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https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476285266-BEVZJUAUJJBGB68F84PT/Screen+Shot+2020-09-24+at+4.03.55+PM.png I Am A Living Testimony https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476285269-SN87RT09FOL6D72IKVVU/Screen+Shot+2020-09-24+at+4.04.17+PM.png I Am A Living Testimony https://www.watersedgemuseum.org/there-is-a-city-called-heaven daily 0.75 2022-08-09 https://www.watersedgemuseum.org/welcome daily 1.0 2026-03-16 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613074241578-90SWNHSIOGQJQD0DKRMK/checkerboard+opening3.png Welcome Find yourself at The Water's Edge. https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610656750668-BVM99OOVGWHQ1HOQKPQ3/1_DIDN%2527T_MY_LORD_DELIVER_JONAH_SERIGRAPH.jpg Welcome Jonah and the whale was featured at the 1937 Paris International Exposition, color serigraph, 1933. “Long ago the slaves sang, ‘If the Lord delivered Jonah from the belly of the whale, He will deliver me.’ And these words came too. The Negro race has been delivered from dangers and torments worse than Jonah knew, they have been given a vision of the freedom that can finally be complete.” –Words of artist Ruth Starr Rose (1887-1965) https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610742601897-NKKXY0P2EYIBQE059M1W/8_THE_FLOOD_DRWG.jpg Welcome The Flood illustrates the vulnerability of life for people of color dwelling at the water’s edge along the Chesapeake Bay. Charcoal and pencil drawing, ca. 1925 Over 80 years ago, the African American author Waters Edward Turpin penned an eloquent description of life on the Eastern Shore in his novel, These Low Grounds (1937): “It is a low, flat land, the Eastern Shore of Maryland. It crouches there between the Chesapeake on the west and the state of Delaware on the east. It crouches there, the Shore, like a sulking, neglected child, with its scattered hamlets, towns, and villages. Some of them have caught the modern spirit; others lie in dull contentment with their lot beneath whatever kind of sky the fates provide. The farmers plow, plant, and reap. The river men snatch their produce from the streams. The canners pack their tomatoes and peas. And natives of all persuasions are born, live, propagate, decline, and are buried beneath the low, flat land, in order that their children may take up the thread of life.” https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610657019683-3YS3KEDS4I0ZZQ87N7ZS/Eastern%2BShore%2BThresher%2Boil.jpg Welcome Eastern Shore steam thresher, 1932, oil on Masonite https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610742879283-4UF8DM9QJ6AED5NYN0P1/p76_063a+sailmaker+loft+on+tilghman+street.jpg Welcome Black-and-white photograph of Downes and Albert Curtis’s historic sailmaker’s loft on Tilghman Street, Oxford, ca. 1930. Courtesy of © Mr. and Mrs. George Albury https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610742770254-KIOAG6NWBQ965YIPOEJF/Bernard+Moaney+Duck+Hunter.jpg Welcome Bernard Moaney as a duck hunter, oil, 1931 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610657277280-TC79NLFAPREXMNMELS73/3_Boy_In_Church_Clothes_oil.jpg Welcome Boy in church clothes, oil, 1933 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610663421959-OO3IWPI9LMCOIHO5QZ10/077+madonna+lithograph.jpg Welcome Madonna, black-and-white, 1934 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610656313060-P3GXA5AZNTG617TDK75S/Isaac+Copper.jpg Welcome Isaac Copper in a suit, oil, 1931 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610744668103-C9N2C631AYV2MZE9O1K8/AG_CH3.01+copperville+sunday+school+p1.jpg Welcome https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610744701496-9NI2RL7MFKTV1AHU13HA/AG_CH3.02+copperville+sunday+school+p2.jpg Welcome https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610744767351-FOD0HSL1DZ4QZI2X70MK/AG_CH3.03+copperville+sunday+school+p3.jpg Welcome https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610749867002-99KCJ8GXOECNDQHR3FRJ/AG_CH3.04+copperville+sunday+school+p4.jpg Welcome https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610745470950-8WXKPUS0BT37PJRD4ABL/IMG_7249.jpg Welcome Spiritualistic study of a wheel in the air delivering faith to people of all hues age, and ability, charcoal on paper, 1928 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610665468904-G4KOGAU57R6X65K7A4S6/negro+spirituals+zigrosser+p1.jpeg Welcome Book of African American spirituals given to a Maryland artist by a New York art dealer who recognized the significance of supporting artists who honored the music and culture of people of African descent on Maryland’s Eastern Shore. https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610662289912-7IKA0DFXBJ7Q09A87NCX/DSC_2194.jpg Welcome Couldn’t hear nobody pray, black-and-white lithograph, 1943 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610745135092-I14JD4WHZ27UQ855GJ45/DSC_2056.jpg Welcome Standing in the need of prayer, black-and-white lithograph, 1944. “Carried away by the magnificent melody and rhythm of these great songs, do the white people remember the stark truth and the simplicity of their words? For who among us is not standing in the need of prayer?” –Words of the artist https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610657977699-8UM5G2YYI7ABW3FZ5TCM/DSC_2530.jpg Welcome Pharaoh’s army got drownded, fresco, 1940. This was made to honor the son of the minister of the Copperville Church who had given his life in training for World War II. This fresco was, according to the Christian Science Monitor (1955), the first work of art made by a white person for a black church. '“Let my people go. This song of liberation has many variations, Go down, Moses, Didn’t old Pharaoh get lost, Oh Sister Mary, Don’t you weep. Being a basic theme of the release of an oppressed people from bondage, these songs have meaning not only for other days, but look to more freedom now for the colored citizens of a democracy. One day in Maryland I was visited by the preacher of the African Methodist church. He asked if I would do a painting for the altar, and how much I would charge. Telling him I would be glad to do the painting just for the pleasure of having his people enjoy it, I used this design of Pharaoh’s Army Got Drownded, It was done on a large plaster panel in the ancient technique of true fresco. After completion, it was moved two miles down the long lane, and through the dark southern pine forests to the little church of Copperville, Maryland. With the help of the elders and the preachers, the painting had a safe though adventurous journey through the mud, on the running board of the preacher’s car. Installed at last in its place of honor above the pulpit and the Bible, it was unveiled with much ceremony, with singing and with ringing words of preaching, ennobled by the fine native dignity of the Negroes, In gratitude, the brethren of the church asked me if they could come to my house in June, when the honey locust is blooming by the tidewater and bring a chorus of 50 singers. The great day came; turning into a festival of white and colored for the benefit of the Copperville church. Choruses and quartets sang, and a young Negro preacher spoke, ‘Lo, how good and how beautiful it is for brethren to dwell together in unity.’” –Notes by the artist https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610665355354-2CRU8IXFVY4VP8HJEEX1/DSC_2149.jpg Welcome https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610748357891-R0UROYPQYSCVGC096A24/RuthHarp_hr%25252Bcopy.jpg Welcome Ruth Starr Rose (1887-1965) playing the harp, black-and-white photograph, 1915 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610745920516-PH5SK1CQHUT2UCF4S13D/28__hr+copy.jpg Welcome Black-and-white photograph of the artist Ruth Starr Rose with her son and children from Copperville on her racing yacht, the Belle M. Crane in 1933 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610746860187-TAKPH73U6RQB4THFK4ZZ/DSC_2069.jpg Welcome Ezekiel saw the wheel, final ink study for the black-and-white lithograph. “Ezekiel saw the wheel. Way in the middle of the air, the little wheel turns by faith and the big wheel turns by the grace of God. Working in the fields, in close kinship with nature – the Negro relates all the wonders of the land and sky to the kingdom of God. What more beautiful than this – He that hath eyes to see let him see – He can look over the harvest and the sowing and in it see miracles. The colored man – expert with this mules, skillful, patient – talking to them and singing as he works – looks in awe at the pageant of the sky and salutes his Creator in song. Using the simple symbols of his life – the plough and wheel – the storm, a modern Ezekiel still hears the voice of his God in the thunder.” –Words of the artist https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610746587554-7SM25B7TUSGTYYC7CI2D/29_photo10_hr+copy.jpg Welcome George Moaney teaching Richard Rose about life on the water, black-and-white photograph, 1933 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610747048202-1W1BR4KYH9KHZODY466Y/DSC_2167.jpg Welcome Keep your hand on the plow, hold on, black-and-white lithograph, ca. 1950 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610746694137-ZO0YOZ0VWTHS3BNCLOCN/208_MontclairTimes1941_HR.jpg Welcome Paul Robeson receiving spirituals honoring Eastern Shore spirituality before a concert in Newark in 1941. Black-and-white photograph from the Montclair Times. Paul Robeson’s visionary beliefs as a nascent civil rights leader were a match for the prints of Little David play upon your harp and also Ezekiel saw the wheel. Both black-and-white lithographs honored the handsome local singer, ventriloquist, and noted hoodoo, Samuel Julius Johnson. https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610746747679-TBXYZANZGMXROZDQQ6SR/DSC_2162.jpg Welcome Charcoal sketch of Paul Robeson singing at the Newark concert in 1941. The large American flag was proudly displayed as a backdrop to a man who at the time was being monitored by the F.B.I. as a suspected Communist. https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610747227474-ZZ4BZP3NTYSB3ZHPJAMX/B%2526W%2BLithograph.jpg Welcome Go down Moses, black-and-white lithograph, n.d. https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610747339134-ZYNVXKHC9COARA3UZE6T/DSC_2227.jpg Welcome Sometimes I feel like a motherless child, black-and-white lithograph, 1943. “The subject of this print is situated in a typical Eastern Shore landscape, and tells the story of how men of color struggle in a world full of pitfalls and obstacles set against them. Menacing demons, one holding scales which are tipped, block the path leading to his home.” –Words of the artist https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610747804456-2OD5EY7DW4LBZVVNMPSS/IMG_7256.jpg Welcome Study of an angel watching over incarcerated men in shackles, ca. 1928 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610749102185-SNJFXJUVVCJQU970I9FK/DSC_2109.jpg Welcome The old ark’s a’moverin (and I’m going home), color lithograph, 1938. “To the colored people on the tidewater, Noah’s Ark is not fantastic. Singing about the Ark, the Negroes are thinking about their church that provides them with refuge for sailing steadily through life. They feel that the inevitable progress of the Ark toward the rainbow’s end typifies the long and dangerous voyage toward freedom and goodwill. Instead of home being on this earth, home is that blessed realm of heaven where all will be equal in the sight of God. The Eastern Shore Negro is an expert waterman. In oyster boats and running crab lines, he braves the elements to feed our country. The call of the Chesapeake is in their sailor songs”. –Words of the artist https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610748456619-3HVD9CG8W6WUY60OND8Q/1933+Revels+in+Transchoptankia.jpg Welcome Over 80 years ago, Baltimore’s sage, H.L. Mencken, “Revels in Transchoptankia,” condemned the Eastern Shore for a rash of unpunished lynchings. Mencken labeled conspirators as “Trans-Choptankians,” who, in their bigotry, read like characters in a William Faulkner story. Mencken’s expression of anger and despair for such heinous crimes are echoed by Morgan State University professor Waters Edward Turpin’s words from his first novel, These Low Grounds, published in 1937 shortly after that time: “What right have I,” he asked, “or any other man here in this town—or in America, for that matter—to marry a woman whose children I can give no protection from a lynch mob? We’ve love to give each other the right to live here in these Low Grounds, as your grandfather calls them. We belong here as much as the other groups of Americans. We’re no more or less than the other Americans. We’re just people…all of us…north, south, east, west…Americans…And in our working, our loving, our sorrowing, and our dying we are making the America of Now and Tomorrow, just as we helped to make it Yesterday.” https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610749307323-L0EK1N2DLTTVA2DHKO7I/AG_CH4.17+peace+christmas+card+ca+1950.jpg Welcome Peace, color serigraph, ca. 1950 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610748770757-OYJR7IVBBASOPF5LY9TB/George_Armwood_and_Crowd_-BS_D.jpg Welcome https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610748816465-M7VSHQGTULHQNBO7O917/ADB-220-BS_F.jpg Welcome The Salisbury Riots, recorded by the Baltimore Sun, black-and-white photographs, November, 1933. © Courtesy Baltimore Sun Media Group. Members of the National Guard point guns at a white mob in the violent aftermath of the lynching of Maryland citizen George Armwood. Over 2,000 members of the National Guard were deployed to Salisbury to control rioting white mobs. https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610748973388-BNP8BN920BW4Q5KZ4L6A/259%2Breverend%2Bdavis%2Bby%2Brose%252C%2Bca%2B1930%2B%2528location%2Bof%2Bpainting%2Bunknown%2529.jpg Welcome Portrait of Reverend Davis and lynching, oil, 1933 Note how Reverend Davis, the local preacher from the A.M.E. church of Copperville stands calm, focused, and resolute at his podium preaching while a lynching occurs behind his left shoulder. As a person of color with deep roots on the Eastern Shore, Waters Edward Turpin’s words from his last novel, The Rootless (1957) bear witness to the memory of the haunting memories of slavery and its aftermath: Throughout these obvious distortions of the folk-mind, however, one thread of constancy weaves: a somber chronicle that begins in the foul belly of a slave ship and ends in a gutted ruin. To this day, Oxford, Maryland remains the only UNESCO-documented Middle Passage stop on the Eastern Shore of Maryland, Delaware, and Virginia. There is no sign commemorating this fact. https://www.watersedgemuseum.org/accessibility-as-a-civil-right daily 0.75 2021-01-12 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476350516-5SPGW8AG6NOIQIR3LFBV/Screen+Shot+2020-09-21+at+6.42.17+PM.png Accessibility as a Civil Right https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476350528-EU08AZWIE0UAI7032MDP/L1140122.jpg Accessibility as a Civil Right https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476350531-R1AB8DGY9OOX6NS7EBUJ/Screen+Shot+2020-09-14+at+11.33.22+AM.png Accessibility as a Civil Right https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476350537-5UW9KJXUH32BUB63VNBP/Screen+Shot+2020-09-14+at+11.34.22+AM.png Accessibility as a Civil Right https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476350541-R498HENJM0OSYT3UI020/Screen+Shot+2020-09-14+at+11.37.26+AM.png Accessibility as a Civil Right 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This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378011-2WR6JM94DLDGMHZT1GZJ/Screen+Shot+2020-09-09+at+9.24.32+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378015-FEUP6IZ1SC551SFSDIUW/Screen+Shot+2020-09-09+at+9.30.40+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378017-LY6VNVBVA70MHMEP3UBA/Screen+Shot+2020-09-09+at+9.31.42+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378021-JFLN0RSV2KZ651APGT0U/Screen+Shot+2020-09-09+at+9.32.56+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378024-CWR1PCIB3QXMJOON30LK/Screen+Shot+2020-09-09+at+9.33.49+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378027-2SC32RX3ZWYV2W8JAWKC/Screen+Shot+2020-09-09+at+9.35.03+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378030-WCWDX94PF7VD6BG6P66O/Screen+Shot+2020-09-09+at+9.48.47+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378033-D99UEL7VML1LLC24A69J/Screen+Shot+2020-09-09+at+9.49.29+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378039-AZ4NGJO8HY194RXENWUN/Screen+Shot+2020-09-09+at+9.50.02+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378042-NJY2EB87UWD22ZH6ZVG3/Screen+Shot+2020-09-09+at+9.51.40+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378045-BK51INGRYHPAJZ7CGDUV/Screen+Shot+2020-09-09+at+9.52.45+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378048-QRA5TIZU54V268GVPFE4/Screen+Shot+2020-09-09+at+9.55.44+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378051-JM07JZUWOMHOQSJ9VZPR/Screen+Shot+2020-09-09+at+9.56.24+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378054-TR3CB7N78BZNAHNS9FB0/Screen+Shot+2020-09-09+at+9.56.45+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378057-P724RSCV9AG5W6B5EA92/Screen+Shot+2020-09-09+at+9.57.26+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378061-KGSUKN8ZP2E39ZSZ5D5G/Screen+Shot+2020-09-09+at+10.02.50+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378063-OC5TWTFCJ3L7B3VSZXKX/Screen+Shot+2020-09-09+at+10.04.16+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378066-19V4I218YA2MJV1MCHU9/Screen+Shot+2020-09-09+at+10.04.34+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378069-3SZDFOW916XT2FRZQAEK/Screen+Shot+2020-09-09+at+10.05.07+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378073-3TS7DGX8NQ5HKEKV5GWO/Screen+Shot+2020-09-09+at+10.06.21+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378076-ET50RL5FJEASP3J3GQV6/Screen+Shot+2020-09-09+at+10.07.13+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378079-PQH268T9JUT50HMH2RIY/Screen+Shot+2020-09-09+at+10.08.55+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378082-PKLGODRMYKNOEC2668F4/Screen+Shot+2020-09-09+at+10.09.06+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378085-201GZ6NSLMT1D5RCGR0I/Screen+Shot+2020-09-09+at+10.10.07+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378088-8JANA5K92HJ9DKBYSIMY/Screen+Shot+2020-09-09+at+10.10.32+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378091-XHSTRGCYOBT1BNV1O2MN/Screen+Shot+2020-09-09+at+10.11.27+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378094-QM8PN2E1CJ2RZUCKKYZL/Screen+Shot+2020-09-09+at+10.12.42+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378097-4PGHQ7L5SW98LDGACJEZ/Screen+Shot+2020-09-09+at+10.13.07+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378100-Z47DODWDJMZYQT9T6NRJ/Screen+Shot+2020-09-09+at+10.14.06+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378103-AH7JPI0FFYC8365WOJ4C/Screen+Shot+2020-09-09+at+10.14.43+AM.png My Journey into Maryland Spirituals: This is my Story Professor John Wesley Wright, Ph.D. and students from the University of Maryland came to sing “Negro” spirituals. Professor Wright explained that the use of that word is respectful, and historically appropriate as it was the term of the day for what I call African American spirituals. https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378106-UVDIX18VQXYXJX1AQRJY/Screen+Shot+2020-09-09+at+10.17.36+AM.png My Journey into Maryland Spirituals: This is my Story Kentavius Jones singing Swing low, sweet chariot in the 17th-century Third Haven Quaker Meeting House in Easton, Maryland. https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378109-VJX7O9TMR24CCEQHVP2D/Screen+Shot+2020-09-09+at+10.19.13+AM.png My Journey into Maryland Spirituals: This is my Story https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476378112-K9PI547XYGU1LCD1B3GV/Screen+Shot+2020-09-09+at+10.19.02+AM.png My Journey into Maryland Spirituals: This is my Story https://www.watersedgemuseum.org/remote-learning daily 0.75 2021-02-18 https://www.watersedgemuseum.org/the-legacy-of-spirituals daily 0.75 2022-12-05 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476346654-ST8DBANOE2RUBLYKMJI7/Large%2BJPG-Aro%2BHa_0380.jpg The Legacy of Spirituals Twilight quartette, oil, 1936 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476346657-R7FQGGGDPU88LNX15IZ3/16031_SDO_MARYLAND-VIRGINIA_09_25.jpg https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476346660-3S0CT3VMJHMOZVNU368O/2+Clarence+DeShields+Playing+the+Guitar.jpg The Legacy of Spirituals Ruth Starr Rose, Clarence DeShields playing the guitar, Oil, 1931 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476346664-8MU880QKVWGMB016ICQV/Dust+Jacket_8.12.Rev1.jpg The Legacy of Spirituals https://www.watersedgemuseum.org/endorsements daily 0.75 2022-12-07 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613071336393-QNOUMEWV765MYARJ40IR/Citation_Waters+Edge.jpg Endorsements https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/b058eba6-5bcf-4ea5-9b59-5f1657ae3d97/MarylandHumanities_Logo_PNG.png https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/9e7435c8-9d08-4128-a151-c2544324b8e5/MSAC-2019-Logo-Vertical-Transparent.jpeg https://www.watersedgemuseum.org/opening daily 0.75 2021-02-11 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1611690922905-LVG9F3JZEPC6ECT24C0Y/Waters+Edge_INVITATION_0126.jpg Opening https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1611690939184-NX9BHVHBFYM250YY58FE/Waters+Edge_INVITATION_01262.jpg Opening https://www.watersedgemuseum.org/west-wall daily 0.75 2021-07-02 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/e5accb69-4249-4b11-8b3c-dc2362be1e9c/Bernard+Moaney+Duck+Hunter.jpg West Wall Bernard Moaney as a Duck Hunter https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/59768bad-60df-4be1-84a5-bf445bfe5585/DSC_1914.jpg West Wall Anna May Moaney https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/86cebc1c-e1ca-401d-9f99-11d30dfbe16f/2+Clarence+DeShields+Playing+the+Guitar.jpg West Wall https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/d54f1e35-3df3-453a-8ea0-d298d2af5003/3+Boy+in+Church+Clothes.jpg West Wall https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1b574395-fee1-4543-8a56-39dd9d7cb488/2+Ruth+and+Pauline+Moaney+at+Breakfast.jpg West Wall https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/084dd60a-e3c6-4901-a0ac-d3ec2c901035/2+Man+in+a+Suit.jpg West Wall https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/ee1d9c99-8b3d-450e-b904-54fcc40d0987/2+Moaney+Boy+on+the+Stairs.jpg West Wall 