DOCSLIB.ORG

Swedish Lutheran Church - Gloria Dei Old Swedes Church

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Swedish Lutheran Church - Gloria Dei Old Swedes Church Swedish Lutheran Church - Gloria Dei Old Swedes Church Gloria Dei Old Swedes Church is located at 916 South Swanson Street in Philadelphia, Pennsylvania, 19147 Illustration by Thomas Sully. Engraving by Cephas G. Childs. 1828. Public Domain The original drawing of the Swedish Lutheran Church by Thomas Sully was engraved by Cephas G. Childs. The simple building, which stands nearly on the edge of the Delaware, in Southwark, was consecrated in the year 1677, under the name of "Gloria Dei," according to the source book, Views in Philadelphia and its environs, from original drawings taken in 1827-30, published by Cephas G. Childs in Philadelphia. Gloria Dei Church, known locally as Old Swedes', is a historic church was added to the National Register of Historic Places on October 15, 1966. History of the building The Church is sixty feet long, about thirty feet wide, and its height to the eaves is twenty feet. At the time the engraving was created, Childs described the building as, “…so often repaired, that scarcely any thing remains of the original structure except the brick walls, which are still firm, and promise to survive the new but frailer materials that they support. From this slight description, and from the view annexed, it will be seen that the claims of this rustic edifice are very modest in point of architecture. There are other respects however in which it demands Old Swedes' Church. Drawing by Claude Clark. Date unknown. Public Domain. attention and will continue to awaken an increasing interest. The Swedish Lutheran Church is interesting for its antiquity. A foreigner would smile perhaps at this pretension. We ourselves are free to confess, that if the building of which we speak were the relic of a period of oppression and barbarism, it would require more than a hundred and thirty years to hallow it in our eyes, and to give it the charms of antiquity.” 1 Gloria Dei Church, known locally as Old Swedes', is a historic church located in the Southwark neighborhood of Philadelphia, Pennsylvania, at 929 South Water Street, bounded by Christian Street on the north, South Richards and Betts. Gloria Christopher Columbus Boulevar on the east, and Washington Avenue on Dei Old Swedes' Church, Swanson Street near the south. Built between 1698 and 1700, the Swedish Lutheran Church is Christian. 1854. Salt the oldest church in Pennsylvania and second oldest Swedish church in the Prints. Free Library oF United States after Holy Trinity Church (Old Swedes) in Wilmington, Philadelphia Delaware. The church displays the English vernacular style of church design, which combines elements of the Medieval and Gothic styles.2 The church's vestry and entranceway were added in 1703 to buttress the walls, which had begun to buckle under the weight of the roof. The tower was added in1733, and interior alterations were made in 1845, designed by Samuel Sloan. 3 The exterior of the building is described by C. G. Childs as being in a state of disrepair in 1828. He states that, “One cannot step within its humble precincts without being filled with the genius of the place. The visitor on a weekday enters the churchyard through the shady grounds of the parsonage, and by a path imperfectly indicated by a few bushes of overgrown box. The parsonage itself, standing in affectionate proximity to the Church, separated from it only by a fence, whose decayed condition tells you that it serves merely as a landmark, and is not intended to divide the servant of God from the home of his heart and his labours — the Church, as a work of art, entering into no proud rivalry with nature, but harmonizing Image courtesy oF The Historical Society oF Pennsylvania. with the rural character of the spot — the In this 1702 engraving, Swedish artist Thomas Campanius Holm gray stones, that mark the places where the depicted a Friendly exchange between local Indians and traders in New Sweden, on the Delaware River. congregation of the dead repose, and in 1 Cephas Grier Childs, Thomas Birch, Thomas Sully, George Strickland, Hugh Reinagle, Thomas Doughty, J. R. Watson, et al. Views in Philadelphia and its environs, from original drawings taken in 1827-30. (Philadelphia: C.G. Childs, 1827). 