression of her he recorded: "Clear weather. Walked on the river finelyformed mouth and her drooping eyes seemedto ask for .... Now she looks now her fall bank. Saw on the shore. sympathy up, eyes Negroes baptizing opposite before the rudegaze of those who are but calculatingher Their songs came agreeablyacross the water."Again, charms or serviceablequalities.... Oh, is beauty so in April, "Attended a baptism of Negroes. About cheap!s 36 Burs/Fuller Thirty years later Fuller, looking back to this distant memory, painted The Quadroon (see Fig. 28), which will be considered later in this article. Six years passed before Fuller again set out for the South. He had been moderately successful in New York. Indeed, in February, 1856, he wrote that he had as much business painting portraits as he could handle and was raising his price from fifty to seventy-five dollars.6 Now, however, he was in debt to his friend William Ames, a New York merchant from whom Fuller had borrowed money in order to send his tuber- cular brother Elijah out West, where the dry climate might improve his condition. Fuller believed that if he set up a portrait studio in Montgomery, Alabama, he could, with hard work, clear one hundred dollars a week and would soon pay off his debt to Ames.7 His choice of Alabama was almost certainly influencedby a painter friend, Edwin Billings (1823-1893), whom he had known since the 1840s, when Billings lived near Deerfield. Billings, also a portrait painter, customarily wintered in Alabama, and he must have assured Fuller that the demand for portraits in the provinces was sufficiently high to justify the venture. Fuller and Billingsbegan theirjourneyon December 17, 1856. They took a train from New York to Balti- more, a steamboat to Petersburg, Virginia, and then continued the trip overland, again by train. By Christ- mas they were settled in Montgomery. Fuller lingered there only until January 15, when he left Billings and headed downriver to to Mobile, thinking perhaps reap Fig. 3. Fuller. ELLIS. January,1858. Pencil on paper. greater rewards in that more cosmopolitan, cultured, and hedonistic city on the Gulf of Mexico. Three days before his departure, Fuller had at- tended a slave auction which, while it did not arouse the emotion fueled by the 1850 sale in Georgia, did impress him as a most melancholy sight: A similar had also amazed another I saw a scene soldat auction! with sight Northerner, today,Negroes together the architect Frederick Law Olmsted horses and other cattle. It was full of suggestionswhich I landscape (1822- will not pursuenow. The poorchildren, men, women, and 1903), who had voyaged down the Alabama River on littleones lookedsad. Whata fateis theirs!No one to raise the steamboat Fashion in 1852. "There was something a voice for themand God aboveus all.8 truly Western," he wrote, "in the direct, reckless way in which the boat was loaded," the cotton bales On the steamboat that carried him down the Ala- coming down the almost "perpendicularbank" with a "fearful bama River, Fuller found diversion in observing the 10 velocity." which took place duringnumerous stops cotton-loading In Mobile, Fuller at a house where at riverbank towns: stayed boarding there were fifty lodgers and "nearly half as many negro It was interestingto see the negroesload cotton - It was servants." Homesick for simple, familiar pleasures, rolleddown the steep highbluffs of the riverin the most Fuller wrote to his brother, "I wish I was with you [in recklessmanner, but, the fellows were so accustomedto the] North with a bitter wind in my teeth, enjoying a the that to save most of it from thing they managed going sleigh ride and a cheerful fire and pleasant friends in the into the river- At some placesthere were slidesor race Mobile's ways of threehundred feet downwhich it wouldcome like evening." ambience seemed dangerously lightningand reboundten or twelve feet from concus- glamorous: "Much money is made here, and the people sion - finallywe hadon boardnear two thousandbales.9 seem veryfast."11 He did not, however, allow himself The American Art Journal/Summer 1983 37 Fig. 4. Fuller. MARIAH. December, 1857- January,1858. Pencil and inkwash on paper. f } to be distracted by regattas, horseraces, cockfights, or this time I have not lost one hour but worked con- 2 balls. In April he told his brother Elijah, "I feel as if I stantly (Sundays and all I am sorry to say)." Fuller had sold myself to Mammon ... [but] I sent Ames left Mobile to journey north in the middle ofJune, 1857. $300." At the end of his time in Mobile he informed his He spent the summer, according to his custom, in brother, "I have been here just five months . during Deerfield. 38 Burns/Fuller Fig. 5. Fuller. GRACE.Late December,1857. Pencil on paper. Detail of sketchbookpage. Fig. 6. Fuller. SLEEPINGCHILD. Early February, 1858. Pencil on paper. Encouragedby his toilsomebut profitablewinter December, 1857. Rather than move on to Mobile, as he in Mobile, Fuller decided to return with Billings to had originally intended, Fuller now elected to stay in Alabama for the winter of 1857-1858.