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https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613525794419-3H0H4OU90EE05Y8HO981/8_THE_FLOOD_DRWG.jpg West Wall https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613497799262-H4IAFA53SYK7DZGSMYED/081+Celebrated+American+Negro+Spirituals.jpg West Wall https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613525399693-CYYCKMN5QW0HKK7ZMJL5/Study.jpg West Wall https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/8b2faef4-b8a8-4de7-9d04-236a93b45c28/IMG-4233.JPG West Wall https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1c84b60f-232f-48ae-9d3a-b273085fa347/IMG_7833.jpg West Wall https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613763747365-RCGH4YAL9E0E6HF7WBZ2/Waters+Edge+Photo+Montage+West+Wall+compressed.jpg West Wall https://www.watersedgemuseum.org/anna-may-moaney daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1612891449198-IX7SDLZSTQSRLXGLN6OS/Anna+May+Moaney Anna May Moaney - Anna May Moaney 1930 Oil on Masonite 24” x 18”, 29 7/8” x 23 3/4” Framed This portrait reveals a confident, beautiful woman, who, atypically for her time, possesses an inherent sense of strength and self worth in spite of her status as a domestic worker. With her self-assurance and strong outward gaze, Anna May Moaney echoes Baltimorean Gertrude Stein’s character Melanctha Herbert in her early masterpiece, Three Lives. Back to West Wall https://www.watersedgemuseum.org/bernard-moaney-as-a-duck-hunter daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1612891994177-799VQ1XSD590PXSJLU0O/Bernard+Moaney+as+a+Duck+Hunter Bernard Moaney as a Duck Hunter - Bernard Moaney as a Duck Hunter 1931 Oil on wooden board 48” x 31 1/2” Duck Hunter is evidence of an early 20th-c. Person of color who is portrayed at a moment that is both revealing and dignified. In this imposing, large-scale oil painting, Bernard Moaney’s statuesque physique fills the picture plane, his arms and legs extending beyond the canvas edges. He clutches a Damascus twist steel double-barreled shotgun, and in his lap sits an expensively crafted drake duck decoy. His upright posture, with his arms posed on the chair’s armrests, suggests someone who is in command, with a strong sense of self-worth. Attired in impeccable hunting apparel, Moaney is stylishly fitted out for a shoot. Back to West Wall https://www.watersedgemuseum.org/clarence-deshields-playing-the-guitar daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1612978659825-MYM5YG1WGRTHZ05I39ZR/Clarence+DeShields+Playing+the+Guitar Clarence DeShields Playing the Guitar - Clarence DeShields Playing the Guitar 1931 Oil on wooden board 44” x 36” The artist who painted this portrait knew DeShields well, and recorded his character and elegant disposition in her notes: Clarence was very tall, and walked as if he were tied together with string. He had a most engaging wide, slow smile that went with his unfailing sense of amusement about the world in general. In this large-scale oil portrait of DeShields, his sense of happiness and amusement as he is about to play a song on his guitar is evident through his slightly upturned lips, his sparkling eyes, and his sideways glance. Clarence DeShields was regarded as a member of the artist’s family, and was credited as the first to teach her the lyrics of, and meanings behind African American spirituals. It was noted that he brought special clothes for his portrait, and he wears a smartly pressed white shirt and a jacket. Back to West Wall https://www.watersedgemuseum.org/elizabeth-moaney-in-profile-with-a-basket-of-fruit daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1612978832171-ZRJYZU3858Z0W4UBMYB1/2+Elizabeth+Moaney.jpg Elizabeth Moaney in Profile with a Basket of Fruit - Elizabeth Moaney in Profile with a Basket of Fruit 1930 Oil on canvas 30” x 25” This portrait of Copperville resident Elizabeth Moaney represents another attractive woman who is blessed with a sense of confidence and has boundaries. As with Gertrude Stein’s character in Three Lives, the stunning, smart, and defiant Melanctha Herbert works as a housekeeper, but is not to be crossed. Mrs. Moaney sits with assertive straightness in her chair. She is clearly a self-possessed, handsome woman with a fine profile and a strong physique. Although the basket of fruit and Moaney’s simple dress suggest that she is a domestic worker, she is ennobled with an intensity of focus that extends outside the limitations of the picture plane, allowing the viewer to see beyond her occupation. The artist Ruth Starr Rose wrote of the admiration she and Elizabeth Moaney felt for each other. They were happy to be associated. As Rose wrote colloquially: I know that Elizabeth Moaney is very proud to be living with ‘the quality’—but not nearly as proud as I am to have her there. Back to West Wall https://www.watersedgemuseum.org/moaney-boy-in-church-clothes daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1612978988777-LGNL5W1AMFWC4NYPCYPY/Boy+in+Church+Clothes Moaney Boy in Church Clothes - Moaney Boy in Church Clothes 1933 Oil on canvas 24” x 20” The artist learned about spirituals firsthand at the Deshields United Methodist Church that she attended, occasionally teaching Sunday school there, from the 1920s through the 1940s. The church supported families, providing strength in difficult times, and the artist worked hard to portray the stabilizing qualities of their beliefs. Back to West Wall https://www.watersedgemuseum.org/moaney-boy-on-the-stairs daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1612979112212-ET2KXT2FGYYBESUGNLJS/Moaney+Boy+on+the+Stairs Moaney Boy on the Stairs - Moaney Boy on the Stairs 1930 Oil on canvas Signed lower right 30” x 24” This arresting portrait of a younger member of the Moaney family perched on the back steps of the Pickbourne Farm kitchen near Tunis Mills on the Eastern Shore. In this finished oil painting, as well as in the preparatory drawings, the artist seems to be working out the relationship between herself and a child whose mother works in service for her family. The resulting trust and patience granted to the artist by the young child is a testament to their genuine relationship, and the boy’s sense of peace and inner security in his environment. His large, earnest eyes directly engage the viewer, while the full-length portrait shows his tiny frame and small booted feet resting on the step below him. He is shown in a sweater and collared shirt, contented, clean, and well fed—a stark contrast to the racist depictions of wildly unkempt black children by many of the artist’s contemporaries. Back to West Wall https://www.watersedgemuseum.org/ruth-and-pauline-moaney-at-breakfast daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1612979231399-HWRC14U0HJ24HCBXF13W/Ruth+and+Pauline+Moaney+at+Breakfast Ruth and Pauline Moaney at Breakfast - Ruth and Pauline Moaney at Breakfast 1932 Oil on canvas 24” x 36” This charming double portrait gently introduces the daughters of Anna May Moaney, who, it was noted, chose to have her children’s hair plaited expressly for the occasion. In 1936, this oil painting was entered into an international exhibition at the Albright Knox Art Gallery in Buffalo, New York. The show, The Art of Today, presented cutting-edge art from a variety of Modern stylistic movements. This oil portrait was featured alongside the work of internationally acclaimed artists such as Pablo Picasso, Marc Chagall, and Salvador Dali, in addition to a handful of leading American artists, including Thomas Hart Benton, and Georgia O’Keeffe. Back to West Wall https://www.watersedgemuseum.org/childrens-tour-suited-man daily 0.75 2021-04-27 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1615497128954-VUTABU57V6MVDWWWM5YQ/suited+man.jpeg Children's Tour Suited Man https://www.watersedgemuseum.org/the-circus daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1612979437826-GUXRXW8YE99YAU3IOOPP/2+The+Circus.jpg The Circus - The Circus 1930 Oil on Masonite 30” x 40” This painting, which was made around 1930, shows people attending a performance on a rural property. Two men are in the center: one playing the role of conductor and another man who raises a bottle into the air. African American families stand along the left side of the frame and white families are positioned on the right. However, a black child shares a golden buggy with two white children. The roundabout, clocklike movement shows other chariots filled with people of both races - suggesting time’s gradual progression toward integration and equality. Shortly before this painting was made, there was an announcement in the local newspaper, Star Democrat about a party where all black members of the community were invited to an estate owned by a family of European descent on Memorial Day. The mother of the artist Ruth Starr Rose held the party to honor Isaac Copper, William Blake, and other people of color whom she respected and wanted to honor. The party was a success, and there was at least one additional similar event again in 1930. Back to West Wall https://www.watersedgemuseum.org/south-wall daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613177152857-FAP9EYYQTC2GDFSKEKOH/He%27s%2Bgot%2Bthe%2BWhole%2BWorld%2Bserigraph.jpg South Wall https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613179610247-2CSW4BG30OATPB4TAFOL/a%2Bfor%2Bthe%2Bbook%2BRoll%2BJordan%252C%2BRoll.jpg South Wall https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613160979736-6TR8WIVUKM98O61TOGT2/Glory%2BTrain%2BStudy%2B1.jpg South Wall https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614282111712-CDHER2AZ1HITGW3O4G70/B%2526W%2BLithograph%2B%25283%2529.jpg South Wall https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613161202645-86NYZ1YF7Q13J55G7X0O/11_GLORY_TRAIN_SERIGRAPH.jpg South Wall 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Christmas Card Version - Glory Train, A.K.A., This Train is Bound for Glory, Christmas Card Version n.d. Color lithograph 3” x 4” plate This charming small-scale holiday card was printed with a group of other cards made by artists in New York City. In so doing, the beautiful church in Copperville and associated landscape is presented to a larger audience. Back to South Wall https://www.watersedgemuseum.org/glory-train-study-1 daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613160979736-6TR8WIVUKM98O61TOGT2/Glory%2BTrain%2BStudy%2B1.jpg Glory Train Study 1 - Glory Train Study 1 ca. 1938 Charcoal on artist’s paper 24” x 18” In this study, movement and powerful charcoal geometric forms suggest the strength of the congregation at the Copperville Church as they ran up and down the aisles, singing This Train is Bound for Glory, elevating excitement, particularly among children, to the sensation of being in a train taking flight. The presence of angels implies that the train is heaven bound. Back to South Wall https://www.watersedgemuseum.org/glory-train-study-2 daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613161097998-YUXJU8H1AMD3L6PKIOBS/Glory%2BTrain%2BStudy%2B2.jpg Glory Train Study 2 - Glory Train Study 2 ca. 1938 Charcoal on artist’s paper 24” x 18” Another well thought out geometric study that expresses the intense power of mission for a people in the act of religious unflinching belief while singing to their God. Back to South Wall https://www.watersedgemuseum.org/glory-train daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613161202645-86NYZ1YF7Q13J55G7X0O/11_GLORY_TRAIN_SERIGRAPH.jpg Glory Train - Glory Train, A.K.A., This Train is Bound for Glory Serigraph 1951 Color Serigraph 15" x 18" plate This painting was inspired by Copperville’s Moaney Quartet, who emulated a train bound for heaven. The Moaney or Twilight Quartet ran from the front to the back of the church, rhythmically shouting and jumping to activate the entire congregation–using their voices to transform the church into a loud locomotive engine that was about to take off. The artist’s notes describe the scene at the Copperville Church. The presence of a devil and angels implied that the train was capable of transporting its passengers to heaven or hell. The effect was powerful to all who witnessed the quartet: As the Twilight Quartet starts up in their battle of song, out of the open windows of the Copperville African Methodist Church comes the deep-throated whistle of the Gospel Train…The leader Jim, begins in a quavering tenor, “This Train my Lord,” its weird intervals make the shivers run down your back as you sit in the stiff backed pew. Back to South Wall https://www.watersedgemuseum.org/go-down-moses daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614282640209-NP4T5GNVKNW1Y0ZWDNFY/B%26W+Lithograph+%284%29.JPG Go Down Moses - Go Down Moses 1957 Black-and-white lithograph 10 ¼” x 15 ½” plate Also known as Let My People Go, this print is incredible for its depiction of the liberation of many people. In the foreground, men of African, Latino, and Native American descent break their bonds; while in the distant background, one can see that women are being freed from slavery as well. Three men in shackles carry heavy burdens, but are walking together in a way that suggests hopefulness. Light rakes across the sky in dramatic angles that create windows to the sky and define the spaces. Back to South Wall https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614282686590-W1D6E7V00CEF8SFYJWJ2/IMG_7329.jpg Go Down Moses - Go Down Moses study Pen, ink, and charcoal study 14 ½” x 19 ¾” Back to South Wall https://www.watersedgemuseum.org/hes-got-the-whole-world-in-his-hands daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613177152857-FAP9EYYQTC2GDFSKEKOH/He%27s%2Bgot%2Bthe%2BWhole%2BWorld%2Bserigraph.jpg He's Got the Whole World in His Hands - He's Got the Whole World in His Hands 1953 Serigraph 15” x 18” plate Also known as Right in the Palm of God’s Hand, this print was intended to illustrate the universal brotherhood of man. Surrealistic hands on the right side of the image of the black man being raised to heaven with black hands. This print was the subject of fascinating conversations with Raymond Piper, author of books on cosmic art. The print was also made as a black-and-white lithograph, and shows the hands of God cradling a worker of African descent while humble animals worship the wonder from below. This serigraph also depicts the hands of God, but the worker is not a person of any particular race. It was intended to stand as a symbol of the healing power and presence of God in times of storm and stress. Back to South Wall https://www.watersedgemuseum.org/i-couldnt-hear-nobody-pray daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613177383099-9NA52VCELI8TJVF7M0M9/Couldn%27t+Hear+Nobody+Pray%2C+b%2Bw+litho.jpg I Couldn't Hear Nobody Pray - I Couldn't Hear Nobody Pray 1943 Black-and-white lithograph 13” x 10” plate The deep contemplative faith expressed through this set of spirituals underlines the incredible power of religious belief during times of enslavement and latter day racial oppression. In this lithograph, we witness the soldier’s dedication to his role as a radio operator, even at the moment when he knows he is destined to die alone in a South Pacific battlefield. The soldier is shown at his station, locked solemnly in prayer. He kneels at the radio, abandoned, isolated, outnumbered, and without hope. Again, the artist’s notes reveal a great deal. After lamenting the soldier’s ancestors, who were kidnapped from jungles centuries before to benefit the slave trade, this young man is ironically returned to the jungle to die for his country. This particular spiritual is intended to express the fundamental and inevitable loneliness of war. This clearly illustrates the soldier’s calm bravery in the ultimate moment of his life—its ending. The artist handles the gravity of this theme with a great deal of admiration, writing: “If all people were really praying for the fine things that this man expects of prayer, there would be no forces of evil descending and there would be no wars anymore.” Back to South Wall https://www.watersedgemuseum.org/joshua-fit-de-battle-ob-jericho daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614284462538-6RNQT0E1M5ZBEBDW2WOZ/Joshua+fit+de+Battle+both+lithos.JPG Joshua Fit de Battle ob Jericho - Joshua Fit de Battle ob Jericho 1943 Second Version 1942 First Version Black-and-white lithographs 10" x 13" plates In many of the works shown in this gallery black and white angels are integrated to trumpet the victory of good over evil. In this case, bold contemporary figures effectively pit good against bad using a contemporary story to update the old spiritual “Joshua Fit de Battle ob Jericho.” In the black-and-white lithograph, Joe Louis is shown having delivered the final, defeating blow against the Nazi, Max Schmeling. As a tribute to the physically powerful man’s fighting abilities, the victorious Louis is supported from behind by an angel, as he towers over the demon-like Schmeling. The bottom print represents the artist’s second attempt in her arduous mission to send out the right message, which required the arduous job of regrinding the stone on which the lithograph was printed. Back to South Wall https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614284503483-PLXUB2L668X0CNVL2SVB/3+-+Joshua+Fit+De+Battle+Ob+Jericho%2C+b%2Bw+litho+1st+version.jpg Joshua Fit de Battle ob Jericho https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614284529224-9KPXSME6I31PX9ZPU2UH/3+-+Joshua+Fit+De+Battle+Ob+Jericho%2C+b%2Bw+litho+2nd+version.jpg Joshua Fit de Battle ob Jericho https://www.watersedgemuseum.org/le-nouvelliste-article daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613177839075-10MFTW5JT4Q0EMIPT1MA/Le_Nouvelliste_Haiti_1956.jpg Le Nouvelliste Article - Le Nouvelliste, Haiti April 23, 1956 2 Sheets, 3 1 /2” x 18” and 4 3/8” x 13 1/2” In April of 1956 the artist Ruth Starr Rose traveled to Haiti, where she made several drawings, watercolor sketches, and serigraphs. Le Nouvelliste wrote of her imminent arrival, praising her retrospective show at Howard University as well as an interview on April 27 for the Voice of America. During her trip she wrote to Howard University’s Professor Porter describing Haiti as a “beguiling paradise.” The lengthy article also mentioned that the artist had returned from an extended trip to Europe to study religious and prehistoric art with Mary Cabot Wheelwright, creator of the Museum of the American Indian. Back to South Wall https://www.watersedgemuseum.org/leadbelly-letter daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614284951009-WE0X6YVWK8GLVTM2CEM1/4+Little+David+Play+Upon+Your+Harp%2C+Study+7.jpg Leadbelly Letter - Sketches of Leadbelly 1946 Ink and pencil on stationery 10 1/2” x 7” (Front) The context of our chronicle of black life on Maryland’s Eastern Shore expands when one reflects upon this lovely sketch made in New York City by the artist responsible for most of the artwork aligning the gallery walls. She and a “few friends” were gathered in New York, where Leadbelly sang on an impromptu basis. The strong positive stance of Leadbelly reflects the same confident posture of David in Little David Play Upon Your Harp. https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614284987983-V3UZ89TL5DOKI4VM40UF/4+Little+David+Play+Upon+Your+Harp%2C+Study+9.jpg Leadbelly Letter - Sketches of Leadbelly 1946 Ink and pencil on stationery (Back) 10 1/2” x 7” Back to South Wall https://www.watersedgemuseum.org/montclair-times-article daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613178244680-430SUJYSH95B29DR1TFL/296%2Brose%2Band%2Brobeson%2Bpre%2Bconcert%2Bnewark%252C%2B1941.jpg Montclair Times Article - Montclair Times, “Paul Robeson Receives Lithographs” June 6, 1941 9” x 7” A newspaper account of the evening features a photograph of artist Ruth Starr Rose and Paul Robeson comfortably together before the concert. Her admiration is evident in her wide smile and relaxed stance at his side. In the photograph, Rose presented Robeson with a gift of two of her lithographs. Interestingly, the two prints she gave him honored visionaries from the Copperville community. She holds her print Ezekiel Saw the Wheel, modeled after Hope’s enlightened gardener by the same name. In his right hand, Robeson grips Little David Play Upon Your Harp, a lithograph based on Samuel Julius Johnson, an Eastern Shore minstrel feared by locals as a powerful conjure man. Her selection of gifts to Robeson of the black-and-white lithographs underline her esteem for her friend and his role as a luminary in the civil rights movement. Back to South Wall https://www.watersedgemuseum.org/my-lord-what-a-morning daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614284181958-6KR4DGUEWDHUX17FB3U4/My+Lord+what+a+Morning.jpg My Lord What a Morning - My Lord What a Morning 1958 Ink study on yellow tracing paper 10 ½” x 16 ½” Black-and-white lithograph 10” x 16” plate The black-and-white lithograph and study show a landscape that extends into the heavens, with members of Copperville’s DeShields United Methodist Church in groups on the flat terrain of the Eastern Shore. The Vanguard satellite in the upper left corner was America’s reaction to the Soviet Union’s Sputnik, and represents another layer of security in addition to the watchful guy of God. People raise their arms in gratitude as they look toward the light and rejoice. The congregation’s strength is celebrated as a connection to the natural world, which they believe is more powerful than man’s technology and pointless wars. Listed in the Hampton Institute songbook of 1927, “My Lord What A Morning” is categorized as a hymn of judgment. The song is a rallying cry, inviting others to “hear the trumpet sounds, to wake the nations underground.” Back to South Wall https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614284225608-17AC3M46C85DJL15IWKE/a+for+the+book+My+Lord+What+a+Morning.JPG My Lord What a Morning https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614284243806-ME42ZVORW1BKXJG07G7G/IMG_9194.jpg My Lord What a Morning https://www.watersedgemuseum.org/nobody-knows-the-trouble-i-see daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613178620955-RPQJGF53AVUHSJK9K8N7/Nobody%2BKnows%2BDe%2BTrouble%2BI%2BSee.jpg Nobody Knows the Trouble I See - Nobody Knows the Trouble I See 1943 Black-and-white lithograph 13” x 10” plate African American families of GIs made outstanding sacrifices during World War II, as is seen in detailed studies and final prints. Here, a fire has engulfed a two-story wooden-frame Eastern Shore house, and the mother has perished in the flames—underscoring the stark domestic reality faced by mothers on the home front. Amidst billowing smoke, the matriarch is shown barefoot and seated on a throne in the sky above the