2 John Andrew Gallery, ed., Philadelphia Architecture: A Guide to the City (Philadelphia: Foundation for Architecture, 2004), 20. 3 Edward Teitelman and Richard W. Longstreth, Architecture in Philadelphia: A Guide (Cambridge, Massachusetts: MIT Press, 1981), 178. addition, the recollection of the venerable years of the present pastor — all conspire to make a deep and tender impression on the mind. The effect is probably somewhat heightened by the sudden transition from the noise and hurry of the city to the comparative seclusion of this spot.”4 Gloria Dei, the oldest church in Pennsylvania, was settled by Swedish pioneers of New Sweden in 1646. An existing blockhouse at Wicaco, now South Philadelphia, had been renovated for worship in 1677 and was used until the present church was built beginning in 1697.5 The interior of the building, according to C.G. Childs at the time his book was published in 1827 is described as having nothing to attract attention except the inscriptions at the foot of the pulpit, beneath which the remains of the departed pastors of this flock of Christ arc deposited. So, although dead, they yet speak — but not in an unknown tongue — from the same place where their living voices we heard.6 In 1703, Gloria Dei was the site of the first regular Lutheran ordination in the Americas, that of Justus Falckner, a German theology student. Jenny Lind sang here during one of her American tours. Hanging in the center aisle is a Swedish chandelier given by famous Swedish artist Carl Milles. The church has a collection of historical and religious artifacts the church has acquired over three centuries, including bronze crosses and 18th century Interior Gloria Dei Old Swedes' Church. NPS Image. Bibles in Swedish and English. In 1845, the formerly Swedish Lutheran congregation joined the 7 Episcopal Church. The church stands as a living monument to Philadelphia's oldest neighborhood and earliest European settlers. The church houses many historical artifacts related to Swedish American settlement. Replicas of the two ships that brought the first Swedes to Pennsylvania are suspended from the church ceiling. A wood carving of two cherubs with a Bible was brought from Sweden before 1646, and the Swedish baptismal font was imported in 1731. The church's stained-glass window is one of the earliest examples of American-made stained glass and dates to the mid-1800s.8 The Reverend Jehu Curtis Clay in the churchyard (c.1860). Public Domain 4 Cephas Grier Childs, Thomas Birch, Thomas Sully, George Strickland, Hugh Reinagle, Thomas Doughty, J. R. Watson, et al. Views in Philadelphia and its environs, from original drawings taken in 1827-30. (Philadelphia: C.G. Childs, 1827). 5 “Gloria Dei (Old Swede's Church) National Historic Site,” National Park Service, https://www.nps.gov/articles/gloriadei.htm. 6 Childs, Views in Philadelphia. 7 "Philadelphia. Old Swedes Church". Work Projects Administration Poster Collection. Library of Congress. 