Load more

Recommended publications
  • Fuller Genealogy
    Digitized by the Internet Archive in 2008 with funding from IVIicrosoft Corporation http://www.archive.org/details/fullergenealogy04full aP\/ C. TKfi NEW YORK PUBLIC LIBRARY ASTOR, LENOX )i SOMK Fri.T.F.R (".EXKA l.( ; I S IS r.i i, XKWTox i-Ti.i.i-.i.; i:i.i/..\iii-. 1 II \i;i.uriM.\i WII.I.IA.M HVSI.or iri.l.KK IKSSK KR.WKI.IN l-ri.l.l'.K GENEALOGY OF SOME DESCENDANTS OF THOMAS FULLER OF WOBURN COMPILED BY WILLIAM HYSLOP FULLER OF PALMER. MASS. TO WHICH IS ADDED SUPPLEMENTS TO VOLUMES I. II, III PREVIOUSLY COMPILED AND PUBLISHED PRINTED FOR THE COMPILER 1919 THE NEW YORK tiljD£n foundations' FULLER GENEALOGIES COMPILED AND FOR SALE BY WILLIAM H. FULLER 23 School Street, Palmer, Mass. VOLUME I. Some Descendants of Edward Fuller of the Mayflower. I volume 8 vo., cloth, 25 illustrations, 306 pp. Now only sold as part of the set of 4 volumes. Price, $20.00 for the Set. postpaid. VOLUME IL Some Descendants of Dr. Samuel Fuller of the Mayflower. 1 volume 8 vo., cloth, 31 illustrations, 263 pp. Price, postpaid, $5.00. VOLUME III. Some Descendants of Captain Matthew Fuller, also of John Fuller of Newton, John Fuller of Lynn, John Fuller of Ipswich, and Robert Fuller of Dorchester and Dedham, with supplements to Volumes I and II. 8 vo., cloth, 14 illustrations, 325 pp. Price $5.00, postpaid. VOLUME IV. /Some Descendants of Thomas Fuller of Woburn, with Supplements to the previous volumes. Price $6.00, postpaid. PREFACE In compiling the "Genealogy of Some Descendants of Thomas Fuller of Woburn," I have been greatly assisted by the work of the late Elizabeth Abercrombie, whose volume is an authority on the genealogy of the descendants of Joseph^ Fuller, No.