flames as angels usher her into heaven. She gazes down serenely as if to suggest that she wouldn’t want her death to trouble her children. Farmyard animals scatter chaotically away from the fire across the landscape. The soldier father stands in the foreground, with his children clinging to him in their grief. He is dressed in his uniform and looks on in shocked disbelief as he shields two of his children from the heat of the flames. Back to South Wall https://www.watersedgemuseum.org/peace daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613178793816-S8Z2FEKDYU3WG9KAP19C/Peace%2Bserigraph.jpg Peace - Peace n.d. Serigraph 6 1/2” x 5” This beautiful holiday card represents a visual cue in support of racial integration, thereby challenging the debilitating preconceptions of racism. Back to South Wall https://www.watersedgemuseum.org/pharaohs-army-got-drowned-fresco daily 0.75 2022-01-26 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613178939098-ZONIEWB29B2TXXJE2EDH/DSC_2530.jpg Pharaoh's Army Got Drowned Fresco - Pharaoh’s Army Got Drownded 1941 Fresco 41” x 61” Pharaoh’s Army Got Drownded was created in the form of a lithograph, a serigraph, and a large-scale fresco for the Copperville Church. As an important African American spiritual, the allegorical picture shows Moses parting the Red Sea as a symbol of black freedom from oppression. In all versions, the pastor of the Copperville Church is portrayed as Moses, and his son is portrayed as an angel. An angel trumpets down to the congregation and a festive riverboat floats on the Red Sea. The piece incorporates the entire Copperville Church congregation, and was made to honor Reverend Wilson’s soldier son, Private Norman E. Wilson, who died early in World War II. Back to South Wall https://www.watersedgemuseum.org/pharaohs-army-got-drowned-lithograph daily 0.75 2022-01-26 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613179122262-WDSFCOEDIYWESDEQJSDJ/black+and+white+litho+Pharaoh%27s+Army.JPG Pharaoh's Army Got Drowned Lithograph - Pharaoh’s Army Got Drownded 1940 Black-and-white lithograph 9 7/8” x 12 3/4” plate In her correspondence with a respected art critic in New York City, the artist humbly stated that, in creating her work, she was merely recording the story as the Copperville, Maryland congregation described it to her, while adding the following interpretation: This song has many variations—“Go Down Moses,” “Didn’t Ole Pharaoh Get Los’,” “Oh! Sister Mary, Don’t You Weep.” This being a basic theme of the release of an oppressed people from bondage, these songs of liberation have meaning not only for other days, but look to more freedom now for the colored citizens of a democracy. Back to South Wall https://www.watersedgemuseum.org/pharaohs-army-got-drowned-study-1 daily 0.75 2022-01-26 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613179233276-XV9TFI6FOVZ7A7B8QZZF/3+Pharaoh%27s+Army+Got+Drownded%2C+Study+2.jpg Pharaoh's Army Got Drowned Study 1 - Pharaoh’s Army Got Drownded Study 1 ca. 1940 Charcoal on artist’s paper 18” x 24” The powerful set of geometric studies and quick sketches reveals the strong diagonals, swirling skies, and intense emotion behind the final works of art which include the fresco, black-and-white lithograph, and color serigraph. The drawings are significant works of art in their own right. In this study, it becomes clear that the young man who gave his life to defending his country was likely a highly skilled diver. Not surprising for a person of color who was born and raised on the Eastern Shore. Back to South Wall https://www.watersedgemuseum.org/pharaohs-army-got-drowned-study-2 daily 0.75 2022-01-26 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613179413080-U49CRVO0YRTSU7SEB3UW/Pharaoh%27s+Army+Got+Drownded%2C+Study.jpg Pharaoh's Army Got Drowned Study 2 - Pharaoh’s Army Got Drownded Study 2 1940 Charcoal on yellow trace 14” x 16 7/8” The careful thought to layout and geometry allows for the adaptation of this spiritual to include the entire congregation of the Copperville church. Reverend Wilson looks upward to the heavens as the waves part for the people he is bringing to a better world. His son is in the foreground, at his side, yet detached from the rest of the group. Back to South Wall https://www.watersedgemuseum.org/roll-jordan-roll daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613179610247-2CSW4BG30OATPB4TAFOL/a%2Bfor%2Bthe%2Bbook%2BRoll%2BJordan%252C%2BRoll.jpg Roll, Jordan, Roll - Roll, Jordan, Roll 1945 Black-and-white lithograph 10” x 13” plate Roll, Jordan, Roll honors brave African American men who suffered the ultimate consequence of war and gave their lives in battle. In this black-and-white lithograph, World War II soldiers are loaded into jeeps and propelled through the war-torn landscape in a military motorcade to face death directly. Angels salute them, and they, in turn, salute the angels as they are rewarded by a final ascension into Heaven. Malvin Gray Johnson’s interpretation of this spiritual has a similar dynamic tension in its horizontal and diagonal motion. In Johnson’s canvas, a group of people huddle together in a primitive sailboat at twilight. They are clearly in flight as the central figure looks up toward the sky, while others row the boat. According to Porter, Johnson’s slowly rocking boat visualizes the rhythms of the spiritual chant. Its appropriately apocalyptic tone carries with it a barely cloaked militant message of survival. “Roll, Jordan, Roll” has a long and influential history dating back to eighteenth-century England. The song was originally introduced to America to indoctrinate enslaved people into Christianity, only to become their song of subversion. The Jordan River, now transposed to the Mississippi or Ohio rivers, was a powerful symbol of escape. The enslaved people of America saw themselves as the Israelites, who could live as free men and women once they crossed the river. The profound imagery of the song has made it an enduring gospel favorite. It reemerged in the national consciousness in Steve McQueen’s 2013 film adaptation of Solomon Northrup’s memoir, Twelve Years a Slave (1853). Back to South Wall https://www.watersedgemuseum.org/shadrach-meshach-and-abednego daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614282996756-UDR0ZPQGM0TU611YRKCR/Shadrach.JPG Shadrach, Meshach and Abednego - Shadrach, Meshach and Abednego 1941 Black-and-white lithograph 10" x 13" plate Study in charcoal Sheet 18 1/2” x 23 ½” Exhibited in New York in 1942, this print was based on the song’s original theme—the struggle to stay true to one’s faith in God. Rose labored over her treatment in multiple studies and listed the lithograph for inclusion in her book. The composition includes three singers, scaled-down versions of her earlier work Twilight Quartet. Positioned centrally, the singers stand together in a small, exposed cabin as they sing in joy, oblivious to the flames engulfing them. The men receive celestial assistance in the form of firemen swooping down from heaven to extinguish the flames. One is carrying a ladder, several have fire hoses, and there is also a horse-drawn fire wagon manned by a team of angels protected by firefighting helmets. Anchored to the unmistakable flat landscape of the Eastern Shore, the congregation points up to the miracle of angels, while King Nebuchadnezzar raises his hands in astonishment. Described by a New York City art critic as “surreal” and “crowded with meanings,” this work represents the Copperville community and artist collaborating at their most innovative and imaginative. Back to South Wall https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614283038271-BUADX0GKS0T2FJJI1G47/160+shadrach+lithograph.jpg Shadrach, Meshach and Abednego https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614283090430-5LI032SRDZXNP44SM0WM/Shadrach+Study.JPG Shadrach, Meshach and Abednego https://www.watersedgemuseum.org/standing-in-the-need-of-prayer daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614284636540-P9A5QL6M39SFIZJAXEAD/Standing+in+the+Need+of+Prayer.jpg Standing in the Need of Prayer - Standing in the Need of Prayer 1944 Charcoal study on artist’s paper 9 ½” x 12 ⅛” Black-and-white lithograph 10" x 13" plate Here is a war-related print interpretation of the spiritual of the same name, which garnered positive acclaim from art critics. Drama swirls around the central figure, an African American war hero, standing on a wooden raft facing a turbulent sea. His hands are clasped over his head in prayer as he summons angels from the city of Heaven, who row down in a lifeboat to rescue him. In her accompanying notes, Rose writes of the black soldier’s unwavering spiritual belief and how that bolsters him in times of challenge and despair: Like all other spirituals, this song voices a basic truth of life that none of us can escape. White and black, yellow and red and brown, all need and ask, each in their own peculiar fashion, for the guidance of the spirit. Faith is a great power; on it are built religions and philosophies, and systems of education and of government. The colored man has faith that his God will take care of him. This Negro soldier, threatened by the surge and thunder of the ocean, is using his greatest power, the prayer of faith. In the distance, angels with a lifeboat are coming miraculously to save him. Back to South Wall https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614284713290-RZIQ7N76QDHWPI0RT7DL/DSC_2058.jpg Standing in the Need of Prayer https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614284731697-DB5DBTJ7F0TRTQ5XTX8S/DSC_2056.jpg Standing in the Need of Prayer https://www.watersedgemuseum.org/there-is-a-city-called-heaven-1 daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614281764762-YUSLT8SRTHSTX0Z179Q0/B%2526W%2BLithograph%2B%25283%2529.jpg There is a City Called Heaven - There is a City Called Heaven 1946 Black-and-white lithograph 10” x 13” Plate A man walks alongside his mule which is pulling a wagon with his possessions behind him up to the gates of Heaven. A black and a white angel leads the way up hill, and the light from Heaven illuminates his path. Back to South Wall https://www.watersedgemuseum.org/untitled-study-of-incarcerated-with-angel daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614282855736-VVGUS8CYLXSRME49GLYC/Angel+protecting+the+incarcerated.JPG Untitled Study of Incarcerated with Angel - Untitled Study of Incarcerated with Angel n.d. Pencil on Artist’s Paper 24” x 18” Two studies are artistically arranged on a large sheet of artist’s paper. The smaller study works out the geometry of a print. In the larger of these two studies, incarcerated people trudge along with shackles. Although they are clearly downtrodden, there is hope as a tall angel with long arms looms over them in a protective caring manner. Some of the prisoners cast their eyes upwards in an appreciative fashion. Systemic racism led to massive incarceration, and with that, a forced labor akin to slavery. Back to South Wall https://www.watersedgemuseum.org/untitled-study-of-wheel-in-the-air daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613180419862-02KEA6BR4GKNPXKM465C/IMG_7249.jpg Untitled Study of Wheel in the Air - Untitled Study of Wheel in the Air ca. 1930 Pencil and charcoal on artist’s paper 18” x 24” In this untitled study, the wheel of spirituality with various vehicles engaged in the ascent upwards to heaven. Everyone is included in this journey. Back to South Wall https://www.watersedgemuseum.org/madonna daily 0.75 2021-02-23 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613181495662-3FTQNZ3G4F3UFJGZJNC0/077+madonna+lithograph.jpg Madonna - Madonna 1934 Black-and-white lithograph 12” x 14” plate and (2) pencil on trace studies 14” x 17 ¼” and 7 ⅛” x 4” Elizabeth Moaney raised her family in Copperville and worked at the nearby farm known as Hope. This print was recorded to be an attempt to convey the nurturing desire of mothers to protect and watch over their babies. Moaney, in the titular role, sits quietly on a simple, overturned peach basket, watching over her sleeping baby. Despite the otherwise modest surroundings, Moaney’s infant rests in a treasure–an 18th-century American cradle; doubtless a gift from the admiring family who lived at Hope. Back to North Wall https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614116498253-FVH659DVYY4ERXTBZ8GK/DSC_2269.jpg Madonna https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614116523175-EYUYAL1IGX7DYVS2XFJ9/IMG_9201.jpg Madonna https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614116546735-EFEVLOM8Q7L9IDFMS3US/Madonna+drawing.jpg Madonna https://www.watersedgemuseum.org/merry-go-round daily 0.75 2021-02-23 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614116724093-1C1IAZBE5GM228YXZBON/Merry%252BGo%252BRound%252Blithograph.jpg Merry-Go-Round - Merry-Go-Round 1934 Black-and-white lithograph 10 3/8” x 14 1/8” plate This print illustrates a mother and children enjoying themselves on an old-fashioned merry-go-round at the Firemen’s Carnival in St. Michaels. This event was held annually at the base of the same street seen in the iconic print of an African American street in St. Michaels, entitled, Hell’s Crossing. This is a rare early 20th-c. depiction of an African American woman and her children engaged in carefree leisure. The wholesome, healthy quality of Eastern Shore life was celebrated far beyond Maryland–Emily Genauer, art critic for the NY Times, mentioned this print as one of the finest pieces in an exhibition in Manhattan in 1935. Back to North Wall https://www.watersedgemuseum.org/downes-curtis daily 0.75 2021-02-23 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614116026710-GOFZV3500IC0HSQB3OEC/Downes+Curtis.JPG Downes Curtis - Downes Curtis Pencil study on yellow tracing paper 13 ¾” x 16 ¼” 1935 Black-and-white lithograph 11 5/8” x 14 3/4” plate Downes and his brother Albert Curtis were successful sailmakers in Oxford, Maryland. In both the study and black-and white lithograph, we see Downes Curtis as he is working quietly in his Tilghman Street loft. At the time, the small town was fondly referred to as a “nautical paradise.” In studies for this lithograph, the artist worked with Curtis and his English colleague interchangeably as models. The final print features Curtis as a highly skilled man devoted to his art. This print, which honors Curtis’s fine craftsmanship, has become one of the most popular lithographs illustrating early black professionals. Back to North Wall https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614116115466-VM53WG7KOFLEXD01FK4F/DSC_2303.jpg Downes Curtis https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614116074433-CYAIHRWNTV14A7FAAVHO/4_DOWNES_CURTIS_B_W_LITHO.jpg Downes Curtis https://www.watersedgemuseum.org/eastern-shore-thresher daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613181977999-DEG4U634WRL1G1UEVFPM/Eastern%2BShore%2BThresher%2Boil.jpg Eastern Shore Thresher - Eastern Shore Thresher 1932 Oil on Masonite 17 3/4” x 23 7/8” In this small-scale oil painting, men are harvesting wheat in a palette of golden tones suggesting late summer. It is an informal group portrait en plein air, and in this context documents the immemorial and powerful connection that man has to the land, particularly in rural areas such as the Eastern Shore. Back to North Wall https://www.watersedgemuseum.org/keep-your-hand-on-the-plow daily 0.75 2021-02-23 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613182090922-FH5LMFKHP2R7BE3NHA6O/DSC_2172.jpg Keep Your Hand on the Plow - Keep Your Hand on the Plow 1950 Serigraph 12 1/2” x 16” plate There is a timeless quality to this serigraph. The swirling composition illustrates how farmers work the land to bring unity to their world and in so doing, are enlightened by the heavens above. The color palette of pale blue, yellow, and tan illustrates the water’s edge, arable fields, and farmers of both races. Also known as Keep Your Eye on the Prize, this African American spiritual evolved as an important anthem of unity during the civil rights movement. Although made fifteen years prior to the civil rights movement, this print was recognized in its time, and won second prize in an exhibition at the Library of Congress in 1950, and again in New York in 1951 when it was awarded the Peace and Progress Prize at the NY Council for the Arts. https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614115950744-BCFZ7JDNQ8KB6PW17O68/black%2Band%2Bwhite%2Blitho%2BKeep%2BYour%2BHand%2Bon%2Bthe%2BPlow.jpg Keep Your Hand on the Plow - Keep Your Hand on the Plow Black-and-white lithograph Back to North Wall https://www.watersedgemuseum.org/clarence-deshields daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613410001202-L6XT4VM128AP881BQWNS/Rose%2BClarence%2BDeshields%2Blitho.jpg Clarence DeShields - Clarence DeShields 1931 Black-and-white lithograph 13 3/4” x 10” plate Clarence DeShields recorded as being, a “grand type—with a streak of genius that never quite gets expressed.” He was considered a member of the artist’s extended family, and more photographs of him are included in the family albums than of any other member of staff. The artist responsible for this print credited him as the first person to teach her the words to and meaning behind African American folk songs and spirituals; and honored him in preparatory studies and written accounts: Clarence was very tall, and walked as if he were tied together with string. He had a most engaging wide, slow smile that went with his unfailing sense of amusement about the world in general. Back to East Wall https://www.watersedgemuseum.org/fanny-e-copper daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613410148491-68JSD55FY9371W838PX8/2_Fanny_Copper_litho.jpg Fanny E. Copper - Fanny E. Copper 1930 Black-and-white lithograph 14 3/4” x 10 1/2” plate Compare this print to the oil paintings on the wall behind you. The approach to representing a child in a lithograph marks a shift away from more expensive techniques (such as painting and frescoes) toward the print medium. Making prints was regarded as the most efficient way of sharing art to a large audience–it was akin to the internet of its day. In her notes, the artist explains her reasons for favoring lithography in a lecture memorialized in her notes: Instead of using oils, which make large pictures needing frames and costly to ship, I decided to become a printmaker, and to do my work in lithography. A lithograph seemed ideal. It was larger than etching and freer in execution. It was very dramatic, very black-and-white. It should be perfect for modern subject matter. Back to East Wall https://www.watersedgemuseum.org/hark-the-herald-angels-sing daily 0.75 2021-02-23 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614117314240-45A13WUR1FDK1KZR4BO6/Hark%2Bthe%2BHerald%2BAngels%2BSing%2Blitho.jpg Hark the Herald Angels Sing - Hark the Herald Angels Sing 1934 Black and white lithograph 7 1/4” x 6” plate This is another rare representation of a Maryland house belonging to African American people one hundred years ago. A man kneels in prayer and a woman stands with hands raised in thanks toward two black angels trumpeting from above a small wooden Eastern Shore house. Set in a mature woodlands, the cabin is neat, orderly, and there is light emerging from the open door and window. Back to East Wall https://www.watersedgemuseum.org/hells-crossing daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613410376358-PTRDSJ2NI0ETFLJGF8BB/HELL%27S_CROSSING_B_W_LITHO.jpg Hell's Crossing - Hell's Crossing 1933 Black-and-white lithograph 12” x 15 1/2” plate This is a snapshot from one hundred years ago of a black neighborhood in the historic town of St. Michaels, Maryland. Again, the sense of community is strong, and the viewer is anchored in a slightly elevated view, with a central dirt lane winding through the composition. Townspeople are shown in a variety of positions, alternately sitting on the front steps to their house, standing, carrying a bucket, or guiding a wheelbarrow. This print shows how economically disadvantaged people lived closely together and coped with everyday problems such as providing basic hygiene and food for their families. The print can also be noted for its theatrical quality, much like a stage set for Porgy and Bess. The fact that author DuBose Heyward spent Easter at the artist’s farm in 1935 adds to the sense that this lithograph sprang from admiration for other artists who were also compelled to describe a part of American society that was seldom addressed. The opera’s conductor, Alexander Smallens, visited the area twice in the early 1930s. These trips coincided with the period when he was directing the Philadelphia Orchestra and was also working with Baltimorean author Gertrude Stein on Four Saints in Three Acts, the avant-garde opera sung by an all-black cast. Back to East Wall https://www.watersedgemuseum.org/in-the-dark-othe-moon-p39 daily 0.75 2021-02-23 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614117429705-IU394LET0YJCKGD7F1XK/1+In+the+Dark+Of+the+Moon%2C+IMHS+p1.jpg “In the Dark O'The Moon” p39 - “In the Dark O'The Moon” By Ida M. H. Starr Garden magazine, March 1913 14 1/2” x 9 3/4” Maryland author, Ida Mae Hill Starr worked as a garden correspondent for elite publications including Country Life in America and Garden magazine. In her numerous publications, she shied away from portraying herself, which was the trend of the day. Instead of plastering fashionable photographs of herself in the articles, she repeatedly depicted her gardener, Isaac Copper, as he skillfully plied his trade and worked with agricultural equipment on her estate. She chronicled lessons taught by this wise man, known to locals as the “Royal Black” because he was reputed to be a direct descendant of an African chief. Again and again, Copper patiently guided her away from her mistaken attempts to impose European designs onto the challenging microclimate of Maryland’s Eastern Shore. Writing in deep appreciation and wonderment of Copper’s and others’ wisdom culled from generations of folklore she stated: “I was suddenly transplanted among a people who had faith in things they could not see, who sowed their seed in concord with the moon, who raised their crops by the measure of the stars.” Back to East Wall https://www.watersedgemuseum.org/maryland-crab-pickers daily 0.75 2021-02-23 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614116933941-4PLBXBACFEWJXRXKMKUH/Maryland+Crab+Pickers+litho.jpg Maryland Crab Pickers - Maryland Crab Pickers 1933 Black and White Lithograph 11” x 14” Plate The records describe the artist’s unexpected encounter with African American women working in the crab-picking houses. In the planning of her lithograph, she draws parallels to New