8 Melissa Mandell, “Gloria Dei (Old Swedes') Episcopal Church,” Historical Society of Pennsylvania, http://www.philaplace.org/story/1/. Preservation Efforts Gloria Dei (Old Swedes') Episcopal Church Gloria Dei Old Swedes Church Today. Beyond My Ken / CC BY-SA. Gloria Dei Old Swedes’ Church is the oldest surviving brick building in Philadelphia and the oldest church building in Pennsylvania. Thanks to the Department of the Interior and the National Park Service, this great treasure is now recognized as part of the living history of Philadelphia. According the church’s website, “As a congregation, the past plays an important determining factor in who we are and what we need to do thrive in the future.9 In 1942, the National Park Service designated Gloria Dei as a national historic site. In 1999, Gloria Dei completed an almost total restoration in time for the 300th anniversary of the church building. The church, its buildings and historic burial grounds are open to the public for tours.10 9 "History," Gloria Dei (Old Swedes') Episcopal Church, https://www.old-swedes.org/about/history. 10 Melissa Mandell, “Gloria Dei (Old Swedes') Episcopal Church,” Historical Society of Pennsylvania, http://www.philaplace.org/story/1. BIBLIOGRAPHY Ashmead, Henry Graham, History of Delaware County, Pennsylvania Chapter II, Philadelphia: L. H. Everts & Co., 1884. Childs, Cephas Grier, Thomas Birch, Thomas Sully, George Strickland, Hugh Reinagle, Thomas Doughty, J. R. Watson, et al. Views in Philadelphia and its environs, from original drawings taken in 1827-30. Philadelphia: C.G. Childs, 1827. Gallery, John Andrew, ed. Philadelphia Architecture: A Guide to the City. Philadelphia: Foundation for Architecture, 2004. Gloria Dei (Old Swedes') Episcopal Church, https://www.old-swedes.org/about/history. Library of Congress Prints and Photographs Division. Washington, D.C. 20540 USA. http://hdl.loc.gov/loc.pnp/pp.print. Mandell, Melissa. “Gloria Dei (Old Swedes') Episcopal Church,” Historical Society of Pennsylvania, http://www.philaplace.org/story/1. National Historical Park Pennsylvania. NPS.gov. https://www.nps.gov/inde/learn/historyculture/index.htm. Teitelman, Edward and Longstreth, Richard W. Architecture in Philadelphia: A Guide. Cambridge, Massachusetts: MIT Press, 1981. IMAGE CREDITS "Swedish Lutheran Church,” Illustration by Thomas Sully. Engraving by Cephas G. Childs. 1828. Public Domain. “Old Swedes' Church.” Drawing by Claude Clark. Date unknown. Public Domain. “Gloria Dei Old Swedes' Church.” Salt Prints. Richards and Betts. Swanson Street near Christian. 1854. Free Library of Philadelphia. “Depiction of a friendly exchange between local Indians and traders in New Sweden, on the Delaware River.” Thomas Campanius Holm. Engraving, 1702.
Load more

Recommended publications
  • Franklin C. Watkins by Andrew Carnduff Ritchie
    Franklin C. Watkins By Andrew Carnduff Ritchie Author Museum of Modern Art (New York, N.Y.) Date 1950 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/3265 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art LIBRARY THE MUSEUM ]OF MODERN ART Received: * > * irpr ii»i fi — — Franklin C. WATKINS Andrew Carnduft Ritchie The Museum of Modern Art New York ACKNOWLEDGMENTS On behalf of the President and Trustees of the Museum of Modern Art the director of the exhibition wishes to thank the collectors and museums whose generosity in lending has made the exhibition possible. Particular thanks are due to Mr. Henry P. Mellhenny for his great kindness in permitting us to borrow his two large paintings, Death and Resurrection , at no small incon venience to himself; to Mr. Frank K. M. Rehn, Mr. Watkins' dealer, for his assistance in connection with all the details of the exhibition; to the Maga zine of Art for permission to reprint excerpts from an article by Franklin C. Watkins; and to the artist himself who has been of inestimable help in the preparation of the catalog. I also wish to thank Miss Alice Bacon and Miss Margaret Miller for their assistance in preparing the exhibition and the catalog. ANDREW CAR N DUFF RITCHIE Director of the Exhibition TRUSTEES OF THE MUSEUM OF MODERN ART John Hay Whitney, Chairman of the Board ; Henry Allen Moe, ist Vice- Chairman; William A.