    [Show full text]
  • Tyrannyofdocs Fulltext
    THEATRE LIBRARY ASSOCIATION Founded in 1937, Theatre Library Association supports librarians and archivists affiliated with theatre, dance, performance studies, popular enter- tainment, motion picture and broadcasting collections. TLA promotes profes- sional best practices in acquisition, organization, access and preservation of performing arts resources in libraries, archives, museums, private collections, and the digital environment. By producing publications, conferences, panels, and public events, TLA fosters creative and ethical use of performing arts ma- terials to enhance research, live performance, and scholarly communication. Theatre Library Association meets annually to conduct its business in the fall of each year. It presents a plenary and related programming during the annual meeting of the American Society for Theatre Research, and fre- quently cooperates with other professional and scholarly organizations in the sponsorship of symposia, events, and publications. Theatre Library Association publishes BROADSIDE, an online newsletter, and Performing Arts Resources, a monograph series, as well as conference com- pendia. It is governed by a constitution which provides for officers and an execu- tive board of directors elected by the membership. OFFICERS AND BOARD MEMBERS, 2011 Kenneth Schlesinger, President Diana King Lehman College/CUNY University of California, Los Angeles Nancy Friedland, Vice President Stephen Kuehler Columbia University Harvard University David Nochimson, Executive Francesca Marini Secretary Stratford Shakespeare
    [Show full text]
  • A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
    A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art VOLUME I THE CORCORAN GALLERY OF ART WASHINGTON, D.C. A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 1 PAINTERS BORN BEFORE 1850 THE CORCORAN GALLERY OF ART WASHINGTON, D.C Copyright © 1966 By The Corcoran Gallery of Art, Washington, D.C. 20006 The Board of Trustees of The Corcoran Gallery of Art George E. Hamilton, Jr., President Robert V. Fleming Charles C. Glover, Jr. Corcoran Thorn, Jr. Katherine Morris Hall Frederick M. Bradley David E. Finley Gordon Gray David Lloyd Kreeger William Wilson Corcoran 69.1 A cknowledgments While the need for a catalogue of the collection has been apparent for some time, the preparation of this publication did not actually begin until June, 1965. Since that time a great many individuals and institutions have assisted in com- pleting the information contained herein. It is impossible to mention each indi- vidual and institution who has contributed to this project. But we take particular pleasure in recording our indebtedness to the staffs of the following institutions for their invaluable assistance: The Frick Art Reference Library, The District of Columbia Public Library, The Library of the National Gallery of Art, The Prints and Photographs Division, The Library of Congress. For assistance with particular research problems, and in compiling biographi- cal information on many of the artists included in this volume, special thanks are due to Mrs. Philip W. Amram, Miss Nancy Berman, Mrs. Christopher Bever, Mrs. Carter Burns, Professor Francis W.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from themicrofilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A Bell & Howell Information Company 300North Zeeb Road. Ann Arbor. Ml 48106-1346USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. “I HATE PRETTY WORK”: MADELINE YALE WYNNE AND THE AMERICAN CRAFT REVIVAL by Jessica H.
    [Show full text]
  • American Painters of Yesterday and Today
    la k^Md §fi/Cat^iuLo /p/ Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/americanpaintersOOsheriala 2 a. DC U ^^ a w u o I a I— u X I' < o a o u. ^> iPijdA) AMERICAN PAINTERS OF YESTERDAY AND TODAY BY FREDERIC FAIRCHILD SHERMAN NEW YORK PRIVATELY PRINTED MCMXIX •• . ) • Copyright, 1919, by Frederic Fairchild Sherman Libra; TO MY FRIEND DOROTHEA A. DREIER HCQ •J 459278 CONTENTS PAGE Miniature Landscapes by J. Francis Murphy ... 3 The Landscape of Dwight W. Tryon 13 Four Figure Pictures by George Fuller 21 Early Oil Paintings by Winslow Homer 29 Figure Pictures by Wyatt Eaton 39 Arthur B. Davies 47 Early Genre Pictures by Harry W. Watrous . 55 Benjamin West 63 Vll ILLUSTRATIONS J. FRANCIS MURPHY The River Farm Frontispiece PAGE Twilight 6 Late September 6 Golden Autumn 8 DWIGHT W. TRYON Glastonbury Meadows 14 Cernay La Ville 14 Early Morning, September 16 Twilight, November 18 GEORGE FULLER The Romany Girl 22 Winifred Dysart 22 The Quadroon 22 Psyche 22 WINSLOW HOMER Haymaking 29 The Song of the Lark 30 A French Farm 30 Prout's Neck 34 ix WYATT EATON Portrait of William Cullen Bryant 40 Ariadne 4^ Lassitude 4* Reverie 4* ARTHUR B. DAVIES Girl at the Fountain 50 The Violin Girl 50 Clothed in Dominion S^ HARRY W. WATROUS L'Addition 56 The Guitar Player 5^ Records S^ Lost S^ BENJAMIN WEST Portrait of John Sedley 64 Portrait of a Gentleman 66 The Envoys Returning from the Promised Land 68 Presentation of the Queen of Sheba at the Court of King Solomon 68 MINIATURE LANDSCAPES BY J.