York City friend and teacher Mabel Dwight: Today I went over to St. Michael’s to see our houseboat which was hauled out on the ways being copper painted. Right next was a crab house, just swarming and screeching with black life all sizes and shapes—Mabel Dwight would make a stunning lithograph of it. I am going back to make a drawing. Back to East Wall https://www.watersedgemuseum.org/oyster-shuckers-study-1 daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613411127791-B0YA0YFH495XPN5KOXQF/Oyster%2BShuckers%2B1.jpg Oyster Shuckers Study 1 - Oyster Shuckers Study 1 ca. 1930 Pencil and charcoal on yellow trace 13 1/2” x 16 1/4” Members of the African American community understood food security on land as well as on the water. They were able farmers, watermen, and also knew how to process food for their families and a larger commercial population. In this atmospheric study, one sees men and women working together in a well organized fashion. The study is meditative and the workers are professionally engaged, clean, and focused. Back to East Wall https://www.watersedgemuseum.org/oyster-shuckers-study-2 daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613437734517-92KCXTUDBWTCTPIKSTHC/6_OYSTER_SHUCKERS_B_W_DRWG.jpg Oyster Shuckers Study 2 - Oyster Shuckers Study 2 n.d. Pencil and Charcoal on yellow trace 13 1/2” x 15 7/8” Men and women work productively under the high wooden raftered ceiling in an open warehouse. The men are wearing jackets, ties, and hats, and the women are equally well dressed with hats and in skirts. Wire baskets of oysters and a wheelbarrow suggest the activity of the space. The wooden floor is clean, and everyone is focused on their specific task in preparing freshly caught oysters for market. Back to East Wall https://www.watersedgemuseum.org/the-flood-studies daily 0.75 2021-02-23 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614115238644-VZRAYQCDCHH007MOPYFX/8_THE_FLOOD_DRWG.jpg The Flood - The Flood ca. 1930 Pencil and Charcoal on Yellow Trace Paper 23 1/4” x 18” Here are studies depicting how people on the Eastern Shore coped with flooding. A man holds the hand of his wife and children as they stand with their animals on a long boat in front of their home. A person is straddling the top of a floating house in the background. The other two studies are more geometric in nature as they work out the turbulence of water and destructive storms. Back to West Wall https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614118236614-I6OIATN40TKY8579OACV/IMG_7231.jpg The Flood https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614118257168-D5A44WZ4J491V372LOJG/IMG_7230.jpg The Flood https://www.watersedgemuseum.org/war-workers daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613437954154-GHNBOBL8EEAJD3VMXYOO/10_MARYLAND_WAR_WORKERS_SERIGRAPH.jpg War Workers - War Workers 1942 Serigraph 13” x 15 1/2” plate This colorful serigraph is a patriotic representation of the important role of children during World War II. Realized in bright, eye-catching tones, predominantly reds, yellows, and blues, the print reveals smiling, well-dressed children loading provisions onto a wheelbarrow in front of a clapboard building. The composition displays the reality that black families of all ages gladly contributed time and energy to the war effort–a fact that was often overlooked by the media in then segregated America. Back to East Wall https://www.watersedgemuseum.org/washing-hands-on-the-back-porch daily 0.75 2021-03-21 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614118875433-Q73RJMP20BLGDIHS8DH1/2_Washing_On_The_Back_Porch_litho.jpg Washing on the Back Porch - Washing on the Back Porch 1933 Black and White Lithograph 15 3/4” x 12 3/4” Plate As with the iconic print, Hell’s Crossing, this print deals directly with rural hardship without being too severe in its depiction. While the mother and child are clearly impoverished, it is a pleasant domestic scene. The mother engages in productive work, and the child sits on the front porch in the company of her toy animal. The clapboard house and porch are bare, yet homey. The front door stands partly open and welcoming. Back to East Wall https://www.watersedgemuseum.org/working-hats daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613438194591-NRBXYSVKR7J7BD2Z700X/Serigraph.jpg Working Hats - Working Hats 1945 Serigraph 12” x 16” plate Two boys wearing tall cowboy hats stand closely together in the interior of a spacious barn. They wear clean shirts with collars and vests. Their disposition and facial expressions suggest happy, well fed rural children who possess a solid sense of self worth. Back to East Wall https://www.watersedgemuseum.org/christian-science-monitor-article daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614279387419-Y4M96MWWAMVXFYY0H6TA/j.jpg Christian Science Monitor Article "Artist Dramatizes Negro Spirituals" - Christian Science Monitor Article “Artist Dramatizes Negro Spirituals” January 24, 1955 Magazine Paper Ruth Starr Rose was the artist responsible for most of the images in this gallery. She was interviewed by the Christian Science Monitor in 1955. The writer, Harriet B. Blackburn, quoted the artist, “How many artists can say: “I get great, great happiness from my work?” as well as her words expressing the philosophy behind her pursuit: “You cannot dramatize the feelings of a people that have come out of great suffering, unless you share their ideals.” In the piece, she describes her work on the massive fresco, Pharaoh’s Army Got Drownded, which was noted as the first work of art made by a white artist for a church whose congregation was of African descent. Made to honor the courageous son of the minister of the Copperville Church, the fresco depicts the pastor and church members approaching the Red Sea. His son is shown as an angel; although the studies reveal that he was a diver, which was not surprising for a person who grew up at the water’s edge. Back to East Wall https://www.watersedgemuseum.org/daniel-in-the-lions-den daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613438695987-IRJCCWIOOHG6G91O7PJH/a%2Bfor%2Bthe%2Bbook%2BDidn%2527t%2BMy%2BLord%2BDeliver%2BDaniel.jpg Daniel in the Lions Den - Daniel in the Lion’s Den 1942 Black-and-white lithograph 10” x 13” plate This lithograph is of the popular spiritual by the same name. The print is enriched by a sense of Hollywood fantasy and dramatic lighting. An angel shines a light down from above to illustrate the scene of a preacher being taunted by temptations of the flesh, symbolized by winged demons with lion heads, each offering a vice—gambling, loose women, and drink among them. On his knees, with his arms prostrate, Daniel, enveloped in the strength of the light, seems to resist the enticement of sin. The dramatic comedy inherent in this lithograph is a reflection of the artist’s experiences with and understanding of how religion translated into high standards among members of the Copperville community. In her notes, she describes humor and laughter as being like sunshine—free for everyone. She observed that this approach to life alleviated the burden of a people unfairly accustomed to tragedy. Her final line on this subject is made interesting by the phrase crossed out with a red pencil. The sentence begins, This power of unlimited faith …may be the magic that produces the quick negro gaiety.” She then edited out her final critical thought: “a heritage that all other races may well envy, and copy if they can. Back to East Wall https://www.watersedgemuseum.org/ezekiel-saw-the-wheel daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614279957798-1TO5F21GF5HI4E9BA5AZ/Ezekiel+saw+the+Wheel.jpg Ezekiel Saw the Wheel - Ezekiel Saw the Wheel 1941 Black-and-white lithograph 10” x 13 1/8” plate There are studies of Ezekiel which show a tall athletic man standing in a field with hands clasped in prayer as he looks up above his windmill toward the sky. In the three versions it becomes apparent that a team of angels, cars, mules, and chariots are as present in heaven as they are on earth. The Copperville community told the artist what they saw when they sang this spiritual, and the notes have miraculously survived: Ezekiel saw the wheel. Way in the middle of the air the little wheel turns by faith and the big wheel turns by the grace of God. Working in the fields, in close kinship with nature—the Negro relates all the wonders of the land and sky to the kingdom of God. What is more beautiful than this—He that hath eyes to see let him see—He can look over the harvest and the sowing and in it see miracles. The colored man—expert with his mules, skillful, patient—talks to them and sings as he works—looking in awe at the pageant of the sky and salutes his Creator in song. Using the simple symbols of his life—the plough and wheel—the storm—a modern Ezekiel still hears the voices of his God in the thunder. Back to East Wall https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614280049557-YGV7CYTF3NFK1CA0A1LJ/4+Ezekiel+Saw+De+Wheel%2C+Study+pencil+%2B+ink.jpg Ezekiel Saw the Wheel https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614280013542-M7TMQCPHKQKIMVA4ECXS/DSC_2069.jpg Ezekiel Saw the Wheel https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614280028403-SXVI48XLGC7NE1NNLWXL/DSC_2066.jpg Ezekiel Saw the Wheel https://www.watersedgemuseum.org/glory-train-color daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613439112489-YXNG0XDVXOODSHFJXISS/Glory%2BTrain%2Bcolor%2Btake.jpg Glory Train - Glory Train 1939 Color take 10” x 13” plate The Copperville Church is shown in its classic flat Eastern Shore landscape with the congregation approaching. A trumpeting angel leads a train that is flying up toward the sky. This is the first version of several attempts to portray the song, Glory Train (also known as This Train is Bound for Glory). The diagonal swirl suggests the influence of William Blake and is typical of spiritual work. This is one of five surviving color takes–the proof sheets to confirm color. This image was so popular that it was published the following year in Alain Locke’s seminal work, The Negro in Art. Back to East Wall https://www.watersedgemuseum.org/howard-university-brochure daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614279293913-21F0ZYO3SQYMTJQSH10C/AG_CH3.05+howard+university+exhibition%2C+1956.jpg Howard University Brochure - Howard University Brochure “A Retrospective Exhibition of Paintings and Prints by Ruth Starr Rose” April 4-May 4, 1956 9” x 12” In late spring of 1956, James Amos Porter, father of African American art history and professor at Howard University invited Rose to give a solo exhibition at Howard University, where he extolled her work on Negro spirituals. The show proved so popular that the dates were extended. Prior to the opening, there was a dedication ceremony held on April 4, 1956, in which Rose presented a gift of her prints to the university. Miraculously, the notes for her speech have survived. Her brief dedication addressed equal rights as a part of religious freedom. Rose’s closing words reveal her philosophical approach to the spirituals: These spirituals I have given to the students of Howard and to the faculty, with the knowledge that these great uplifting truths, which guide us—will be a light and inspiration to you all, always to me and to you, together. Porter’s words of praise were printed on the brochure. He judged Rose’s work on the theme of Negro spirituals to be unrivaled: Ruth Starr Rose’s visual interpretation of Negro Spirituals is the most comprehensive, and probably the most sympathetic work yet to appear in the United States. Although Negro Spirituals have been interpreted by numerous artists in many different media of the visual arts, no single artist has approached the extensive treatment accorded by this artist to this theme. Rose’s dedication to this subject was an unlikely creative choice for an early 20th-c. female artist. In practice, however, her exceptional life experiences, artistic training, and close relationship with African American people in her local community made her uniquely suited to the task of depicting this distinctively American art form. Back to East Wall https://www.watersedgemuseum.org/little-david-play-upon-your-harp-and-the-flood-studies daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613439554078-UXXFB1BUEVQHWMV6XCLU/4+Little+David+Play+Upon+Your+Harp%2C+Study+6.jpg Little David Play Upon Your Harp and The Flood Studies - Little David Play Upon Your Harp and The Flood Studies ca. 1930 Charcoal on artist’s paper 13 3/4” x 9 3/4” These two studies illustrate the composition behind the final black-and-white lithographs for each spiritual. The upper study (Little David) shows the basic elements, and the lower study (The Flood) is a simplified version of the larger more elaborate studies in pen and ink. Back to East Wall https://www.watersedgemuseum.org/little-david-play-upon-your-harp-study-2 daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613439821274-5346PFJCNXAAUUMCTFUT/IMG_7324.jpg Little David Play Upon Your Harp Study 2 - Little David Play Upon Your Harp Study 2 ca. 1932 Charcoal on artist’s paper 16” x 13 1/4” The quick confident lines of this sketch show the power of David as he strums on his guitar, looking upwards to angels that only he can see. His connection to the heavens above elevates him above his physically powerful foe, who collapses under David, who is fortified with the strength of moral conviction. Back to East Wall https://www.watersedgemuseum.org/little-david-play-upon-your-harp-study-1 daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613440003682-XZPDHSOVJ7OBH2Y9II3V/IMG_7323.jpg Little David Play Upon Your Harp Study 1 - Little David Play Upon Your Harp Study 1 1932 Charcoal and ink on yellow trace 19” x 22 3/4” An adept hand made this study, which again reveals the meaning behind the art. David stands on the chest of Goliath (the model for Goliath) was ironically the husband of the artist). David is the artist’s hero, Samuel Julius Johnson, a man known for his singing, ventriloquism, and powers as a hoodoo. The landscape and cabin well represent the Eastern Shore, and the three police lurking in the background symbolize how fragile equality was one hundred years ago. Back to East Wall https://www.watersedgemuseum.org/little-david-play-upon-your-harp daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613440309310-1Y4AK7HPYIXO5TZMA5PT/246%2Blittle%2Bdavid%2Bplay%2Bupon%2Byour%2Bharp%2Blithograph.jpg Little David Play Upon Your Harp - Little David Play Upon Your Harp 1933 Black-and-white lithograph 10” x 13” plate One of the more striking men from the Eastern Shore is honored in this lithograph. Samuel Julius Johnson was a celebrated hoodoo, human pump, and singer. His place within the black community was sacred to the memory of many, a glass eater, metal bender, mind reader, and hoodoo. Johnson’s family had been on the Eastern Shore for centuries, and his manner spoke of a person who knew his origins and inherent strength. Johnson traveled to China, Scandinavia, and South America as a kind of human marvel working in the circus. To the oppressed colored people, Goliath was the symbol of ruthless power. David, the shepherd boy, strolling through the fields making music, lives today in the countless musical marvels of the Negroes. On the Eastern Shore was Samuel Julius Johnson. He roamed the deep-ditched roads of Talbot County, dug deep by slave labor years ago to drain the flat land. Samuel Julius Johnson was a genius of his kind. With a battered top hat and a banjo and his gift of ventriloquism he was received with mingled fear and joy into the kitchens of the manor houses. He sang and danced and made everyone laugh and frightened the Negro maids with his sudden animal noises coming out of dark corners, pantries or pies talking from inside the oven. No one knows if he is living or not—people still claim to have seen him on some sunny road. But in his songs, Samuel Julius Johnson the wandering minstrel lives forever. Back to East Wall https://www.watersedgemuseum.org/old-arks-a-moverin-and-im-goin-home daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613440662226-K5HYUX3I0L943KLD6N02/DSC_2333.jpg Old Ark's A Moverin' and I'm Goin' Home - Old Ark's A Moverin' and I'm Goin' Home ca. 1939 Color lithograph 8 3/4” x 11” plate The Copperville church community described their interpretation of a given spiritual in words, which the artist then illustrated. “Noah’s Ark,” a song referred to by the congregation as “The Old Ark’s A’Moverin’.” This is a clear example of translating a vernacular oral history of Maryland’s African American culture into a visual image evoking their deepest religious beliefs. Descended from enslaved people, the black population knew poverty and pain for centuries, and those of faith believed in the notion of an ark that would ferry them to safety in the afterlife. They trusted that their endless struggles in an otherwise unjust world would be compensated by final rewards in Heaven. Both black-and-white and color versions of this lithograph were created around the same time. The color lithograph forms a part of the collection at the Metropolitan Museum of Art. Amazingly, many studies survive, in addition to color takes for the print. A large fresco was also made on this topic, in which the characters on the ark are portraits of Copperville residents. This piece was important to the community, and it was planned to feature it in a comprehensive illustrated book on Negro spirituals. The artist left notes about the piece which contemplated what she had learned about the very real relationship of this spiritual’s imagery to overcoming the systemic racism that plagued the Eastern Shore: To the colored people on the tidewater Noah’s Ark is not surprising or fantastic. Singing about the Ark, the Negroes are thinking of their church that provides them with a refuge for sailing steadily through life. They feel that the inevitable progress of the Ark toward the rainbow’s end typifies the long and dangerous voyage of the colored race toward freedom and good will. Instead of home being on this earth, home is that blessed Realm of Heaven—thwarted and scorned here—in Heaven all will be equal in the sight of God. Back to East Wall https://www.watersedgemuseum.org/paul-robeson-singing-in-concert daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613440798674-T1RT3PKHIW3IMKIKDKAV/DSC_2162.jpg Paul Robeson Singing in Concert - Paul Robeson Singing in Concert June 2, 1941 Charcoal on artist’s paper 14” x 11” Paul Robeson, who was then being monitored by the Federal Bureau of Investigation as a suspected Communist, was one of the artist Ruth Starr Rose’s personal heroes. From her front-row seat at his Newark concert on June 2, 1941, she sketched him in profile as he sang in front of the conductor, with a large American flag proudly displayed as a backdrop. Back to East Wall https://www.watersedgemuseum.org/sometimes-i-feel-like-a-motherless-child-study daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614278137270-3E1SHFXI2RSW60C5HJZW/3+Sometimes+I+Feel+Like+a+Motherless+Child%2C+Study+1.jpg Sometimes I Feel Like a Motherless Child Study - Sometimes I Feel Like a Motherless Child Study 1942/1943 Charcoal on Yellow Trace Paper 18 3/5” x 22 7/8” Oftentimes the study for a work of art reveals more of the feeling and artist’s intention than the final product. That is because this is where ideas are worked out–and transformed into forms and figures. Although he is only trying to reach his home, the kneeling man is faced with many obstacles. Along the right-hand margin of the study are sketches of the scales of justice. And they are tipped in a manner suggesting that equality is subjective. Back to East Wall https://www.watersedgemuseum.org/sometimes-i-feel-like-a-motherless-child daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614278422411-25KFFJKHOI3EVMAOW0XB/3+Sometimes+I+Feel+Like+a+Motherless+Child%2C+b%2Bw+litho.jpg Sometimes I Feel Like a Motherless Child - Sometimes I Feel Like a Motherless Child 1943 Black-and-white lithograph 10” x 13” Plate As with others, this print reads as a sort of cautionary tale, exploring the story of how African American men struggle to maintain a righteous path in a world full of pitfalls and obstacles set against them. The central character in the composition is shown on the road to his modest rural home. Five menacing demons have blocked his path and violently gesture toward him. One of the devils taunts him with the scales of justice, which are tipped. Another points to him, jabbing a finger in a threatening manner as he jangles chains in the other hand. The protagonist struggles on his knees to pray to God and maintain his contact with the light showering down upon him from the heavens. Back to East Wall https://www.watersedgemuseum.org/swing-low-sweet-chariot-study-1 daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613834087667-J6MXT6YP4KPZ4QPH2WJB/Study%2B1.jpg Swing Low, Sweet Chariot Study 1 - Swing Low, Sweet Chariot Study 1 1939 Pencil and charcoal on artist’s paper 21 1/8” x 17” This muscular study reveals the most important components of the spiritual. A chariot driven by a black angel is accompanied by two angels swooping down along the wheels. They are flying down to comfort a group of people situated in a circle on the low flat ground of the Eastern Shore. Beyond is the Copperville Church and its small settlement. Back to East Wall https://www.watersedgemuseum.org/swing-low-sweet-chariot-study-2 daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614278799144-CB2V6M8XCJVE0X1H5UYO/Study+2.JPG Swing Low, Sweet Chariot Study 2 - Swing Low, Sweet Chariot Study 2 1939 Pencil and charcoal on artist’s paper 20” x 18 1/4” Geometric forms establish the spiritual, with blocks to indicate the chariot and its angels as well as the praying congregation on the ground below. The swirling motion inherent to the piece is being worked out with great skill as shapes are studied as geometric abstraction. Back to East Wall https://www.watersedgemuseum.org/swing-low-sweet-chariot-oil-painting daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614279761755-BF7UOAFSS02UCGH0U4GI/3+Swing+Low+Sweet+Chariot.jpg Swing Low, Sweet Chariot Oil Painting - Swing Low, Sweet Chariot Oil Painting 1951 Oil on Masonite 15 1/2” x 20” Always struggling to make her message more consistent with the vision of the Copperville community, the artist reworked her color lithograph in the form of a black-and-white lithograph and eventually an oil painting. This constant editing of work was not unusual as it was important to the community that their views be expressed in accordance with their unique place in history and spiritual beliefs that endowed