    [Show full text]
  • List of Lenders: Collectors C.R. Babe Dr. and Mrs. William Bascom Hans
    List of Lenders: Collectors C.R. Babe Dr. and Mrs. William Bascom Hans Bhalla John Biggers Mr. and Mrs. Sidney F. Brody Dr. Selma Burke Calvin Burnett Prof. John Burrison Dr. Margaret T. Burroughs Claude Clark Mrs. Terry Dintenfass Prof. and Mrs. David C. Driskell Aaron Douglas William A. Fagaly Prof. Franklin Fenenga Dr. Norbert Fleisig Mr. and Mrs. H. Alan Frank Mr. and Mrs. Melvin Frank Dr. and Mrs. Richard Frates Lewis Glaser Leonard Granoff Mr. and Mrs. Earl Grant Mrs. Morton Goldsmith Mrs. Palmer Hayden Felrath Hines Mrs. Earl J. Hooks Mrs. Grace Jones George E. Jordan Lawrence H. Koffler Mr. and Mrs. Sol Koffler Dr. and Mrs. Charles H. Mandell Mrs. Delmus R. McGill Archibald J. Motley Jr. Matthew Pemberton Myla Levy Perkins Mr. and Mrs. Joseph L. Pierce Mr. and Mrs. William Pierce Dr. Lois Jones Pierre-Noel Dr. Dorothy B. Porter Mr. and Mrs. John Rhoden Louis K. Rimrodt Donald J. Shein Edward L. Shein Willie Starbuck William Taylor Robert H. Tessier Alma W. Thomas Mr. and Mrs. Peter H. Tillou Mr. and Mrs. R. K. Van Zandt Mr. and Mrs. Sid Wallach Mr. and Mrs. Frederick L. Weingeroff James L. Wells Mrs. Edwina Harleston Whitlock Mrs. Ora G.Williams Ed Wilson John Wilson Mrs. Julia Wilson Robert Wilson Institutions Angus Whyte Gallery, Boston The Art Institute of Chicago Brockman Gallery, Los Angeles Cincinnati Art Museum The Cleveland Museum of Art The Detroit Institute of Arts Terry Dintenfass, Inc., New York Fisk University, Department of Art, Nashville Frank Family Collection Frederick S. Wight Art Gallery, University of California, Los Angeles Golden State Mutual Life Insurance Company, The Afro-American Collection, Los Angeles Heritage Gallery, Los Angeles Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C.
    [Show full text]
  • Memories & Inspiration
    MEMORIES & INSPIRATION The Kerry and C. Betty Davis Collection of African American Art TRAVELING EXHIBITION SERVICE A PHILOSOPHY OF ART, COLLECTING, AND LIFE The traveling exhibition Memories & Inspiration: The Kerry and C. Betty Davis Collection of African American Art presents sixty-two selected works from a body of art amassed over thirty-five years by an ordinary working-class couple. Often choosing artworks over material items and other creature comforts, Kerry, a retired mailman, and Betty, a former television news producer, have opted instead to live with drawings, paintings, prints, and sculpture as their principal luxuries. While their stated intention to “preserve cultural memories and provide their community with a source of inspiration” are goals shared by most art enthusiasts, Kerry and Betty do not search exclusively for well-known and/or documented artists, keeping in mind “the importance of gathering and preserving a spectrum of approaches to the black image in order to console the psyche and contribute to a more authentic articulation of the self.” To this end, the Davises continue to be students of the visual arts through visits to galleries and museums and through their voracious reading of exhibition catalogues, artist monographs, books, and online data about artists, art genres, mediums, and history. The Davis Collection has evolved considerably over the years, as its owners went from sifting through entries posted on various auction sites to visiting artists in their studios, dropping by galleries, trading with other collectors, going to estate sales, and receiving artworks from artists as gifts. The result is an eclectic gathering of pieces crossing different mediums, subjects, and styles by a group of artists of the African Diaspora who—in terms of training, experience, and expression—are singularly diverse but unified in their use of cultural and historical narratives.
    [Show full text]
  • And the “Poetry of the Artist's Own People”
    Dox Thrash and the “Poetry of the Artist’s Own People” Matthew F. Singer 8 FALL 2021 | PENNSYLVANIA HERITAGE WWW.PHMC.PA.GOV A son of sharecroppers, Dox Thrash was and traveling.” Economic necessity by talent and will—stayed the course over born in 1893 and raised in a former slave required Thrash to leave school after the decades to forge an unequivocally cabin outside the town of Griffin in rural fourth grade and work to help support successful path as an academically trained Georgia. The second of four children, he his family. artist who garnered national acclaim. was raised primarily, perhaps solely, by his Thrash’s early life as a wage earner Although his previous formal education beloved mother, Ophelia. Throughout her ranged from time spent as a farmhand in ended well before high school, Thrash adult life, Ophelia Thrash worked six to cotton fields to performing on vaudeville graduated from the School of the Art seven days a week as a housekeeper and stages. All the while he studied art through Institute of Chicago (AIC). Later, he cook for a white family named Taylor while correspondence courses. “I always wanted continued his studies, focusing on print- providing materially and spiritually for her to be an artist, even when I was touring the making at the Graphic Sketch Club in own children. plantation circuit in a dance-and-patter act South Philadelphia, now the Fleisher In an unpublished autobiography with a fellow named Whistling Rufus,” Art Memorial. Thrash wrote in 1960, he said of his child- Thrash wrote. For Thrash, like most other African hood: “I liked to draw .