    [Show full text]
  • Publications of the Metropolitan Museum Of
    PUBLICATIONS OF THE METROPOLITAN MUSEUM OF ART • 1870-1964 A Bibliography compiled by Albert TenEyck Gardner Associate Curator of American Paintings and Sculpture 1965 3/i^Ar »(^/w^A^*» /)& '(%«st, PREFACE In the second century A.D. the prolific writer Galen compiled a classified bibliography of his works — necessary, in his view, to set the record of history straight. He first listed all the books falsely attributed to him and then, in seventeen succeeding chapters, listed and annotated the five hundred or so titles that had come from his hand. The account might be termed a "bio-bibliography," as it con­ stitutes a record of the author's productivity. This term is also appropriate to Albert TenEyck Gardner's bibliography of the publica­ tions of-The Metropolitan Museum of Art, the first complete listing of all known books, pamphlets, and serials bearing our imprint; for it is a record of the institution's achievements over the past nine decades and mirrors its varied and numerous activities. The scholarly publications testify to the contributions made to knowledge by the Museum's staff; the catalogues and guides indicate the broad scope of its acquisitions; the exhibition catalogues commemorate the many important loan exhibi­ tions that have complemented and augmented its collections. In brief, this bio-bibliography is a valuable index of the myriad ways in which the Museum presents its vast collections of art to an ever-growing public. It is also a testimony of the contributions of many individuals to the Museum's publishing program. As Mr. Gardner notes, a decisive influence over this program was wielded by Henry Watson Kent, Secre­ tary of the Museum for twenty-seven years, who established a tradition of fine design and printing for Museum publications that has survived ever since.
    [Show full text]
  • The Wilmington Crusader Pike Asks for Sanity Hearing
    1 v.- < Wilmington Publio £Wexy ' Mrs Clara P Chipman, ^rarian, 206 Andover Street, RFD North WlOjnington, Mass. The Wilmington Crusader PRICE TEN CENTS VOL. XXVI NO. 33 THE WILMINGTON CRUSADER, WEDNESDAY, AUGUSTJA !?5J Pike Asks For Sanity Hearing Charles H. Pike, 33, 88 Pleasant street, Cambridge, is being held in without the knowledge of the people BIG BACK TO SCHOOL $5000 bail, after appearing in two who worked there. Each of the Wil- EDITION WILL BE courts yesterday, to answer charges . mington policemen, in their turn, PUBLISHED NEXT WEEK of the police departments of three i took part, always watching from a Next week the readers of our municipalities. In Woburn court, ! spot where they could not be seen. paper will see and read one of yesterday morning, Judge William In addition to the watch on the our biggest back to school edi- Henchey ordered Pike held in $2500 ■ garage, there was also a watch on tions ever published. Advertis- bail, after charges of speeding, and 'the highway, (Route3), leading to ers have many values in store driving to endanger, had been pre- the garage, both to the north and to for mothers planning to outfit ferred by the Wilmington and Read- the south. Private autos, equipped their children for back to school ing police departments. Pike was with radio were used, and Wilming- ! sessions. Our advertising mana- then taken to Maiden cqurt, and ton and Burlington police kept vig- ger, Bernie Patterson, has been the Maiden police preferred a . il in these. working hard on this edition charge of lew and lascivious con- On Monday .afternoon special which will be very colorful and duct, before Judge Emma Schof- officer Leo Le Blanc of Wilming- full of ideas for parents.