them with the power to rise. Back to East Wall https://www.watersedgemuseum.org/swing-low-sweet-chariot-lithograph daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614279532817-GO9LVWHE3Z0I66559HHD/Swing+Low+lithos.jpg Swing Low, Sweet Chariot Lithograph - Swing Low, Sweet Chariot 1939 Black-and-white lithograph 7 ½” x 10” plate Color lithograph 10 1/16” x 12 7/8” plate Made around 1940, Swing Low, Sweet Chariot appeared in Alain Locke’s ground breaking treatise, The Negro in Art, and again as an illustration in a New York Times Book Review from 1952. As with other spirituals that represented the Copperville congregation, the interpretations of Swing Low, Sweet Chariot involved an ongoing creative process among members of the community and artist. The artist reworked her color lithograph in the form of a black-and-white lithograph and eventually an oil painting. This piece was also listed to be included in her unpublished manuscript on Negro spirituals. Back to East Wall https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614279546602-Z9BAVCXKGTT2YYVN03VG/black+and+white+litho.JPG Swing Low, Sweet Chariot Lithograph https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614279609661-JJ01TGEIF3FQUVRZX6TN/a%2Bfor%2Bthe%2Bbook%2BSwing%2BLow%252C%2BSweet%2BChariot.jpg Swing Low, Sweet Chariot Lithograph https://www.watersedgemuseum.org/american-cradle daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613497636735-2KHVZJFY8DC7FQYQ6HXX/18th+c+Cradle.jpg American Cradle - American Cradle 18th-c. wooden cradle 18” H x 28 1/2” L x 14 1/4” W This is the very cradle featured in the black-and-white lithograph, Madonna. Amazing to be able to view the finished art along with pencil sketches and the actual cradle that was home to the baby depicted in the art! Back to West Wall https://www.watersedgemuseum.org/celebrated-american-negro-spirituals daily 0.75 2021-02-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613497799262-H4IAFA53SYK7DZGSMYED/081+Celebrated+American+Negro+Spirituals.jpg Celebrated American Negro Spirituals - Celebrated American Negro Spirituals n.d. Soft cover music book 12” x 9 1/4” “One night at the Copperville Church the handsome brown leader of a visiting quartet made a plea to the congregation not to be ashamed to return to their old songs. He himself had just come within an hour from the threshing field, he was one of them, one of the workers, and he spoke with power and authority.” These words were recorded by the artist who received the spirituals book as a gift from an art critic from New York City. Back to West Wall https://www.watersedgemuseum.org/eastern-shore-desk daily 0.75 2021-02-21 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613524730332-YX0J0AHTXRZAOGDGER2T/IMG-4237.jpg Eastern Shore Desk - Eastern Shore Desk Early 19th c. Pine 34” H x 35” W x 28 1/4” D This is the kind of desk used by children in rural school houses on Maryland’s Eastern Shore. From the markings on the front and inside, it is plain to see that many a young person etched into the wooden frame of this school desk whilst passing the time in class. Back to West Wall https://www.watersedgemuseum.org/george-moaney-with-a-horse-and-a-puppy daily 0.75 2021-02-23 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614105495439-NOQF78FCAEE6ZUSQ7BVN/George%2BMoaney%2BMule%2BDog%2BPastel.jpg George Moaney with a Horse and a Puppy - George Moaney with a Horse and a Puppy 1930 Pastel 33 3/4” x 39 1/2” Framed This tender, innocent image shows George Moaney happily lost in a silent interchange with his animals, which were a ubiquitous part of rural Eastern Shore life. Another member of the Copperville Moaney family, George is featured in an intimate study in pastel, an atypical medium for the artist. This creative choice of pastels lends the portrait an immediacy not found in more expensively made oil paintings. Moaney is wearing a large straw hat with a decorative red band and matching red jacket. He looks contentedly at his pony while clutching his puppy in his right arm. Back to West Wall https://www.watersedgemuseum.org/girl-with-a-gumdrop-tree daily 0.75 2021-02-21 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613525091863-MT2QQDDOZELCDDXBH4ZO/IMG-4232.JPG Girl with a Gumdrop Tree - Girl with a Gumdrop Tree ca. 1930 Pastel on pastel paper and board 25” x 20” The young girl is savoring a gum drop from the small gum drop tree to her right. Wearing a powder blue blouse and striped pinafore, she is seated in ¾ view with her left hand resting on her knee. She is neat, clean, happy, and clearly well fed. Again, the use of pastel allows for a quicker, freer representation of the child, and one can sense her contended state as she imagines which gumdrop she will devour next. Back to West Wall https://www.watersedgemuseum.org/jonah-and-the-whale-study daily 0.75 2021-02-21 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613525399693-CYYCKMN5QW0HKK7ZMJL5/Study.jpg Jonah and the Whale Study - Jonah and the Whale Study 1936 Pencil and charcoal on yellow trace 18” x 24” Well drafted pencil sketches show groupings of people from Copperville organized around the figure of a plump whale with an open mouth. In its jaws is a member of the congregation, kneeling comfortably, smiling with hands clasped in prayer. The study is playful, and at the same time skilled in its use of perspective and geometric ordering. Back to West Wall https://www.watersedgemuseum.org/jonah-and-the-whale daily 0.75 2021-02-23 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614107286428-9P3TP4QWQVLBIZUZ8O3B/IMG_7833.jpg Jonah and the Whale - Jonah and the Whale 1936 2 Color Serigraphs and 1 Black and White Lithograph Serigraphs: 6” x 8 1/2” Card, 12” x 18” Plate Lithograph: 6” x 8 1/2” Card Long ago the slaves sang, “If the Lord delivered Jonah from the belly of the whale, He will deliver me.” And these words came true. The Negro race has been delivered from dangers and torments worse than Jonah knew. They have been given a vision of freedom that can finally be complete. Since a troubled soul can be delivered from bondage at any time, Jonah could be cast up from the belly of the whale at Christmas time—symbolic of a new birth. As the artist explains in her surviving written notes, the story of Jonah is one of the most powerful biblical parables on deliverance from suffering. The artist made three separate printed editions on this theme, and her studies reveal her powerful imagination as she looked at a range of iconic examples, including illuminated manuscripts and a modern-day whale that disgorges not only Jonah but a helicopter too. The final compositions prove the effectiveness of simplicity. A serene young black man kneels within the mouth of the whale as he looks out to his audience on the shore. Jonah and the Whale was a popular print, enjoying immediate success when the larger serigraph was exhibited in the 1937 Paris International Exposition before traveling to Sweden. Back to West Wall https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614107425789-SBRQQ4PMF80I46SQ87Z2/Jonah%2BLarge%2BSerigraph.jpg Jonah and the Whale https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614107577180-13BWGB9XER23REZFJ0Z7/Jonah%2Bbw%2Blitho.jpg Jonah and the Whale https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614107538389-KR7DRT47RG08QFXXM927/Jonah%2BSmall%2BSerigraph.jpg Jonah and the Whale https://www.watersedgemuseum.org/the-flood daily 0.75 2021-02-21 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613525794419-3H0H4OU90EE05Y8HO981/8_THE_FLOOD_DRWG.jpg The Flood - The Flood ca. 1930 Pan and ink on yellow trace 18” x 24” This series of studies are artistically arranged on a sheet of yellow tracing paper, and tell the darker side of life at the water’s edge. In the vignettes, families are huddled together, gathering their animals and other belongings to head for higher ground. A person sits astride the roof of an Eastern Shore house that is floating in water. There is a group of three incarcerated persons in the background to indicate the malignant injustice of impoverished lives in low-lying areas, which on the Chesapeake Bay tended to be relegated to persons of color. It is interesting to note that nearly the entire Underground Railroad is in peril, particularly with the event of sea-level rise and the increasing incidents of severe weather events. Back to West Wall https://www.watersedgemuseum.org/the-rootless daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614896480924-5L8E2NU9ITTCUVX4V030/IMG-4233.JPG The Rootless - The Rootless 1957 Dustjacket 8” x 19” Vantage Press, First Edition. Written by Oxford-born author Waters Edward Turpin, The Rootless opens with the haunting scene of a slave ship arriving on a chilly night. Oxford remains the only documented Middle Passage stop on the Eastern Shore of Delaware, Maryland, and Virginia, and the gruesome detailed scene of the dead and dying offloaded is reminiscent of the kind of oral history that Turpin may have likely heard as a child. The book tells the story of the kind of psychological trauma inherent to so-called slave society from the perspective of both the enslaved and slave holders. The mental and spiritual damage to both sides is expressed in a compelling manner. Back to West Wall https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614896552865-MC31SK3QOB80X48G25RF/IMG-4234.JPG The Rootless https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614896612123-19UQ1XTNWL585Q6Q3BJM/IMG-4235.JPG The Rootless https://www.watersedgemuseum.org/watermelon-by-clark-summers-marshall daily 0.75 2021-02-21 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613526163635-0DN9FLPSZBNK3QKFSMCS/IMG-4228.jpg Watermelon by Clark Summers Marshall - Watermelon by Clark Summers Marshall 1896 Oil on canvas 15” x 21” This mouth-watering painting of a watermelon was made by Eastern Shore artist Clark Summers Marshall for a “Mr. Roberts of Easton.” There was far greater diversity in crop variation in the region one hundred years ago; particularly in fruit production. By contrast, today’s large crops of soybeans, wheat, and corn threaten the biodiversity of farming on the Chesapeake. Wouldn’t it be a good thing to get back to some of the earlier practices? Back to West Wall https://www.watersedgemuseum.org/east-wall-manuscripts-and-literature daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1610476346664-8MU880QKVWGMB016ICQV/Dust+Jacket_8.12.Rev1.jpg East Wall Manuscripts and Literature https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613834729917-77TT2HNWR7L18U3CBW77/1+The+Negro+in+Art+1.jpg East Wall Manuscripts and Literature https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/2dc95af4-a649-4516-9fd4-ec31960a9b13/9+Negro+Spirituals+JWJ+1.jpg East Wall Manuscripts and Literature https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/46d746f5-ef81-4604-988d-029e6f6fb91a/10+Negro+Spirituals+JWJ+Second+Vol+1.jpg East Wall Manuscripts and Literature https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/60344708-1866-4d31-a26b-435dcd6398b9/11+Gods+Trombones+1.jpg East Wall Manuscripts and Literature https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/b79e3a78-a7b2-49ed-a351-df3ce18b157d/12+Negro+Americans+p.1.jpg East Wall Manuscripts and Literature https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/31c1e404-0275-4733-90bf-65c402edbbca/13+Roll+Jordan+Roll+1.jpg East Wall Manuscripts and Literature https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/237481b3-f953-4c13-a09c-a4d80aa96cba/Frederick+Douglass+Writings+2.jpg East Wall Manuscripts and Literature https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/ff8405c9-f789-45a7-b7d7-5719f445e0b5/Frederick+Douglass+Writings+3.jpg East Wall Manuscripts and Literature https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/cc5e3827-62ec-45ae-b4ee-3df7e7ad857d/Frederick+Douglass+Writings+4.jpg East Wall Manuscripts and Literature https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/2261041a-5a5b-47a5-94d8-18713b220357/Frederick+Douglass+Writings+5.jpg East Wall Manuscripts and Literature https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/0c7b5885-d6f1-4755-8e73-b11fca042258/14+Negro+Folks+Songs+by+Leadbelly+1.jpg East Wall Manuscripts and Literature https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/b10e921c-9ce6-4634-b46e-078d996a1e02/7+Nature+Knows+no+Color+Line+1.jpg East Wall Manuscripts and Literature https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/19abe030-1c20-4b90-baa8-f74d23bead61/2+A+Spirituals+Mock+Up.JPG East Wall Manuscripts and Literature https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/a636a477-06fb-4bda-885b-79a9d2b0219c/8+Negro+Poets+1.jpg East Wall Manuscripts and Literature https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/7cf99f19-74cb-49cd-a040-5a3467688fd5/3+These+Low+Grounds+Cover.jpg East Wall Manuscripts and Literature https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/04fdccba-6423-44ad-b508-7d9de077bb85/4+O+Canaan+2.jpg East Wall Manuscripts and Literature https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/ce43bbb4-12e0-45b8-8c0a-2f5623bd892e/5+The+Rootless+1.jpg East Wall Manuscripts and Literature https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/b9529035-38c7-4830-b6db-d4b5cc566d26/6+Porgy+1.jpg East Wall Manuscripts and Literature https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614715002920-MYAT3RMA6LFJPL2S7AL9/0V5A1184.jpg East Wall Manuscripts and Literature https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614714045883-3482HGHZS4OFLWFA011A/0V5A1181.jpg East Wall Manuscripts and Literature Photography © Cecile Storm https://www.watersedgemuseum.org/alain-locke-the-negro-in-art daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613834729917-77TT2HNWR7L18U3CBW77/1+The+Negro+in+Art+1.jpg Alain Locke, The Negro in Art - Alain Locke, The Negro in Art Alain Locke The Negro in Art, A Pictorial Record of the Negro Artist and of the Negro Theme in Art 1940 9 ¾” x 7 ¾” Locke includes two Eastern Shore lithographs which are featured on the walls at the Water’s Edge: Swing Low, Sweet Chariot and De Gospel Train in this seminal treatise on African American artists and people of African descent depicted in art. Back to East Wall Manuscripts and Literature https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614286329476-2XQCBQ81BIIGXKS50GXZ/1+The+Negro+in+Art+2.jpg Alain Locke, The Negro in Art https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614286370049-XWNZ8KYCX555V13467LR/1+The+Negro+in+Art+3.jpg Alain Locke, The Negro in Art https://www.watersedgemuseum.org/aunt-sallys-house daily 0.75 2021-02-23 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613868974600-1KIVBK7C0YS22XE1YREG/2+Aunt+Sally%27s+House%2C+b%2Bw+litho.jpg Aunt Sally's House - Aunt Sally's House 1932 black-and-white lithograph 11 ⅜" x 15 ½” plate This print shows an African American Eastern Shore vernacular house and farmyard set against a wooded backdrop. Mrs. Sally DeShields stands in the front doorway, caring for a child Along the front path, a small boy approaches carrying a bucket. The rural setting is punctuated by a roaming chicken and a dog sleeping in the yard. The house depicts rural poverty with honesty. At the same time, the home warmly reflects its caring inhabitants, as smoke gently billows from one of the chimneys. Encompassed by a wooden fence and secured by a gate, the house feels safe. And even though the road leading to the property is rutted, the landscape remains well ordered. The artist left notes about her first interaction with Mrs. DeShields, and her struggle with finding equity one hundred years ago: One day, after we had been living in Maryland for a few months my mother sent me to hire a colored woman. She came out of her cabin barefooted, and I right away fell in love with her fine, handsome face. When someone later asked old Aunt Sally whom she worked for, she said, “For Miss Ruth.” They said, “Who is Miss Ruth?” Aunt Sally answered, “Why she is a stranger from off. But she quality just the same.” I tell you this to show what I had to live down. Back to East Wall https://www.watersedgemuseum.org/a-spirituals-mock-up daily 0.75 2021-02-21 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613949813425-MUHNRAS5IQYTBO9ZCZB7/2%252BA%252BSpirituals%252BMock%252BUp.jpg A Spirituals Mock Up - Ruth Starr Rose, Mock-up for a Book on African American Spirituals Ruth Starr Rose Mock-up for a Book on African American Spirituals, second version, ca. 1951 14 1/2" x 17” Artist Ruth Starr Rose firmly believed that her best work was done on the Eastern Shore and recognized that her studies of Negro spirituals served as valuable cultural documentation of an underrepresented American art form. She envisioned a hybrid book featuring her lithographs inspired by African American spirituals with a design of the words and musical notes arranged on each page. She entered into a long negotiation with the Viking Press to realize this vision, even writing to an art critic friend in New York that the publisher intended to engage Paul Robeson to write the introduction to her book. Unfortunately, the book was never produced. Exorbitant printing costs led to the rejection of the publication. Unfazed, she worked with an art book publisher in New York from 1951 to 1959 in another attempt to publish the book on spirituals. However, the expense of printing the artwork continued to be a stumbling block, and the project was reluctantly abandoned. Miraculously, the mock-up of her book was discovered. The layout for All God’s Chilluns Got Shoes displays her unique way of telling the story. A collage: The congregation’s vision through a two-dimensional print, lyrics (exactly as the church sang them), and musical notes with a brief history of each spiritual artistically arranged on the page. Back to East Wall Manuscripts and Literature https://www.watersedgemuseum.org/these-low-grounds daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613950076362-EAT3BQ2XWJA7KCM4NNZD/3+These+Low+Grounds+Cover.jpg These Low Grounds - Waters Edward Turpin, These Low Grounds Waters Edward Turpin These Low Grounds 1937 “Are we not all sisters and brothers down here in these low grounds of sorrow?” returned the pastor, evenly. “Won’t you sit down?” Waters Edward Turpin (1910-1968) was born and raised in Oxford. His grandfather, Captain Jack Waters was reputed to have the first black-owned waterman’s business in Oxford, and raised his grandson on the water with the earliest oral histories dating back to slave ships. Oxford is unique as the only documented Middle Passage stop on the Eastern Shore of Delaware, Maryland, and Virginia. (Curiously there is no sign commemorating this fact.) https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614287197201-ARI0353FBSKK7ZHCB3GJ/3+These+Low+Grounds+1.jpg These Low Grounds https://www.watersedgemuseum.org/o-canaan daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614287282074-C60PAL8IBMGXOB20MC2R/4+O+Canaan+1.jpg O Canaan - Waters Turpin, O’Canaan! Waters Edward Turpin O’Canaan First edition, 1939 Turpin’s second novel is one of the earlier books about the great migration, and discusses the inner conflicts and social challenges of persons of African descent dislocated from the natural world in a search for a better life. Back to East Wall Manuscripts and Literature https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614287265752-FWSDDKHVKB284PD9G7TJ/4+O+Canaan+2.jpg O Canaan https://www.watersedgemuseum.org/the-rootless-1 daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613951288839-U6TFRWY2BWN3Q4K52M7E/5+The+Rootless+1.jpg The Rootless - Waters Edward Turpin, The Rootless Waters Edward Turpin The Rootless 1957 This book represents Turpin’s ability to absorb the oral histories from his grandfather and other elders who knew about the slave ships. He was able to merge that knowledge with Eurocentric histories in Ferber’s library to write this masterpiece which in many ways is a study of the psychological trauma of slavery for the enslaved as well as slave owners. https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614896092714-N27MPEI67YQTW4LT17LN/The+Rootless+2.jpg The Rootless https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614896115340-FT6FBL44D01X92RPFV9T/The+Rootless+3.jpg The Rootless https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614896138957-TYRD6G4S4IAOG8ZOKOLS/The+Rootless+4.jpg The Rootless https://www.watersedgemuseum.org/porgy daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613956226957-LW7ZZ6O13Z13WL8D39L8/6+Porgy+1.jpg Porgy - Dubose Heyward, Porgy Dubose Heyward Porgy 1925 When Dubose Heyward learned that his book, Porgy, was going to be transformed into the opera, Porgy and Bess he made a special trip to Oxford, Maryland to meet with his old friend Hervey Allen. As the former founder of the Charleston Poetry Society, Allen lived in South Carolina, and studied the music of the black church. Less familiar with African American spirituals, Dubose Heyward wrote to Allen requesting that they meet in Maryland to discuss spirituals. In 1934 they went to Copperville to learn about spirituals, and it was at this time that he collaborated with Gershwin on Summertime. The opera’s conductor, Alexander Smallens, visited the area twice in the early 1930s. These trips coincided with the period when he was directing the Philadelphia Orchestra and working with Baltimorean author Gertrude Stein on Four Saints in Three Acts, the avant-garde opera sung by an all-black cast. Back to East Wall Manuscripts and Literature https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614287411657-JOBCY0M0JGWTKZZX51B2/6+Porgy+2.jpg Porgy https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614896418239-EW702ZAMQSG91299GA95/Porgy+3.jpg Porgy https://www.watersedgemuseum.org/nature-knows-no-color-line daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613956803044-0EKYDLTXBBELMFH9414T/7+Nature+Knows+no+Color+Line+1.jpg Nature Knows no Color Line - Joel Augustus Rogers, Nature knows no Color Line Joel Augustus Rogers Nature knows no Color Line 1952 This fascinating historical account gets at the roots of systemic racism through a chronicle of influential black people under the domination of others. Acknowledging that their achievements are intentionally deleted from history to maintain control, the author presents a global history of people of color. Back to East Wall Manuscripts and Literature https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614287050282-75FCWWZEPALPSVUQRADG/7+Nature+Knows+no+Color+Line+2.jpg Nature Knows no Color Line https://www.watersedgemuseum.org/negro-poets daily 0.75 2021-02-22 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613957002437-SEKLB35OBAACXVWECCDZ/8+Negro+Poets+1.jpg