    [Show full text]
  • LET's LOOK JAM SESSION These Two Dancing Figures Have Large
    JAM SESSION These two dancing figures have large, flexible legs and arms flung wide, almost filling the entire painting. Their clothing reflects bright light, in contrast to the dark background—can you see another figure there, clapping and swaying in time to the music? The dancers are doing the jitterbug, an acrobatic jazz dance invented by African 1943 Oil on canvas Americans that involves standard steps and splits, twirls, and somer- 20 x 18 inches (50.8 x 45.7 cm) saults. The title, Jam Session, refers to times when jazz musicians get CLAUDE CLARK together to play for their own enjoyment. American Purchased with the Julius Bloch Memorial Fund created by Benjamin This energetic couple almost mirrors one another. The two figures D. Bernstein, 1998, 1998-65-1 both bend their knees, lift and lean back through their torsos, and raise their arms. Their strong legs, the woman’s swinging skirt, and LET’S LOOK Who do you see in this the folds in the man’s pants emphasize their movements. Can you painting? What are they find places where the artist, Claude Clark, scraped off some of the oil doing? How can you tell? paint, leaving lines that highlight the legs, heads, and clothing? Are they moving fast or slow? What kind of music do ABOUT THIS ARTIST you think they are dancing to? What instruments could When Claude Clark was eight years old, his family joined the Great be playing? What does the title, Jam Session, mean? Migration of African Americans moving from the rural South to the urban North.
    [Show full text]
  • MEMORIES and INSPIRATION the Kerry and C
    MEMORIES AND INSPIRATION The Kerry and C. Betty Davis Collection of African American Art TRAVELING EXHIBITION SERVICE EDUCATION PACKET TABLE OF CONTENTS Exhibition Overview 3 Selected Artist Biographies 7 Lessons and Activities 8 Glossary 15 Being a Good Caretaker 16 Reference Materials/Resources 17 COVER PHOTO: Sedrick Huckaby, She Wore Her Family’s Quilt, 2015, oil on canvas. Photograph by Gregory Staley. Memories and Inspiration EXHIBITION OVERVIEW Comprising 62 extraordinary works of art, the traveling exhibition Memories & Inspiration: The Kerry and C. Betty Davis Collection of African American Art is the culmination of an African American couple’s 35-year journey into a realm that few have explored with such passion and dedication— the world of art and art collecting. The following information will help students gain an understanding of the concepts and themes used throughout this one-of-a-kind exhibition. EXHIBITION CONTENT The works of art in this exhibition offer a glimpse into the lives, traditions, and unique experiences of African Americans in the twentieth and twenty-first centuries. The term “African American art” encompasses all forms of art (painting, sculpture, photography, etc.) created by Americans of African descent, and can also describe the artwork of anyone (not just African Americans) who has been influenced stylistically and/or thematically by black African art, culture, or history. The two definitions are not mutually exclusive. The Davis Collection of African American Art is far-reaching and expansive, employing a multitude of mediums, subjects, and styles, primarily by African American artists but including also some significant works from other parts of the African diaspora.
    [Show full text]
  • A Turning Point in American Negro Art?