    [Show full text]
  • {PDF EPUB} Ballet in America
    Read Ebook {PDF EPUB} Ballet in America: The Emergence of an American Art (Da Capo Series in Dance) by George Amberg Mar 15, 2007 · Ballet in America - The Emergence of an American Art [Amberg, George] on Amazon.com. *FREE* shipping on qualifying offers. Ballet in America - The Emergence of an American ArtCited by: 13Publish Year: 2007Author: George AmbergAuthor: George AmbergImages of Ballet In America The Emergence Of An American Art D… bing.com/imagesSee allSee all imagesBallet in America: The Emergence of an American Art (Da ...https://www.amazon.com/Ballet-America-Emergence...Apr 01, 1983 · Ballet in America: The Emergence of an American Art (Da Capo Series in Dance) by Amberg George (1983-04-01) Hardcover on Amazon.com. *FREE* shipping on qualifying offers. Ballet in America: The Emergence of an American Art (Da Capo Series in Dance) by Amberg George (1983-04-01) HardcoverFormat: HardcoverBallet in America : the emergence of an American art (Book ...https://www.worldcat.org/title/ballet-in-america...Ballet in America : the emergence of an American art. [George Amberg] ... Da Capo series in dance. Responsibility: by George Amberg. Reviews. User-contributed reviews ... # Da Capo series in dance.\/span>\n \u00A0\u00A0\u00A0\n schema:name\/a> \" Ballet in America : ... Amberg's book, once widely distributed in a perishable paperback edition, covers the American ballet scene of the 1930s and 40s, through the founding of Ballet Society. What surprises me on rereading it is how little of this book has dated. Amberg looks at the full range of ballet … Originally published by New American Library under title: Ballet: the emergence of an American art.
    [Show full text]
  • GUIDE to the FULLER-HIGGINSON FAMILY PAPERS a Large Part of This Collection Was Received by the Pocumtuck Valley Memorial Associ
    GUIDE TO THE FULLER-HIGGINSON FAMILY PAPERS A large part of this collection was received by the Pocumtuck Valley Memorial Association as a gift from the late Miss Elizabeth Fuller of Deerfield in September 1970. A portion had been grouped according to the writers of the manuscripts, and a rearrangement in order to form papers of various members of the two families and of persons closely related to them was undertaken in 1971. In June 1974, Miss Fuller added to her gift a large group of papers of her grandfather, George Fuller (many of which had been microfilmed by the Archive of American Art); a series of diaries of her grandmother, Agnes Higginson Fuller; and additional papers of other members of the Fuller and Higginson families. An arrangement of the collection as it then existed was completed and a guide made toward the end of 1974. Subsequent gifts were received from Miss Fuller and to these a large body of additional material—numbering some 5,000 items and consisting almost entirely of papers of Fuller family members—was received in 1981, 1982, and 1999 as gifts from Mrs. Mary Arms Marsh, a niece and heir of Miss Fuller. These segments were arranged and interfiled with the previous holding and the present guide to describe the entire collection was made. SCOPE AND CONTENT NOTE The Fuller-Higginson Family Papers number approximately 29,750 items dated between 1703 and 1951. They are composed of personal papers—largely letters received, but also drafts and retained copies of letters, diaries, memoranda and account books, and business records—of five generations of the Fuller family: Azariah Fuller of Fitchburg, Mass., his son Aaron (who came to Deerfield from Brighton, Mass., about 1820), and George (Aaron’s son ) and his wife, Agnes Higginson Fuller, their children, and the children of their daughter.
    [Show full text]
  • GUIDE to the FULLER-HIGGINSON FAMILY PAPERS a Large Part Of
    GUIDE TO THE FULLER-HIGGINSON FAMILY PAPERS A large part of this collection was received by the Pocumtuck Valley Memorial Association as a gift from the late Miss Elizabeth Fuller of Deerfield in September 1970. A portion had been grouped according to the writers of the manuscripts, and a rearrangement in order to form papers of various members of the two families and of persons closely related to them was undertaken in 1971. In June 1974, Miss Fuller added to her gift a large group of papers of her grandfather, George Fuller (many of which had been microfilmed by the Archive of American Art); a series of diaries of her grandmother, Agnes Higginson Fuller; and additional