Negro Poets - Robert Thomas Kerlin, Negro Poets and Their Poems Robert Thomas Kerlin Negro Poets and Their Poems 1935 edition Published in Washington, D.C. by a white nascent civil rights activist and Quaker Robert Thomas Kerlin (1866-1950). Ironically he grew up in Kentucky, where his parents were slaveholders. He wrote several publications honoring black poets, writers, and thinkers in several books including this beautifully made book. Back to East Wall Manuscripts and Literature https://www.watersedgemuseum.org/the-book-of-american-negro-spirituals daily 0.75 2021-02-21 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613924148892-U21XI8CT04FC0P5ZRRBB/9+Negro+Spirituals+JWJ+1.jpg The Book of American Negro Spirituals - James Weldon Johnson, The Book of American Negro Spirituals James Weldon Johnson The Book of American Negro Spirituals 1925 With Musical arrangements by J. Rosamond Johnson. This is the first book in what was regarded at the time as the most comprehensive popular book on African American spirituals. Back to East Wall Manuscripts and Literature https://www.watersedgemuseum.org/the-second-book-of-american-negro-spirituals daily 0.75 2021-02-21 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613924362496-0A0Z4DX6LCOBU7B7WLKQ/10+Negro+Spirituals+JWJ+Second+Vol+1.jpg The Second Book of American Negro Spirituals - James Weldon Johnson, The Second Book of American Negro Spirituals James Weldon Johnson The Second Book of American Negro Spirituals 1926 With Musical arrangements by J. Rosamond Johnson. The first part of this series was so popular that the second companion book was printed within a year. Back to East Wall Manuscripts and Literature https://www.watersedgemuseum.org/gods-trombones daily 0.75 2021-02-21 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613924560726-1N800IUK5XA6E0EMBXAX/11%2BGods%2BTrombones%2B1.jpg Gods Trombones - James Weldon Johnson, God’s Trombones, Seven Negro Sermons in Verse James Weldon Johnson God’s Trombones, Seven Negro Sermons in Verse 1927 (1963 ed.) James Weldon Johnson describes the unsung role of American preachers of African descent, and presents seven types of sermons that were fundamental to the beliefs of the black church in the early 20th century through poetry. This is one of the most important books ever written by James Weldon Johnson. Here is a fascinating excerpt from his introduction: The old-time Negro preacher has not yet been given the niche in which he properly belongs. He has been portrayed only as a semi-comic figure. He had, it is true, his comic aspects, but on the whole he was an important figure, and at bottom a vital factor. It was through him that the people of diverse languages and customs who were brought here from diverse parts of Africa and thrown into slavery were given their first sense of unity and solidarity. He was the first shepherd of this bewildered flock. Back to East Wall Manuscripts and Literature https://www.watersedgemuseum.org/negro-americans-what-now daily 0.75 2021-02-21 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613924880891-LO990AYD54V0KKZF1U3O/Negro+Americans+p.1+2.jpg Negro Americans, What Now? - James Weldon Johnson, Negro Americans, What Now? James Weldon Johnson Negro Americans, What Now? 1934 “A Great Negro Leader speaks direct from the shoulder on the choices which lie before his fellow Americans in the crisis confronting them today.” The problem of the color line is outlined by James Weldon Johnson in this early book written by a person of color speaking truth about racial inequality in America. Back to East Wall Manuscripts and Literature https://www.watersedgemuseum.org/roll-jordan-roll-literature daily 0.75 2021-02-21 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613925055517-SDPGM377FKVV2851RKXX/13+Roll+Jordan+Roll+1.jpg Roll, Jordan, Roll - Julia Mood Peterkin and Doris Ulmann, Roll, Jordan Julia Mood Peterkin and Doris Ulmann Roll, Jordan, Roll 1933 Julia Mood Peterkin was the first southerner to win a Pulitzer Prize, and she did so with the publication of Scarlet Sister Mary; a book written in 1928 largely in the Gullah dialect about the struggles of a black woman living on a plantation in South Carolina. Roll, Jordan, Roll represents a collaboration between Peterkin and photographer Doris Ulmann, who traveled to South Carolina to record the daily life and spirituality of Gullah people who descended from slaves. In many respects this work may be understood as the literary counterpart to the work of Maryland artist Ruth Starr Rose. Doris Ulmann’s softly focused black-and-white photogravure prints read much like Rose’s beautiful charcoal studies. Back to East Wall Manuscripts and Literature https://www.watersedgemuseum.org/negro-folk-songs daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613925284402-R552PAX6VR5LRGFI5TN1/14+Negro+Folks+Songs+by+Leadbelly+1.jpg Negro Folk Songs - John and Alan Lomax, Negro Folk Songs sung by Lead Belly John and Alan Lomax Negro Folk Songs sung by Lead Belly 1935 The biography and music of folk and blues legend Huddie Ledbetter, known as Lead Belly, who was noted for his strong voice and mastery of the twelve-string guitar. Authors and music pioneers John and Alan Lomax were astounded by his talent when they first met Lead Belly in 1932 during a visit to the Louisiana Penitentiary, and wrote this book as a result. Back to East Wall Manuscripts and Literature https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614286981528-KZ7JOQKV2SA58FRM4SYM/15+Negro+Folks+Songs+by+Leadbelly+2.jpg Negro Folk Songs https://www.watersedgemuseum.org/frederick-douglass-writings daily 0.75 2021-02-21 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613925465856-WOYW8C44G597YL2BZ163/Frederick+Douglass+Writings+2.jpg Frederick Douglass Early Years - Philip S. Foner, The Writings of Frederick Douglass, Volume 1 Early Years Philip S. Foner The Writings of Frederick Douglass Volume 1 Early Years 1950 This represents the first compilation of the writings of Frederick Douglass. A life’s work by Douglass, edited by Professor Philip S. Foner, who was fired from the City University of New York in 1941 for progressive (then deemed “radical”) views on equity in education. Back to East Wall Manuscripts and Literature https://www.watersedgemuseum.org/frederick-douglass-precivil-war-decade daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613949059535-5RRVC1OF2AFOAMT2PMNU/Frederick+Douglass+Writings+3.jpg Frederick Douglass Pre-Civil War Decade - Philip S. Foner, The Writings of Frederick Douglass, Volume 2 Pre-Civil War Decade Philip S. Foner The Writings of Frederick Douglass Volume 2 Pre-Civil War Decade 1950 This represents the first compilation of the writings of Frederick Douglass. A life’s work by Douglass, edited by Professor Philip S. Foner, who was fired from the City University of New York in 1941for progressive (deemed “radical”) views on equity in education. Back to East Wall Manuscripts and Literature https://www.watersedgemuseum.org/frederick-douglass-the-civil-war daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613949152455-JO2XCO4UJCHCZBTLTR0X/Frederick+Douglass+Writings+4.jpg Frederick Douglass The Civil War - Philip S. Foner, The Writings of Frederick Douglass, Volume 4 Reconstruction and After Philip S. Foner The Writings of Frederick Douglass Volume 4 Reconstruction and After 1950 This represents the first compilation of the writings of Frederick Douglass. A life’s work by Douglass, edited by Professor Philip S. Foner, who was fired from the City University of New York in 1941for progressive (deemed “radical”) views on equity in education. Back to East Wall Manuscripts and Literature https://www.watersedgemuseum.org/frederick-douglass-reconstruction-and-after daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613949445662-FN1VTMD396982MTMIYA4/Frederick+Douglass+Writings+5.jpg Frederick Douglass Reconstruction and After - Philip S. Foner, The Writings of Frederick Douglass, Volume 4 Reconstruction and After Philip S. Foner The Writings of Frederick Douglass Volume 4 Reconstruction and After 1950 This represents the first compilation of the writings of Frederick Douglass. A life’s work by Douglass, edited by Professor Philip S. Foner, who was fired from the City University of New York in 1941for progressive (deemed “radical”) views on equity in education. Back to East Wall Manuscripts and Literature https://www.watersedgemuseum.org/folio daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/2dbb2977-4053-44da-be40-38ea2e442a5c/1+Baby+Moaney.jpg Folio https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/492d1e4c-13b3-4c7a-8732-15ef9dd4e0c9/IMG_7237.jpg Folio https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614292118995-5GMGAK4YCXADITTSUP16/IMG-4566.jpg Folio https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613868974600-1KIVBK7C0YS22XE1YREG/2+Aunt+Sally%27s+House%2C+b%2Bw+litho.jpg Folio https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/12cd27f0-fcc6-49b8-b884-03cbfad18a70/5+MARYLAND_WAR_WORKERS_SERIGRAPH.jpg Folio https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/0bc6ecd3-0842-4d04-9fba-b6db0dd93ca4/6+madonna+lithograph.jpg Folio 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Folio https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/361bf202-5709-4716-9eea-cbc5af1c81e3/42+Shadrach+big+study.jpg Folio https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/d93ab162-c372-4964-acc8-1c74658a83cf/43+Shadrach+litho+crayon.jpg Folio https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/359b0641-8418-4bf9-b8d2-7d1c33bc265d/44a+Couldn%27t+hear+nobody+pray+litho.JPG Folio https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/81c02993-0ad4-4cde-bd40-d52eb082721b/45+Couldnt+hear+study.jpg Folio https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/5ad18c10-0495-418d-8723-b07f0583a01b/46+Roll+Jordan+study.JPG Folio https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/007a5cd3-71be-4790-800d-b5ddd5ada3d5/47+Roll+Jordan+bw+litho.JPG Folio https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/78412423-993e-446e-9b91-04846b229e81/48+Peace+bw+litho.JPG Folio https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/632f6995-7278-4e2a-87bf-9205046efa7e/49+Nobody+litho.jpg Folio https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/8ff404f3-6d31-485b-8a45-5245a97e8235/50+Nobody+stud.JPG Folio https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/eb859e6c-a418-4d23-a187-fdac7857fcb9/51+Nobody+study.JPG Folio https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/fa1aa7fa-f2b5-4667-b61f-b1551e1d6e1d/52+Nobody+mother+ascending.JPG Folio https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/7cb13cc5-a468-43c1-a3cb-75b5cafd8c09/53+Nobody+study.JPG Folio https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/d4ded8c0-e4a3-4062-a888-815789443520/54+Judgment+day+bw+litho.JPG Folio https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/712beb49-eacf-4c57-8986-c159c6ecebbc/55+Judgment+Day+color.JPG Folio https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/26b2699f-0374-4fcf-9bb4-d6a3c241da46/55+My+Lord+bw+litho.JPG Folio https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614714322464-8R14H61NAGVV4QUTO2L4/0V5A1237.jpg Folio https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614714297901-30ZCG4V51NVS9A1DFGR5/0V5A1194.jpg Folio Photography © Cecile Storm https://www.watersedgemuseum.org/baby-moaney daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613957887034-W52WGM3IFJDB6Q8OPHO4/Baby%2BMoaney%252C%2BLittle%2BMoaney%2Bbw%2Blitho.jpg Baby Moaney - Baby Moaney, black-and-white lithograph Baby Moaney 1933 black-and-white lithograph 12” x 8” plate This print of a well nourished seated baby with clasped hands is of Richard Moaney, son of Elizabeth Moaney of Copperville, Maryland. It is one of two lithographs made of the baby–in the other print, Richard is seated comfortably well pressed clothes in an elaborately carved high chair. Back to Folio https://www.watersedgemuseum.org/the-flood-study daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613958217617-4TOX13HYRWU4L41EH0DO/The%2BFLood%2BStudy%2B2.jpg The Flood Study - The Flood Charcoal Study The Flood ca. 1930 Charcoal with ink study on yellow trace 8 ¾” x 12 ½” image 18” x 23 ¾” sheet This drawing reveals what was perhaps the greatest challenge to people of color living along the water’s edge: Flooding. In the drawing, a person straddles their house which floats in a sea of waves. The family in the foreground load a carriage with their children, and bewail the home, extra possessions, and farm animals that they have to leave behind. Back to Folio https://www.watersedgemuseum.org/harriet-jones-letter daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614291770086-3DHUC3YK2JAPPPTIW65Q/IMG-4566.jpg Harriet Jones Letter - Letter March 5, 1873' Harriet Jones writing from Ambler, PA to Mr. Tilghman of Hope 6 ½” x 4 ⅜” Mr. Tilghman, Dear Sir, I write to you knowing that [you] are a gentleman of the law. My mother is now living at your house as a Cook though I guess you have forgotten me, that little colard girl that used to be at Mrs. M.S.S. Cox’ when her children were small. Back to Collaged Images Back to Folio https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614289821328-SDWCNY3W43P5A2KJBFVP/3+Copper+letter+p1.JPG Harriet Jones Letter https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614289847933-RV739FVLE60XBXAQC63S/3+Copper+letter+p2.JPG Harriet Jones Letter https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614289874963-DAIO49G9E7KZHBG90LTJ/3+Copper+letter+p3.JPG Harriet Jones Letter https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614290095727-L3I4TJ5C5OBLSM51N0WX/3+Copper+letter+p4.JPG Harriet Jones Letter https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614290235999-XIN1HSEJEJBM76Y8ZEJC/3+Copper+letter+p5.JPG Harriet Jones Letter https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614290341829-C0DHINFJTHOH3XTDPJ05/3+Copper+letter+p6.JPG Harriet Jones Letter https://www.watersedgemuseum.org/o-canaan-dust-jacket daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613958783906-T5IYYAWUMYGP5N5XG7IK/2%2BWaters%2BTurpin%2BO%2BCanaan%2Bdustjacket.jpg O Canaan Dust Jacket - Waters Edward Turpin, Dust jacket to O’Canaan! Waters Edward Turpin Dust jacket to O’Canaan First edition 1939 8” x 19” “An early novel about the great migration of Native of the Eastern Shore of Maryland, formerly porter-clerk in a Harlem delicatessen, football coach, investigator for a WPA housing project, Waters E. Turpin is a Negro writer whose first book, THESE LOW GROUNDS, Edna Ferber called “Possibly the outstanding Negro novel of our day.” In O CANAAN! Mr. Turpin achieves new importance as a novelist.” Back to Collaged Images Back to Folio https://www.watersedgemuseum.org/oswald-tilghman-map-of-talbot-county daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614291131489-LCWRGK0K3L881KGJK3H6/3+Oswald+Tilghman+Talbot+County+Map.JPG Oswald Tilghman Map of Talbot County - Oswald Tilghman, Attorney at Law and Real Estate Agent, Map of Talbot County Oswald Tilghman, Attorney at Law and Real Estate Agent, Map of Talbot County, 12 ½” x 11 ½” This regional map reveals the immense areas of ownership that founding white families possessed on the Eastern Shore. The best pieces were carved out by their ancestors in the 17th and 18th centuries where they made great fortunes in tobacco and wheat through the ownership and exploitation of enslaved people. Back to Collaged Images Back to Folio https://www.watersedgemuseum.org/life-worth-living-on-the-chesapeake-bay-and-its-tributaries daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613959185360-VU8B4WGERYUJ598XQHZ4/2+Life+worth+living+cover.JPG Life Worth Living on the Chesapeake Bay and its Tributaries - John M. Elliott, Life Worth Living on the Chesapeake Bay and its Tributaries Locke John M. Elliott Life Worth Living on the Chesapeake Bay and its Tributaries, Talbot County, Maryland and the Thousand Opportunities of the Far Famed Beauties on the Eastern Shore. Tidewater and Inland Farms. Old Colonial Estates. Talbot County, The Venice of America. 9 ¾” x 6 ⅞” https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614889345163-0KPMOLWDYA53B5NS1OQ7/3+Life+worth+living+LABOR.JPG Life Worth Living on the Chesapeake Bay and its Tributaries For people of color, life on the Chesapeake was much different from wealthy families who regarded the Eastern Shore as the “Venice of America.” There are many resorts and cities on the seacoast of the United states which have been referred to as “The Venice of the New World.” But the one section of America to which the term can be applied with every justification is that delightful region along the Chesapeake Bay and extending eastward toward the Atlantic Ocean, known as “The Eastern Shore of Maryland.” Labor is Reasonable. The ease of getting trained labor is one of the advantages of the Eastern Shore. A good laborer and his wife thus cost about twenty dollars a month, probably the cheapest good labor in the United States. Colored labor for harvest time, for wood chopping and other work about the home or farm is easily obtained at prices ranging from one dollar to one dollar and fifty cents a day. The wages paid housemaids, nurses, colored cooks and grooms is proportionately cheap, but faithful and efficient. Back to Collaged Images Back to Folio https://www.watersedgemuseum.org/advertisement-for-oxfords-hotel-eastford-hall daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614292072716-XP4WAGCDC0ILW45X8IZW/3+Oxford+MD+is+beautifully+situated.JPG Advertisement for Oxford's Hotel Eastford Hall - Advertisement for Oxford’s Hotel Eastford Hall 8 ½” x 5 ¾” OXFORD, MD. IS BEAUTIFULLY SITUATED on the right bank of the beautiful Tred Avon River, considered by all visitors the most beautiful of Nature’s work, and by the health officers the Most Healthy Town in the United States. Back to Collaged Images Back to Folio https://www.watersedgemuseum.org/aunt-sallys-house-litho daily 0.75 2021-02-22 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613959908930-ECJJLMV82JYEXXRVB0ZK/16_Aunt_Sally%252527s_House.jpg Aunt Sally's House - Aunt Sally’s House Aunt Sally’s House 1932 black-and-white lithograph 11⅜" x 15 ½” plate This image shows another side to living on the Eastern Shore. Rather than a life of opulence as described in the glossy brochure on the previous page of this folio, persons of color lived close to nature in a far more precarious fashion, and relied upon their own skill as farmers and watermen. This black-and-white lithograph shows how Mrs. Sally DeShields provided for her children’s basic needs. In many ways, her life was purer than that of her wealthier neighbors. Back to Folio https://www.watersedgemuseum.org/war-workers-in-maryland daily 0.75 2021-02-22 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613960081355-77JAOB82Q3F21WU7RA5Q/War%2BWorkers%2Bserigraph.jpg War Workers in Maryland - War Workers in Maryland War Workers in Maryland 1942 Serigraph 13” x 15 ½” plate Displayed on the gallery walls, this print is included here to illustrate the manner in which children overcame poverty through industry. Here are two patriotic American children gathering provisions for the war effort during WWII. They are gathered in front of a humble building and look proudly at the viewer. This image shows how children of color happily dedicated themselves to a greater community-based cause. Incredible to reflect how this kind of selflessness and heroism is absent from much of the way in which children of color have been portrayed in American history. Back to Folio https://www.watersedgemuseum.org/madonna-folio daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613960249700-DN5UTZMCKEJVGNASVOSK/015+Madonna.jpeg Madonna - Madonna 1934 black-and-white lithograph 12" x 14" PLATE This print was made to show the “power and emotion” of a mother as she watched over her sleeping baby. The child is in an expensively made cradle, while the mother sits watching protectively while crouching on an overturned peach basket. Her focus and calm is what stands out most of all in this beautiful lithograph. Back to Folio https://www.watersedgemuseum.org/mule-cart-and-boy daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613960400441-2HY9IC2EIMAS1DUBB9LS/7+Mule+Cart+and+Boy+1935+bw+litho.JPG Mule, Cart, and Boy - Mule, Cart, and Boy Mule, Cart, and Boy 1935 black-and-white lithograph 12 ⅜” x 16 ¼” plate Eastern Shore setting with a young man proudly standing by his mule and cart. Back to Folio https://www.watersedgemuseum.org/merry-go-round-1934-litho daily 0.75 2021-02-26 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613960620408-UDQVI35IRRB1N9R9GNGA/18_Merry-Go-Round.jpg Merry-Go-Round 1934 Litho - Merry-Go-Round, black-and-white lithograph Merry-Go-Round 1934 black-and-white lithograph 10 3/8” x 14 1/8” plate This print illustrates a mother and children enjoying themselves on an old-fashioned merry-go-round at the Firemen’s Carnival in St. Michaels. This event was held annually at the base of the same street seen in the iconic print of an African American street in St. Michaels, entitled, Hell’s Crossing. This early depiction of an African American woman and her children engaged in carefree leisure is rare. And this print resonated with people beyond Maryland–Emily Genauer, art critic for the NY Times, credited this print as one of the finest pieces in an exhibition in Manhattan in 1935. Back to Folio https://www.watersedgemuseum.org/merrygoround-study daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613960790710-BC6IWCKG6Z3JT1M239HN/D%2B-%2Bmerry%2Bgo%2Bround%2Bstudy_01.jpg Merry-Go-Round Study - Merry-Go-Round, Charcoal and pencil study 1934 Charcoal and pencil study on white trace 13 ¼” x 16 ½” It is rare to view a work of art that is backed up by one of its original studies. In the case of Merry-Go-Round, one sees in the mother’s face a firm but gentle countenance. In the beautifully detailed final print there is a feeling of happiness as everyone is engaged in their own thoughts and recreational activities. Back to Folio https://www.watersedgemuseum.org/oyster-shuckers-study-folio daily 0.75 2021-02-22 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613961147741-RDVS9K8AU46B6R92SIT6/10%2BOyster%2BShuckers%2BStudy.jpg Oyster Shuckers Study - Oyster Shuckers, Study Oyster Shuckers ca. 1930 Charcoal and pencil study on yellow trace 13 ⅝” x 16 ½” This study reveals the productive work day for people of color one hundred years ago. What is unusual about this study is the fact that the artist is honest in her depiction of oyster shuckers working quietly as a team to get the job done. She doesn’t resort to any racial stereotypes in this study. Back