    THE BLACK REVOLUTION: A TURNING POINT IN AMERICAN NEGRO ART? APPROVED: Major Professor ^ Minor Professor Chairmainn O-f the Department of Ai Dean o THE BLACK REVOLUTION: A TURNING POINT IN AMERICAN NEGRO ART? THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OP' ARTS By Patricia J„ Silvey, B.A. Denton, Texas August, 1971 TABLE OF CONTENTS Page LIST OF TABLES iv LIST OF FIGURES V Chapter I. INTRODUCTION 1 II. THE IMAGE OF THE NEGRO 7 Introduction The Negro in Africa West Africa Interior Africa African Philosophy Negro Image in America Under Slavory Phantom of Slavery Negro Image After Emancipation Until 1960 Negroes in the North and in the South Barriers of Race III. THE IMAGE OF TI1L NEGRO IN ART ......... 38 Introduction Transition History IV. THE IMAGE OF THE NEGRO IN THE BLACK REVOLUTION ................. 72 The Events Leading to Black Revolution Civil Rights Movement Black Power and the Black Revolution • V. CONCLUSIONS . 96 APPENDICES . ' 101 ,LT.*11OI^i .»J.x « . ** •* * . « » . « . m „ , m ^ M ,^20 1X1 LIST OF TABLES Table Page I. Classification of Artists Exhibiting in A f r o - Aiuq r i c a n Artists: New York and Boston by Hilton Kramer 88 II. Artists Associated Directly with the Black Revolution 92 LIST OF FIGURES Figure Page 1 • Benj am in. Franklin Yoe and Son Joshua Johnston Museum of Early Southern Decorative Arts, Winston-Salem, N. C 46 2• Romantic Landscape Robert Duncanson Henry M. Fuller Collection, New York . 48 3• Approaching Storm Edward M.
    [Show full text]
  • Syndicated Conservation-Easement Transactions
    1 116TH CONGRESS " ! S. PRT. 2nd Session COMMITTEE PRINT 116–44 SYNDICATED CONSERVATION-EASEMENT TRANSACTIONS BIPARTISAN INVESTIGATIVE REPORT AS SUBMITTED BY CHAIRMAN GRASSLEY AND RANKING MEMBER WYDEN COMMITTEE ON FINANCE UNITED STATES SENATE CHARLES E. GRASSLEY, Chairman RON WYDEN, Ranking Member AUGUST 2020 Printed for the use of the Committee on Finance VerDate Sep 11 2014 12:55 Aug 25, 2020 Jkt 000000 PO 00000 Frm 00001 Fmt 6012 Sfmt 6012 H:\2020 116TH CONGRESS 2ND SESSION\2020 COMMITTEE PRINTS\COMMITTEE P\CV congress.#13 COMMITTEE ON FINANCE CHARLES E. GRASSLEY, Iowa, Chairman MIKE CRAPO, Idaho RON WYDEN, Oregon PAT ROBERTS, Kansas DEBBIE STABENOW, Michigan MICHAEL B. ENZI, Wyoming MARIA CANTWELL, Washington JOHN CORNYN, Texas ROBERT MENENDEZ, New Jersey JOHN THUNE, South Dakota THOMAS R. CARPER, Delaware RICHARD BURR, North Carolina BENJAMIN L. CARDIN, Maryland ROB PORTMAN, Ohio SHERROD BROWN, Ohio PATRICK J. TOOMEY, Pennsylvania MICHAEL F. BENNET, Colorado TIM SCOTT, South Carolina ROBERT P. CASEY, JR., Pennsylvania BILL CASSIDY, Louisiana MARK R. WARNER, Virginia JAMES LANKFORD, Oklahoma SHELDON WHITEHOUSE, Rhode Island STEVE DAINES, Montana MAGGIE HASSAN, New Hampshire TODD YOUNG, Indiana CATHERINE CORTEZ MASTO, Nevada BEN SASSE, Nebraska KOLAN DAVIS, Staff Director and Chief Counsel JOSHUA SHEINKMAN, Democratic Staff Director ii Table of Contents 1. Introduction ............................................................................................................................. 1 2. Summary .................................................................................................................................