papers of other members of the Fuller and Higginson families. An arrangement of the collection as it then existed was completed and a guide made toward the end of 1974. Subsequent gifts were received from Miss Fuller and to these a large body of additional material—numbering some 5,000 items and consisting almost entirely of papers of Fuller family members—was received in 1981, 1982, and 1999 as gifts from Mrs. Mary Arms Marsh, a niece and heir of Miss Fuller. These segments were arranged and interfiled with the previous holding and the present guide to describe the entire collection was made. SCOPE AND CONTENT NOTE The Fuller-Higginson Family Papers number approximately 30,000 items dated between 1703 and 1951. They are composed of personal papers—largely letters received, but also drafts and retained copies of letters, diaries, memoranda and account books, and business
    [Show full text]
  • Fuller Genealogy
    i ^^^^^PubUcUbwOf m ^ 7 jv? L'oAll Q^'i^ 1(^10 Lp. 3^ SOME FULLER GENEALOGISTS. THE LATE NEWTON FULLER. HOMER W. BRAINARD. FREDERICK A. FULLER. WILLIAM HYSLOP FULLER. GENEALOGY OF SOME DESCENDANTS OF DR. SAMUEL FULLER OF THE MAYFLOWER. WILLIAM HYSLOP FULLER >> OF PALMER. MASS. TO WHICH IS ADDED A SUPPLEMENT TO THE GENEALOGY OF SOME DESCENDANTS OF EDWARD FULLER OF THE MAYFLOWER PUBLISHED IN 1908. Printed by C. B. FisKE & Co., P\LMER, Mass rgio. ^ i> l^ xj <xXxj^ 1 NsJ BOOKS COMPILED. PUBLISHEX) AND FOR SALE BY WILUAM H. FULLER. 23 SCHOOL ST.. PALMER. MASS. Genealogy of Some Descendants of Edward Fuller of the Mayflower. 1 volume, 8 vo., cloth, 25 illustrations, 306 pp. Price, postpaid, $5.00. Genealogy of Some Descendants of Dr. Samuel Fuller of the May- flower, with Supplement to the Edward Fuller volume. 1 volume, 8 vo., cloth, 31 illustrations, 263 pp. Price, $5.00, postpaid. CONTENTS. PAGB Compiler's Publication, 2 Table of Contents, 3 Preface, 4 Illustrations, 6 Abbreviations, 7 Explanations, 8 Genealogy, 9 Will of Dr. Samuel Fuller, II Second Generation, 15 Settlement of Rev. Samuel Fuller's Estate, 15 Third Generation, .... 20 Explanation of Group Arrangement, 22 First Group, 23 Second Group, 51 Third Group, 61 Fourth Group, 66 Fifth Group, 67 Sixth Group, III Seventh Group, "5 Eighth Group, . 116 Ninth Group, 127 Tenth Group, 132 Eleventh Group, ^33 Twelfth Group, 134 Thirteenth Group, 160 Fourteenth Group, 171 Appendix, 18S Index to Fullers — Dr. Samuel's Descendants, 189 Index to "Others," 203 Supplement to Edward Fuller Genealogy, 225 Preface to Supplement, 227 Index to Supplement — Fullers, 257 Index to Supplement — "Others," 260 THE PILGRIM MEMORIAL AT PROVINCETOWN.
    [Show full text]
  • Norcross, Fuller, and the Rise of the General Contractor in the United States in the Nineteenth Century
    Norcross, Fuller, and the Rise of the General Contractor in the United States in the Nineteenth Century Sara E. Wermiel Writing in 1917 about the changes in architectural practice since the beginning of his career in 1874, Boston architect Robert D. Andrews noted, “apart from the physical inventions which have added so much to the ease and convenience of modern life, the emergence of the general contractor constitutes the most significant change in professional practice” (1917, pp. 237-8). Given the tremendous amount of change in technology at the end of the nineteenth and opening of the twentieth centuries, it may be surprising that an architect would single out the growth of general contracting as a watershed event. But the emergence of the general contractor, part of the specialization in the building industry that flowered at this time, indeed fundamentally transformed the role of the architect in building production. Before the 1870s, buildings usually involved many contracts, one for each trade, and architects oversaw and coordinated the various tradesmen. Andrews wrote that in the bad old days, a “city house” might require ten to twenty different contracts. He recalled, “The architect had to correlate the working of all those trades and it required much tact and firmness to settle the incessant questions of responsibility arising under these conditions” (1917, p. 238). General contracting begins in the United States in the 1870s, when builders first took single, or whole, contracts to erect all, or at least the bulk, of large and complicated buildings. While single contracts were known earlier than this, these would have been for small projects, such as houses and small churches.
    [Show full text]