to Folio https://www.watersedgemuseum.org/tomato-packers-folio daily 0.75 2021-02-22 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613961292976-NHDKHF4PTKTQCL48KWKN/11%2BTomato%2BPackers.jpg Tomato Packers - Tomato Packers, Study Tomato Packers ca. 1930 Charcoal and pencil study on yellow trace 13 ¾” x 16 ½” When the harvest came in, people worked day and night to insure that there was no waste. Here is a study that as with the previous study was meant to be the first chronicle of the lives of people of color living and working in harmony. The artist knew her project was unique, and divided her time between the rural Eastern Shore and artistic community at the Art Students League in New York City. Back to Folio https://www.watersedgemuseum.org/in-the-dark-othe-moon-p40 daily 0.75 2021-02-23 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614117460660-IV764JUMSSGBHWMG2K37/1+In+the+Dark+of+the+Moon%2C+IMHS+p2%2C+Isaac+Copper.jpg “In the Dark O'The Moon” p40 - “In the Dark O'The Moon” Garden magazine, March 1913 14 1/2” x 9 3/4” One again sees Mr. Copper working the land as well as his family home in Copperville featured in an elite glossy garden magazine printed over one hundred years ago. Back to East Wall https://www.watersedgemuseum.org/sunday-supper daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614369264573-4G4SP0BV52GPQGFT6TGC/Sunday%2BSupper%2Band%2Btable%2Bof%2Bmen%2Bdrawing.jpg Sunday Supper - Sunday Supper ca. 1930 Pencil on yellow trace 18” x 23 ½” Although the location of the finished product is unknown for Sunday Supper, there remains a study; a pencil geometric perspectival study on yellow trace, 18” x 23 ½” In this tightly constructed perspectival study, a group of farm workers are gathered at a table to enjoy an evening meal. The women serving the food are well dressed and clearly happy to be among their friends and family. Back to Folio https://www.watersedgemuseum.org/church-explosion daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614371952070-GMDSZW55AX1QWLUU7TTC/Church%2Bin%2BVillage%2BStudy%2B1.jpg Church Explosion - Church Explosion Ca. 1930 Charcoal study on yellow trace 17 ½” x 18 ¾” Another study for a finished work that remains a mystery. In Church Explosion, there is a sense of drama and movement in this study, which includes eight fascinating perspectival and compositional studies in the margins. In the main scene, angels enter from the lower left-hand corner into the cinegraphic town square which is dominated by a church. It appears that they’re ushering people to the safety of a small cafe, while the church steeple swells to the point of looking as if it is about to explode.Religious faith was at the center of daily life on Maryland’s Eastern Shore. This shows the congregation being led to safety by an angel and man who is presumably the pastor. The town square and church are drawn at sharp perspectival angles suggesting the imminence of an explosion caused by a large bolt of lightning striking the top of the church. Similar to the earlier depiction of a church at the top of a village square,these studies are presumed to have been drawings for an unknown painting or lithograph. Back to Folio https://www.watersedgemuseum.org/singer-and-orchestra daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614370112168-WH7KWOBEPYJ6CGLG6TZ3/IMG_7251.jpg Singer and Orchestra - Singer and Orchestra that. 1930 Pencil and charcoal study on artist’s paper 17 ¾” x 24” In the study Singer and Orchestra, a tall confident man stands before an orchestra pit singing. The audience is enjoying themselves, and there appears to be a public building in the background, possibly a monument in Washington, D.C. Smaller thumbnail studies in the right-hand margin of the study illustrate the artist’s struggle to portray the singer in a dignified manner. Back to Folio https://www.watersedgemuseum.org/little-david-play-upon-your-harp-folio daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614370281588-NZB2KFTZLM28KAH0ODIW/15+Little+David+1937+seri.JPG Little David Play Upon Your Harp folio - Little David Play Upon Your Harp Serigraph 11 ½” x 16” 11 colors used to make this limited series of only 15 serigraphs. Back to Folio https://www.watersedgemuseum.org/glory-train-serigraph daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613161202645-86NYZ1YF7Q13J55G7X0O/11_GLORY_TRAIN_SERIGRAPH.jpg Glory Train serigraph - Glory Train, A.K.A., This Train is Bound for Glory Serigraph 1951 Color Serigraph 15" x 18" plate This painting was inspired by Copperville’s Moaney Quartet, who emulated a train bound for heaven. The Moaney or Twilight Quartet ran from the front to the back of the church, rhythmically shouting and jumping to activate the entire congregation–using their voices to transform the church into a loud locomotive engine that was about to take off. The artist’s notes describe the scene at the Copperville Church. The presence of a devil and angels implied that the train was capable of transporting its passengers to heaven or hell. The effect was powerful to all who witnessed the quartet: As the Twilight Quartet starts up in their battle of song, out of the open windows of the Copperville African Methodist Church comes the deep-throated whistle of the Gospel Train…The leader Jim, begins in a quavering tenor, “This Train my Lord,” its weird intervals make the shivers run down your back as you sit in the stiff backed pew. Back to Folio https://www.watersedgemuseum.org/glory-train-color-lithograph daily 0.75 2021-02-26 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614370636357-B7K475FTNJ55SMJ1QAZZ/Color%2BLithograph.jpg Glory Train color lithograph - Glory Train, A.K.A., This Train is Bound for Glory 1939, Color lithograph 10” x 13 ⅜” plate This print is housed at the Metropolitan Museum of Art and was featured in 1940 in Alain Locke’s relevatory book, The Negro in Art. Note how in this earlier rendition, the print is missing the devil shoveling coal. This was doubtless a detail that the congregation wished for the artist to include. Back to Folio https://www.watersedgemuseum.org/glory-train-color-lithograph-color-take-blue daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614370809133-6Z3JM97PS5MVP0KVV33A/Blue.JPG Glory Train color take blue - Glory Train, A.K.A., This Train is Bound for Glory 1939 Color lithograph color take (blue) 10” x 13 ⅜” plate Back to Folio https://www.watersedgemuseum.org/glory-train-color-lithograph-color-take-all-colors daily 0.75 2021-02-26 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614371679397-QHGJR5341V6FMXOH5TF0/Color%2BLithograph.jpg Glory Train color take all colors - Glory Train, A.K.A., This Train is Bound for Glory, Color Take All Colors 1939 Color lithograph color take (all colors) 10” x 13 ⅜” plate Zoom into the bright images and imagine how the different layers of color fuse together to make this Kara Walker-esque print. Back to Folio https://www.watersedgemuseum.org/glory-train-color-lithograph-color-take-yellow daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614372084572-T5CS6FXHMV4B51B1PAS0/Yellow.jpg Glory Train color take yellow - Glory Train, A.K.A., This Train is Bound for Glory 1939 Color lithograph color take (yellow) 10” x 13 ⅜” plate Back to Folio https://www.watersedgemuseum.org/glory-train-color-lithograph-color-take-yellow-with-orange daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614372200010-0O7PYVWDMNAIVZEFCYAI/Red%2B%2526%2BYellow.jpg Glory Train color take yellow with orange - Glory Train, A.K.A., This Train is Bound for Glory 1939 Color lithograph color take (yellow with orange) 10” x 13 ⅜” plate Back to Folio https://www.watersedgemuseum.org/old-arks-a-moverin-and-im-goin-home-folio daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613440662226-K5HYUX3I0L943KLD6N02/DSC_2333.jpg Old Ark's A Moverin' and I'm Goin' Home folio - Old Ark's A Moverin' and I'm Goin' Home ca. 1939 Color lithograph 8 3/4” x 11” plate The next few pages of this folio serve as a unique visual depiction of the process of making a color lithograph. Miraculously, charcoal, ink, and lithographic crayon studies have survived along with all color proofs for this print. What is interesting is to contemplate the process of making a work of art that had built into it the healing process of helping people to remember the therapeutic value of their religious beliefs to help them recover from the living memory of slavery. https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614884903136-1A57KOQJANX4RSQAQ59M/22B+Old+Ark+study.JPG Old Ark's A Moverin' and I'm Goin' Home folio - Old Ark's A Moverin' and I'm Goin' Home ca. 1939 Charcoal study on artist’s paper 10” x 14” plate The Copperville church community described their interpretation of a given spiritual in words, which the artist then illustrated. “Noah’s Ark,” a song referred to by the congregation as “The Old Ark’s A’Moverin’.” This is a clear example of translating a vernacular oral history of Maryland’s African American culture into a visual image evoking their deepest religious beliefs. Descended from enslaved people, the black population knew poverty and pain for centuries, and those of faith believed in the notion of an ark that would ferry them to safety in the afterlife. They trusted that their endless struggles in an otherwise unjust world would be compensated by final rewards in Heaven. Both black-and-white and color versions of this lithograph were created around the same time. The color lithograph forms a part of the collection at the Metropolitan Museum of Art. Amazingly, many studies survive, in addition to color takes for the print. A large fresco was also made on this topic, in which the characters on the ark are portraits of Copperville residents. This piece was important to the community, and it was planned to feature it in a comprehensive illustrated book on Negro spirituals. The artist left notes about the piece which contemplated what she had learned about the very real relationship of this spiritual’s imagery to overcoming the systemic racism that plagued the Eastern Shore: To the colored people on the tidewater Noah’s Ark is not surprising or fantastic. Singing about the Ark, the Negroes are thinking of their church that provides them with a refuge for sailing steadily through life. They feel that the inevitable progress of the Ark toward the rainbow’s end typifies the long and dangerous voyage of the colored race toward freedom and good will. Instead of home being on this earth, home is that blessed Realm of Heaven—thwarted and scorned here—in Heaven all will be equal in the sight of God. Back to Folio https://www.watersedgemuseum.org/old-arks-charcoal-sketch daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614885251043-NHF92N2R8VNBG8HARF82/23A+Old+Ark+Study+litho.jpg Old Ark's charcoal sketch - Old Ark's A Moverin' and I'm Goin' Home ca. 1939 Charcoal sketch with lithographic crayon, color take for color lithograph 9” x 11 3/”4 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614885224688-EPK93XIYXXMMDOXL0TO5/23B+Old+Ark+yellow+grey+green.jpg Old Ark's charcoal sketch - Old Ark's A Moverin' and I'm Goin' Home ca. 1939 Color take (blue, yellow, grey) Plate 9 ¾” x 13” Back to Folio https://www.watersedgemuseum.org/old-arks-color-takes-1 daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614885486646-R5Q4F5M14VKJIN3JU0V5/24A+Old+Ark+pink.jpg Old Ark's two color takes 1 - Old Ark's A Moverin' and I'm Goin' Home ca. 1939 Color take (pink) 8 ¾” x 11” plate https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614885541132-EW3BBWXDWNQN5W0FIAR8/24B+Old+Ark+many+color+take.jpg Old Ark's two color takes 1 - Old Ark's A Moverin' and I'm Goin' Home ca. 1939 Color take (pink, yellow, green, grey) 8 ¾” x 11” plate Back to Folio https://www.watersedgemuseum.org/old-arks-color-takes-2 daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614885679877-I548UM0CGPXK8LJ5RLGM/25A+Old+Ark+grey+take.jpg Old Ark's color takes 2 - Old Ark's A Moverin' and I'm Goin' Home ca. 1939 Color take (grey) Plate 8 ¾” x 11” https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614885708580-B4H7T7ST5T05MCNHOUQ5/25B+Old+Ark+Grey+green+brown+yellow+take.jpg Old Ark's color takes 2 - Old Ark's A Moverin' and I'm Goin' Home ca. 1939 Color take (yellow, green, grey) Plate 8 ¾” x 11” Back to Folio https://www.watersedgemuseum.org/all-gods-chillun-got-shoes daily 0.75 2021-02-26 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614373849761-CVQG1D8GS9ILERL18C7S/B%2526W%2BLithograph%2B%25282%2529.jpg All God's Chillun Got Shoes - All God’s Chilluns got Shoes 1943 Black-and-white lithograph 9 ¾” x 13” plate Both the black-and-white and color lithographic version of the spiritual “Golden Slippers”—titled All God’s Chilluns Got Shoes—is a visualization of the promise of the “gospel trail,” which ultimately leads to the golden stairs of Heaven. In the composition, a large angel in the forefront bestows golden slippers upon a man ascending from a humble ladder onto vibrant golden steps and into the afterlife. Those already on the golden staircase joyfully climb upward. Heaven was a cherished reality for the black population of the Eastern Shore; it was a place where “every single one of God’s children could soar with new shoes on their feet,” so wrote the artist in her notes. The artist also recognized the earthly origins of the spiritual. When she presented this lithograph to her erudite peers at the Serigraphy Society, she emphasized how black people have nobly climbed their own ladder of success, despite their extreme historical disadvantages. Her speech notes refer back to days of slavery on the Eastern Shore, a time when shoes were not only a rarity but also a status symbol. In other words, in the economically driven United States, wealth and success—here embodied in the luxury of shoes—were the trappings of a better and more equal life. In typical fashion, she worked extensively with this theme and made black-and-white and color lithographs, as well as a serigraph. Her study sketches and notes support her desire to perfect the message according to the congregation’s wishes. Her efforts were rewarded when All God’s Chilluns Got Shoes was honored as the American Color Print Society’s Image for 1947. It is incredible to view the notes, studies, and all of the color proofs for this six-color print. Back to Folio https://www.watersedgemuseum.org/all-gods-chillun-got-shoes-colorlithograph daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614374242894-ZI4D1EBFI45HN4SV522S/27%2BAll%2BGods%2BChilluns%2Bcolor%2Blitho.jpg All God's Chillun Got Shoes color lithograph - All Gods Chilluns got Shoes 1946 Color lithograph 9 ¾” x 13” plate The exquisite use of bright red and yellow bring this print to life. The signed and dated color proofs which follow are a rare survival from any artist’s studio, let alone a print that was honored by the American Color Print Society. The journey from a concept to a finished work of art is as thought provoking as the therapeutic values of this work, as the community experienced healing from the scar of slavery through this interactive process of honoring their ancestors and their religious beliefs. https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614885846438-01QS6EUAXCSBZLO2X0W2/26+All+Gods+Chillun+study.JPG All God's Chillun Got Shoes color lithograph - All Gods Chilluns got Shoes 1943 Pencil study of model’s lips on yellow trace 13 ⅝” x 16 ¼” Back to Folio https://www.watersedgemuseum.org/all-gods-chillun-got-shoes-study-1 daily 0.75 2021-02-26 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614374419936-U22EXITSOK8IJM70RZV4/28%2BAll%2BGods%2BStudy.jpg All God's Chillun Got Shoes study 1 - All God’s Chilluns got Shoes, Study 1943 Pencil and charcoal study of perspective and details on yellow trace 18” x 23 ¾” Study shows the William Blake-like swirling motion to suggest movement from the humble garden ladder up the magnificent flight of stairs leading to heaven. Back to Folio https://www.watersedgemuseum.org/all-gods-chillun-got-shoes-study-2 daily 0.75 2021-02-26 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614374642231-NQNIUDPSTWQ2KXQQBTJ6/29%2BAll%2BGods%2BStudy.jpg All God's Chillun Got Shoes study 2 - All God’s Chilluns got Shoes, Study 1943 Charcoal and pencil study 18” x 24” Study of an elegant woman sitting with left leg crossed over her right. On her right foot is a heeled shoe. She waits patiently for a shoe to be put on her left foot. Back to Folio https://www.watersedgemuseum.org/all-gods-chillun-got-shoes-color-lithograph-2 daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614375006783-9H1AKU0E1VPTSLXLB67Z/27%2BAll%2BGods%2BChilluns%2Bcolor%2Blitho.jpg All God's Chillun Got Shoes color lithograph 2 - All God’s Chilluns got Shoes 1946 Color lithograph 9 ¾” x 13” plate Yet another miracle is the survival of studies of models, perspectival sketches, written notes, and color proofs for this lithograph. Another spiritual which represents the power of the church and the history of overcoming. Here again one focuses in on the image to identify the six colors that create this wonderful print. Back to Folio https://www.watersedgemuseum.org/all-gods-chillun-got-shoes-color-take-brown daily 0.75 2021-02-26 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614375351645-QKFBEP34PCKVB06M2J06/31%2BAll%2BGod%2527s%2BBROWN.jpg All God's Chillun Got Shoes color take brown - All God’s Chilluns got Shoes, Color Take (Brown) 1946 Color take 9 ¾” x 13” plate This brown color take was identified as the first layer of color comprising the lithograph, approved and labeled, “Brown O.K. 1st Color.” Back to Folio https://www.watersedgemuseum.org/all-gods-chillun-got-shoes-color-take-yellow daily 0.75 2021-02-26 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614375798518-1YC5Y8SDAY6BVG94ITZ8/32%2BAll%2BGods%2BYellow.jpg All God's Chillun Got Shoes color take yellow - All God’s Chilluns got Shoes, Color Take (Yellow) 1946 Color take (Yellow O.K. 2nd Color) 9 ¾” x 13” plate This yellow color take was identified as the second layer of color comprising the lithograph, approved and labeled, “Yellow O.K. 2nd Color.” Back to Folio https://www.watersedgemuseum.org/all-gods-chillun-got-shoes-color-take-yellow-2 daily 0.75 2021-02-26 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614376141767-0SCWMU35V6YFMV9JIXTO/33%2BAll%2BGods%2BChilluns%2BBrown%2B%2526%2BYellow.jpg All God's Chillun Got Shoes color take yellow 2 - All God’s Chilluns got Shoes, Color Take (Yellow and Brown) 1946 Color take (yellow and brown) 9 ¾” x 13” plate In this color take for All God’s Chilluns got Shoes, one can study the brown layer when the yellow ink has been added. Also approved by the artist, “O.K. Yellow.” Back to Folio https://www.watersedgemuseum.org/all-gods-chillun-got-shoes-color-take-blue daily 0.75 2021-02-26 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614376475991-56IHZI83NBMMQ5QTY17U/34%2BBlue.jpg All God's Chillun Got Shoes color take blue - All God’s Chilluns got Shoes, Color Take (Blue) 1946 Color take (blue) 9 ¾” x 13” plate This blue color take was identified as the third layer of color comprising the lithograph, approved and labeled, “Blue O.K.” Back to Folio https://www.watersedgemuseum.org/all-gods-chillun-got-shoes-color-take-blue-2 daily 0.75 2021-02-26 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614376761453-DHWJ37C3SK1UB69D86G2/35%2BAll%2BGods%2BChillun%2BBlue%2B3rd%2Bcolor.jpg All God's Chillun Got Shoes color take blue 2 - All God’s Chilluns got Shoes, Color Take (Blue, Yellow, Brown) 1946 Color take (blue, yellow, brown) 9 ¾” x 13” plate This blue color take incorporates brown and yellow as the third color, and is approved and labeled, “Blue, O.K. 3rd Color.” Back to Folio https://www.watersedgemuseum.org/all-gods-chillun-got-shoes-color-take-red daily 0.75 2021-02-26 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614377017859-4OZ01RPXCMIUA0960P75/36%2BAll%2BGods%2BChilluns%2BOK%2BRed.jpg All God's Chillun Got Shoes color take red - All God’s Chilluns got Shoes, Color Take (Red) 1946 Color lithograph (red) 9 ¾” x 13” plate This red color take incorporates red as the fourth color, and is approved and labeled, “OK Red.” Back to Folio https://www.watersedgemuseum.org/all-gods-chillun-got-shoes-color-take-red-2 daily 0.75 2021-02-26 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614377237352-471JCJ11IYY3PJRAO9KQ/37%2BAll%2BGods%2BOk%2BRed.jpg All God's Chillun Got Shoes color take red 2 - All God’s Chilluns got Shoes, Color Take (Red) 1946 Color take (brown, yellow, blue, red) 9 ¾” x 13” plate This red color take incorporates red as the fourth color superimposed on the first three colors (brown, yellow, and blue). The take is approved, dated, and labeled, “OK Red, 1/3/46.” Back to Folio https://www.watersedgemuseum.org/all-gods-chillun-got-shoes-color-take-grey daily 0.75 2021-02-26 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614377870741-GW8SXFJ87Y6ITQ1RB3RP/38%2BAll%2BGods%2BChilluns%2B5%2Bcolor.jpg All God's Chillun Got Shoes color take grey - All God’s Chilluns got Shoes, Color Take (Grey) 1946 Color take (grey) 9 ¾” x 13” plate This grey tone of the color take incorporates grey as the fifth color, and is approved and labeled, “Grey O.K. 2/3/46 5 Color.” Back to Folio https://www.watersedgemuseum.org/all-gods-chillun-got-shoes-color-take-black daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614378061849-NRJUOPX3L43MT6I9RFDJ/39%2BAll%2BGods%2BChilluns6%2Bcolor.jpg All God's Chillun Got Shoes color take black - All God’s Chilluns got Shoes, Color Take (Black) 1946 Color take (brown, yellow, blue, red, grey, black) 9 ¾” x 13” plate All God’s Chilluns got Shoes final color take is black. This proof is signed and dated by the artist, “O.K. Black 2/3/46 6 color.” Back to Folio https://www.watersedgemuseum.org/shadrach-meshach-and-abednego-lithograph daily 0.75 2021-02-26 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613179769931-G9KOXTK34JUUKF24EHHC/160%2Bshadrach%2Blithograph.jpg Shadrach, Meshach and Abednego lithograph - Shadrach, Meshach and Abednego 1941 Black-and-white lithograph 10” x 13” plate Described by a NYC art critic as “surreal” and “crowded with meanings,” this work tells one of the oldest biblical stories of loyalty and stamina in an innovative and imaginative fashion. The studies that follow in this folio are only a selection from the collection. They are accomplished and reveal the steps toward making a meaningful work of art. Back to Folio https://www.watersedgemuseum.org/shadrach-meshach-and-abednego-charcoal-study daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614378701198-YHEXQHJUF79HFLZOWFPQ/Shadrach%2Bstudy%2B1.jpg Shadrach, Meshach and Abednego charcoal study - Shadrach, Meshach and Abednego 1941 Charcoal study on artist’s paper 13 ¾” x 