    [Show full text]
  • Dox Thrash: Revealed a Companion Site to the Philadelphia Museum of Art Exhibit: Dox Thrash: an African American Master Printmaker Rediscovered 1893-1907
    Dox Thrash: Revealed a companion site to the Philadelphia Museum of Art exhibit: Dox Thrash: An African American Master Printmaker Rediscovered 1893-1907 Prelude “The sky, lazily disdaining to pursue The setting sun, too indolent to hold A lengthened tournament for flashing gold, Passively darkens for night’s barbecue.” Jean Toomer-Georgia Dusk In His Own Words “I liked to draw… also adventure in the woods mostly by myself. I was especially fond of kites and swim- ming. As an older boy, I did not have much schooling, but I learned what education I have from reading books, listening to conversation and traveling.” The Thrash Family Dox Thrash is born to Gus and Ophelia Thrash in Griffin Georgia, a small town in Spalding County. Dox is the second of four children, brother Tennessee, Cabin Days c. 1938–39, carborundum mezzotint, 9 15⁄16 x 9 1⁄8 inches (25.3 x 23.1 cm). Philadelphia Museum of Art, purchased with the Thomas Skelton Harrison Fund. and sisters Agnes (Gussie) and Margaret Elinor. The Thrash family live on the outskirts of town in a former slave cabin built on a small rise of land overlooking the road running north to Atlanta. Ophelia Thrash Dox Thrash’s mother Ophelia Thrash is cook-house- keeper for a white family in Griffin named Taylor. She works every day of the week except on Sunday, when she only cooked breakfast. In the evenings, Mrs. Taylor often drives Mrs. Thrash home with food for her own family’s table. The seven-day schedule and provision of food is common practice for domestic Sunday Morning workers in Georgia at the time.
    [Show full text]
  • African American Museum & Library at Oakland Vertical File Collection
    http://oac.cdlib.org/findaid/ark:/13030/c8xg9wkh No online items Guide to the African American Museum & Library at Oakland Vertical File Collection Sean Heyliger African American Museum & Library at Oakland 659 14th Street Oakland, California 94612 Phone: (510) 637-0198 Fax: (510) 637-0204 Email: [email protected] URL: http://www.oaklandlibrary.org/locations/african-american-museum-library-oakland © 2013 African American Museum & Library at Oakland. All rights reserved. Guide to the African American MS 179 1 Museum & Library at Oakland Vertical File Collection Guide to the African American Museum & Library at Oakland Vertical File Collection Collection number: MS 179 African American Museum & Library at Oakland Oakland, California Processed by: Sean Heyliger Date Completed: 2015-08-21 Encoded by: Sean Heyliger © 2013 African American Museum & Library at Oakland. All rights reserved. Descriptive Summary Title: African American Museum & Library at Oakland Vertical File Collection Dates: 1828-2017 Collection number: MS 179 Collector: African American Museum & Library at Oakland (Oakland, Calif.) Collection Size: 61.5 linear feet(82 boxes + 13 oversized boxes) Repository: African American Museum & Library at Oakland (Oakland, Calif.) Oakland, CA 94612 Abstract: The African American Museum & Library at Oakland Vertical File Collection consists of programs, flyers, correspondence, posters, pamphlets, and ephemera collected by the African American Museum & Library at Oakland. The East Bay Negro Historical Society began vertical files in the late 1960s, collecting ephemera and newspaper clippings about African American history and culture. The vertical files are arranged alphabetically by subject, organization, or last name, and include correspondence, programs, flyers, and pamphlets mostly about African American organizations and cultural institutions in the Oakland and the East Bay during the mid-20th century (1940s-1970s).
    [Show full text]
  • Driskell Bio 2020 2
    David Driskell (1931 - 2020) Education 1964 Study Certificate in Art History, Rijksbureau voor Kunsthistorisches Documentatie, Den Hague, Netherlands 1962 MFA, Catholic University of America, Washington, DC 1955 BFA, Howard University, Washington, DC 1953 Skowhegan School of Painting and Sculpture, Skowhegan, ME 1937-49 Public Schools of North Carolina Selected Solo Exhibitions Center for Maine Contemporary Art, Rockport, ME, 2017, 2006 Bates College Museum of Art, Lewiston, ME, 2016 Greenhut Galleries, Portland, OR, 2015, 2013, 2011, 2008 The High Museum, Atlanta, GA, 2014 DC Moore Gallery, New York, NY, 2019, 2012, 2006, 2003 David C. Driskell Center, University of Maryland, College Park, MD, 2011, 2008 York College of Pennsylvania, York, PA, 2010 Greenville County Museum of Art, SC, 2008 Flint Institute of Arts, MI, 2007 Hampton University Museum, VA, 2007 Stella Jones Gallery, New Orleans, LA, 2003 Noel Gallery, Charlotte, NC, 2002 Newark Museum, NJ, 2000 Aljira, a Center for Contemporary Art, The Paul Robeson Gallery, Rutgers University, New Brunswick, NJ, 2000 Bomani Gallery, San Francisco, CA, 1997, 1993 Diggs Gallery, Winston Salem State University, Winston-Salem, NC, 1994 Foster-Tanner Fine Arts Gallery, Florida A & M University, Tallahassee, FL, 1994 Midtown Payson Galleries, New York, NY, 1993 Pellon Gallery, Washington, DC, 1990 Amelia Wallace Gallery, SUNY College Old Westbury, NY, 1989 Colby College Museum of Art, Waterville, ME, 1989 Fisk University Museum, Nashville, TN, 1987 Goodwin Art Gallery, Talladega, AL, 1987 Johnson
    [Show full text]
  • Alabama Arts, 2017 Arts Awards Issue
    ALABVolume XXVII, Number 1 AMAARTSState Arts Awards Issue 2017 MEMBERS Alabama State Council on the Arts DORA HANSON JAMES CHAIRMAN Opelika JOEL T. DAVES, IV VICE-CHAIRMAN Mobile Dr. RACHEL BROWN FOWLER SECRETARY Columbiana JULIE HALL FRIEDMAN Fairhope JIM HARRISON, III Tuscaloosa ELAINE JOHNSON Dothan KIM VICE MITCHELL Decatur DR. HENRY PANION, III Birmingham NEELY JONES PORTERA Tuscaloosa DOUG C. PURCELL Eufaula REBECCA T. B. QUINN Huntsville WILL SELLERS Montgomery CEIL JENKINS SNOW Birmingham SONTONIA T. K. STEPHENS Northport MARY WADSWORTH WHITE Florence ALABAMAARTS In this Issue Volume XXVII, Number 1 2017 State Arts Awards STATE ARTS AWARDS 2017 3 Arts Awards 2017 Al Head, Executive Director, ASCA THE JONNIE DEE RILEY LITTLE LIFETIME ACHIEVEMENT AWARD 4 Gail Andrews: Inspiring Action with Passion Graham C. Boettcher THE DISTINGUISHED ARTIST AWARD 10 Eddie Floyd: Architect of Southern Soul Deborah Boykin THE 2017 GOVERNOR’S ARTS AWARD 17 Art Bacon: A Life of Art and Science Valerie L. White THE 2017 GOVERNOR’S ARTS AWARD 22 Chuck Leavell: Creating Magic with the Rolling Stones Since 1982 Jim Harrison, III THE 2017 GOVERNOR’S ARTS AWARD 30 Cheryl Morgan: Making Magic Ben Wieseman THE 2017 GOVERNOR’S ARTS AWARD 34 Don Noble: A Life in Books Jennifer Horne THE ALABAMA FOLK HERITAGE AWARD 41 Jake Landers: Devoted to Bluegrass—A Man and His Music Mary Settle Cooney THE SPECIAL COUNCIL LEGACY AWARD 47 Todd Strange: A Mayor Wearing a Coat of Many Colors Al Head On the Front Cover: Dr. Art Bacon in the 70s worked almost exclusively with ink washes – lots of lines and very little color.
    [Show full text]