16 ⅛” https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614887628698-36KO20Y3WG0W73R9OH73/41B+Shadrach+study.jpg Shadrach, Meshach and Abednego charcoal study - Shadrach, Meshach and Abednego 1941 Charcoal study on artist’s paper 14” x 16 1/16” Back to Folio https://www.watersedgemuseum.org/shadrach-meshach-and-abednego-charcoal-study-2 daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614378845933-A4E3OOMKVCGTG25AJ9HK/Shadrach%2BStudy%2B3.jpg Shadrach, Meshach and Abednego charcoal study 2 - Shadrach, Meshach and Abednego, Study 1941 Charcoal, gouache, and pencil on yellow trace 14” x 16 3/4” Note the drama and swift movement expressed in this study for Shadrach, which is similar in composition to Swing Low, Sweet Chariot. Back to Folio https://www.watersedgemuseum.org/shadrach-meshach-and-abednego-charcoal-study-3 daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614379352984-MT7UE176MMMLQI8560Z7/Shadrach%2BStudy%2B4.jpg Shadrach, Meshach and Abednego charcoal study 3 - Shadrach, Meshach and Abednego 1941 Charcoal study on yellow trace with lithographic crayon and pencil study on yellow trace 14 ⅜” x 19” This series of exquisite charcoal sketches is as rare an example as the final study with lithographic crayon still intact. The artists’s tape which was used to secure it to the lithographic stone even survives the test of time. Back to Folio https://www.watersedgemuseum.org/couldnt-hear-nobody-pray daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613177383099-9NA52VCELI8TJVF7M0M9/Couldn%27t+Hear+Nobody+Pray%2C+b%2Bw+litho.jpg Couldn't Hear Nobody Pray - I Couldn't Hear Nobody Pray 1943 Black-and-white lithograph 13” x 10” plate The studies and final print are interesting, and reveal the artist’s struggle to represent the soldier as a person in full control of his duty even when he knows he is going to die. A radio operator calmly transmits information back to his platoon from a small lean to in the jungle. Ironic to see how the studies and final product reveal the deep contemplative faith expressed at a time of crisis. The artist’s notes include a telling comment about kidnapping this brave soldier’s ancestors from the jungles two hundred years ago for slavery, and sending him back to die for his country. https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614887855727-4Y08J6Y9SCRVYHEC5TG9/44b.jpg Couldn't Hear Nobody Pray - I Couldn't Hear Nobody Pray 1943 Charcoal study on artists’s paper 10” x 7 ¾” Back to Folio https://www.watersedgemuseum.org/couldnt-hear-nobody-pray-study daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614380674521-334VZU21PUKV1PFKUCL8/45.jpg Couldn't Hear Nobody Pray study - I Couldn't Hear Nobody Pray, Study 1943 Charcoal study on yellow trace 18” x 23 3/4” Artistic studies reveal the power and emotion as well as important details such as the tropical foliage, gun belt, and radio antenna. Back to Folio https://www.watersedgemuseum.org/roll-jordan-roll-lithograph daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613179610247-2CSW4BG30OATPB4TAFOL/a%2Bfor%2Bthe%2Bbook%2BRoll%2BJordan%252C%2BRoll.jpg Roll, Jordan, Roll lithograph - Roll, Jordan, Roll 1945 Black-and-white lithograph 10” x 13” plate It is interesting to note the way that the final lithograph represents an evolution from the study. Many details are here worked out to express reverence for brave soldiers. Back to Folio https://www.watersedgemuseum.org/roll-jordan-roll-charcoal-study daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614380896520-QNLR0GL04ALG1ENG6A5E/46.jpg Roll, Jordan, Roll charcoal study - Roll, Jordan, Roll, Study 1945 Charcoal study on artist’s paper 18” x 24” Roll, Jordan, Roll is here adapted to express the courage of African American GIs who gave their life for their country during WWII. In this study, the motorcade of military jeeps drive soldiers to heaven in a respectful fashion. Back to Folio https://www.watersedgemuseum.org/peace-lithograph daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614381150032-52LG3IR53HN6LK990SQO/48%2BPeace%2Bbw%2Blitho.jpg Peace lithograph - Peace 1944 Black-and-white lithograph 12 ¾” x 10” plate In this black-and-white lithographic version of Peace, an airplane shares the news of peace through the distribution of flyers. As with many other spirituals, a strong diagonal and swirling yin-yang motions suggest that the heavens are closer than one suspects. Back to Folio https://www.watersedgemuseum.org/nobody-knows-the-trouble-i-see-lithograph daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613178620955-RPQJGF53AVUHSJK9K8N7/Nobody%2BKnows%2BDe%2BTrouble%2BI%2BSee.jpg Nobody Knows the Trouble I See lithograph - Nobody Knows the Trouble I See 1943 Black-and-white lithograph 13” x 10” plate This print illustrates the ultimate sacrifice made by soldiers fighting for their country; namely their inability to protect their family at home. In this song, the GI’s house is burning down and his wife is seated on a chair ascending to heaven. His children are clutching his side in grief. Animals are running away in all directions adding to the sense of hopelessness and chaos. The studies for this print reveal a sense of true depictions of people from the Copperville community. Back to Folio https://www.watersedgemuseum.org/nobody-knows-the-trouble-i-see-study-1 daily 0.75 2021-02-26 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614381542410-6RMZ0Z6NZJHPBBAIT6HL/50.jpg Nobody Knows the Trouble I See study 1 - Nobody Knows the Trouble I See, Study 1943 Pencil and charcoal study on artist’s paper 18” x 24” The soldier’s expression of shock and grief is worked out in this sketch; a part of the process of making a successful lithograph. Back to South Wall https://www.watersedgemuseum.org/nobody-knows-the-trouble-i-see-study-2 daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614381699576-LEVE17S7BTXRWV8COZDH/51.jpg Nobody Knows the Trouble I See study 2 - Nobody Knows the Trouble I See, Study 1943 Pencil and charcoal study on artist’s paper 18” x 24” A youth hugs the soldier and collapses toward the ground. The soldier, who is presumably the father of the youth, looks up in silence. The sketch shows details of the artist’s foot and left arm. Back to Folio https://www.watersedgemuseum.org/nobody-knows-the-trouble-i-see-study-3 daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614381877733-3IVDVGOB3Q19E6VQ20CW/52.jpg Nobody Knows the Trouble I See study 3 - Nobody Knows the Trouble I See, Study 1943 Pencil and charcoal study on artist’s paper 18” x 24” Having perished in the fire, the mother is now ascending into heaven. The sympathetic expression on the woman’s face indicates that she is hoping her children will be all right without either parent. Back to Folio https://www.watersedgemuseum.org/judgement-day daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614382091997-Q3NH4AMQMHI6JT1Z9Y71/54%2BJudgment%2Bday%2Bbw%2Blitho.jpg Judgement Day - Judgment Day, Hear the Wondrous Word of the Lord, black-and-white lithograph 1955 black-and-white lithograph 9 7/8” x 13 ¾” plate There is a black-and-white as well as a color version of this print, which expresses the song’s rich history and significance since the time of the Civil War when it was created. In a recorded account dating to the winter of 1863/64, Union General Henry G. Thomas describes how the Ninth Regiment U.S. Colored Troops stationed at Camp Stanton in Benedict, Maryland, gathered together during the cold nights to warm themselves over campfires. Samuel C. Armstrong, a white Union officer who established a school for blac soldiers in Benedict and later founded the Hampton Institute, noted how African American troops relied on songs to get them through difficult times. He saw that they often sang together of their former antebellum lives in an extraordinary dissonant chanting. One evening Armstrong witnessed more than a thousand voices joined together in a powerful and melodic rendition of “Judgment day,” which he called the Negro battle hymn. Back to Folio https://www.watersedgemuseum.org/judgement-day-color-lithograph daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614382321849-X4H4D0SJBQ403XDHVVFB/55%2BJudgment%2BDay%2Bcolor.jpg Judgement Day Color Lithograph - Judgment Day, Hear the Wondrous Word of the Lord, Color Lithograph 1955 Color lithograph 9 7’8” x 13 ¾” plate The color lithograph is as modern as the black-and-white version; with racially diverse angels blowing trumpets and singing. Loudspeakers are playing the song “Judgment Day” and the cosmos are expressed with Saturn, planet earth, and swirling spirals of light. Back to Folio https://www.watersedgemuseum.org/my-lord-what-a-morning-lithograph daily 0.75 2021-03-04 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1613178461522-OKJTCHJOMKD71HHT16FO/a%2Bfor%2Bthe%2Bbook%2BMy%2BLord%2BWhat%2Ba%2BMorning.jpg My Lord What a Morning lithograph - My Lord What a Morning 1958 Black-and-white lithograph 10” x 16” plate This black-and-white lithograph is the final image in our folio, and represents a Cold War solution to battle. The Vanguard satellite shown in the upper left corner was the United States antidote to the Sputnik, and symbolized the manner in which people could be made safe through intelligence gathering. In messaging the print is similar to Judgement Day, and in layout and design it resembles Right in the Palm of God’s Hand, a.k.a., He’s Got the Whole World in His Hands. The flat, expansive Eastern Shore landscape next to the water’s edge shows people worshipping in groups by the water as enslaved persons did before they were permitted to build their own churches. Their hands are outstretched toward the sun in an African fashion to embrace the sun and the dawning of a new day and hopefully a better world. Back to Folio https://www.watersedgemuseum.org/old-arks-a-moverin-and-im-goin-home-black-and-white-lithograph daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614279015378-652MA8AC49W2AZHGE2Z3/B%26W+Lithograph+%281%29.JPG Old Ark's A Moverin' and I'm Goin' Home black and white lithograph - Old Ark's A Moverin' and I'm Goin' Home ca. 1939 Black-and-white lithograph 8 3/4” x 11” plate The Copperville church community described their interpretation of a given spiritual in words, which the artist then illustrated. “Noah’s Ark,” a song referred to by the congregation as “The Old Ark’s A’Moverin’.” This is a clear example of translating a vernacular oral history of Maryland’s African American culture into a visual image evoking their deepest religious beliefs. Descended from enslaved people, the black population knew poverty and pain for centuries, and those of faith believed in the notion of an ark that would ferry them to safety in the afterlife. They trusted that their endless struggles in an otherwise unjust world would be compensated by final rewards in Heaven. Both black-and-white and color versions of this lithograph were created around the same time. The color lithograph forms a part of the collection at the Metropolitan Museum of Art. Amazingly, many studies survive, in addition to color takes for the print. A large fresco was also made on this topic, in which the characters on the ark are portraits of Copperville residents. This piece was important to the community, and it was planned to feature it in a comprehensive illustrated book on Negro spirituals. The artist left notes about the piece which contemplated what she had learned about the very real relationship of this spiritual’s imagery to overcoming the systemic racism that plagued the Eastern Shore: To the colored people on the tidewater Noah’s Ark is not surprising or fantastic. Singing about the Ark, the Negroes are thinking of their church that provides them with a refuge for sailing steadily through life. They feel that the inevitable progress of the Ark toward the rainbow’s end typifies the long and dangerous voyage of the colored race toward freedom and good will. Instead of home being on this earth, home is that blessed Realm of Heaven—thwarted and scorned here—in Heaven all will be equal in the sight of God. Back to East Wall https://www.watersedgemuseum.org/go-down-moses-study daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614282305178-MNCVWEXV4POR8QNNKEBJ/IMG_7327.jpg Go Down Moses Study - Go Down Moses study ca. 1957 Pencil study on yellow trace 13 ⅛” x 19 ¾” This is the study for the final lithograph of the man of African descent. He holds his hands toward the heavens, and in so doing, the chains binding his wrists are broken. https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614282396276-WDL4KTHAIIYGR6NVOBOF/IMG_7326.jpg Go Down Moses Study - Go Down Moses study ca. 1957 Pencil study on artist’s paper 24” x 18” Back to South Wall https://www.watersedgemuseum.org/collaged-images daily 0.75 2021-02-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614291586968-9Z76UFU1LOTPCV8NF686/IMG-4566.jpg Collaged Images - Collaged Images This selection of letters, publications, maps, and dust jacket from a book illustrate the two distinct aspects of creating a home at the water’s edge. Known as “The Venice of America,” Talbot County was home to wealthy families who took pride in their prosperity, lineage, and stately homes along the many rivers feeding into the Chesapeake Bay. Contrast that to the built environment of formerly enslaved families, who were often left to cope with the challenges of farming in flood-prone areas. The stark reality is apparent in the letter written by one of Sallie Copper’s daughters to Oswald Tilghman, the owner of an 18th-c. estate, in which she begs him for shelter from an abusive husband. The letter paints the edges of a story that could have been written by the Eastern Shore’s great black novelist, Waters Edward Turpin. 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https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1615500613631-30QHZ65VR46VW5J77GWO/hells+crossing.jpeg Children's Tour Hell's Crossing https://www.watersedgemuseum.org/childrens-tour-maryland-crab-pickers daily 0.75 2021-04-27 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1615500392283-FE3P0L6T3XAEJKMADEWW/crab+pickers.jpeg Children's Tour Maryland Crab Pickers https://www.watersedgemuseum.org/childrens-tour-downes-curtis daily 0.75 2021-04-27 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614116074433-CYAIHRWNTV14A7FAAVHO/4_DOWNES_CURTIS_B_W_LITHO.jpg Children's Tour Downes Curtis https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1617048421127-SMBUKQA1Q6P39H6VACAZ/sailmaker+shop.jpeg Children's Tour Downes Curtis Sailmaker shop on Tilghman Street where Downs Curtis and his brother worked. https://www.watersedgemuseum.org/childrens-tour-the-circus daily 0.75 2021-04-27 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1615499801272-QZ5B4NKPP2VXG0X071U7/circus.jpeg Children's Tour The Circus https://www.watersedgemuseum.org/childrens-tour-keep-your-hand-on-the-plow daily 0.75 2021-04-27 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1615499115792-OT0FKAXONXXSVGBWAP1U/plow.jpeg Children's Tour Keep Your Hand on the Plow https://www.watersedgemuseum.org/childrens-tour-all-gods-chillun-got-shoes daily 0.75 2021-04-27 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1615498629447-LSWOZXAA494WYCR1PPHM/shoes.jpeg Children's Tour All God's Chillun Got Shoes https://www.watersedgemuseum.org/childrens-tour-swing-low-sweet-chariot daily 0.75 2021-04-27 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1615498308177-UCN6ODCJFVMV8PI186KL/swing+low.jpeg Children's Tour Swing Low, Sweet Chariot https://www.watersedgemuseum.org/childrens-tour-jonah-and-the-whale daily 0.75 2021-04-27 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614107425789-SBRQQ4PMF80I46SQ87Z2/Jonah%2BLarge%2BSerigraph.jpg Children's Tour Jonah and the Whale https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1614107577180-13BWGB9XER23REZFJ0Z7/Jonah%2Bbw%2Blitho.jpg Children's Tour Jonah and the Whale https://www.watersedgemuseum.org/childrens-tour-old-arks-a-moverin daily 0.75 2021-04-27 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1615497547377-OZLGPFE6GZ1XNO17OUYL/ark.jpeg Children's Tour Old Ark's A Moverin' https://www.watersedgemuseum.org/childrens-tour-glory-train daily 0.75 2021-04-27 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1615496876620-FYRFYUMDJQQYUCSU7PKT/glory.jpeg Children's Tour Glory Train https://www.watersedgemuseum.org/childrens-tour-the-moaney-family daily 0.75 2021-04-27 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1615498314489-OFASELDK9WQH280E640J/2+Moaney+Boy+on+the+Stairs.jpg Children's Tour The Moaney Family https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1615916576763-EZDTUIGHU4XVLCOF20M5/horse%2Band%2Bpuppy.jpg Children's Tour The Moaney Family https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1615498550046-VISTT5QSLLSQ1DCSA2XH/3+Boy+in+Church+Clothes.jpg Children's Tour The Moaney Family https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1615568083304-RFGGZM3RYGQ7Z1GSQPE1/basket+of+fruit.jpeg Children's Tour The Moaney Family https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1615568309982-Z57NO3F8FB963T2A0CCE/breakfast+table.jpeg Children's Tour The Moaney Family https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1615568390008-GEC3YX5DNOSCS3XE0V86/anna+may.jpeg Children's Tour The Moaney Family https://www.watersedgemuseum.org/childrens-tour-clarence-deshields daily 0.75 2021-04-27 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1612978659825-MYM5YG1WGRTHZ05I39ZR/Clarence+DeShields+Playing+the+Guitar Children's Tour Clarence DeShields https://www.watersedgemuseum.org/childrens-tour-bernard-moaney daily 0.75 2021-03-16 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1615495951863-UIOJTRL6SQMP1DQSB4VG/duck+hunter.jpeg Children's Tour Bernard Moaney https://www.watersedgemuseum.org/childrens-tour-pharaohs-army-got-drownded daily 0.75 2021-04-28 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1615495532330-CBSFEADVBVQ22720GDGR/fresco.jpeg Children's Tour Pharaoh's Army Got Drownded https://www.watersedgemuseum.org/childrens-tour-war-workers daily 0.75 2021-03-22 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1616424488710-FG968L2JZLF36MAFUI6F/war+workers.jpeg Children's Tour War Workers https://www.watersedgemuseum.org/middle-passage-marker-initiative daily 0.75 2025-06-12 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1616531719509-IUWLG76PIJS3L8BE2P2G/Middle+Passage+Sign.jpg Middle Passage Marker Initiative https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1616531763743-8O75FYRV5KSMU08IN6RP/Middle+Passage+Sign2.jpg Middle Passage Marker Initiative The UNESCO Slave Route portion of this sign is pending approval. https://www.watersedgemuseum.org/new-page daily 0.75 2021-03-25 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1616606849341-EXSTXZTRJXO24SQ8JVB2/joshua+Fit+De.jpeg Children's Tour Joshua Fit de Battle ob Jericho https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1616607113443-1KOG12QVEQP1X4PW29LV/the+fight.jpeg Children's Tour Joshua Fit de Battle ob Jericho Actual photo of Max Schmeling and Joe Louis, 1936, Photo retrieved from newsday.com https://www.watersedgemuseum.org/new-page-1 daily 0.75 2021-04-21 https://www.watersedgemuseum.org/suitedman daily 0.75 2022-10-16 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1619112403753-UF18UENKFHG5G669O8V5/Screen+Shot+2021-03-08+at+3.43.29+PM.png Suited Man - Suited Man Oil on canvas 1931 Signed on lower right 36” x 30" When Suited Man was first exhibited in New York City in 1931, it received favorable reviews. While the portrait reveals an urban gentleman, the sitter was in fact Isaac Copper from Copperville, a small rural settlement on the Eastern Shore. He dressed for the occasion, and possessed the confidence to sit calmly for the portrait. The result, a man of sophistication, stands out in contrast to other depictions of African American men of the time. His countenance and his nicely tailored suit show a person of substance and integrity; his posture is elegant, his hands refined. This polished version of the Classic Man enjoys a revival today. https://www.watersedgemuseum.org/downs-curtis daily 0.75 2021-04-27 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1619549321428-U4GU9LAGMP52MEBS6PKC/A4mtsnvA.jpeg Downes Curtis for educators https://www.watersedgemuseum.org/aunt-salleys-house-for-educators daily 0.75 2021-04-27 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1619549577406-Z13C0JNOMV6RBH0R1HNB/aunt+salley.jpeg aunt sally's house for educators https://www.watersedgemuseum.org/new-page-2 daily 0.75 2021-06-28 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1619549740148-W1H7T0BHL4NJ6J5OT25P/3NFAYgPw.jpeg crabpickers for educators https://www.watersedgemuseum.org/new-page-3 daily 0.75 2021-06-28 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1619550142305-EPU73ITXF69RH4JHZ93M/shoes.jpeg All God's Chillun' for educators https://www.watersedgemuseum.org/new-page-4 daily 0.75 2021-06-28 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1619550484349-KA8N7HHNUPWXO1TTVU0R/Screen+Shot+2021-02-13+at+12.08.39+PM.png The Circus for educators https://www.watersedgemuseum.org/new-page-5 daily 0.75 2021-04-27 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1619551105419-1R07I6V8AI5V3NLJ0V92/Screen+Shot+2021-02-14+at+4.35.16+PM.png The Glory Train for educators https://www.watersedgemuseum.org/new-page-27 daily 0.75 2021-04-27 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1619551382362-B7AU3363ESHG4RJSUIAK/Screen+Shot+2021-02-11+at+1.49.20+PM.png The old Ark's A'Moverin' for educators https://www.watersedgemuseum.org/jonah-and-the-whale-for-educators daily 0.75 2021-04-27 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1619551625082-NN0HRXWAEYZOC0IDSYZE/whale.jpeg Jonah and the Whale for educators https://www.watersedgemuseum.org/new-page-92 daily 0.75 2021-04-27 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1619551830654-GJTJBZEWUICSUSMTFLXT/swing+low.jpeg Swing Low for educators https://www.watersedgemuseum.org/new-page-42 daily 0.75 2021-04-27 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1619552025038-LEXP8UHXBLSXTVPP1UIK/DSC_2530.jpg Pharaoh's Army for educators https://www.watersedgemuseum.org/new-page-10 daily 0.75 2021-04-27 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1619552198067-MQAUUSOHCR1SP4WZYQLT/hells+crossing.jpeg hell's crossing for educators https://www.watersedgemuseum.org/new-page-30 daily 0.75 2021-04-27 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1619552684257-77L79PIDQGVH3J52FKOZ/plow.jpeg keep you hand on the plow for educators https://www.watersedgemuseum.org/suited-man-for-educators daily 0.75 2021-04-27 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1619553045968-ZCLREBXFR2O9DCMPEPWY/Screen+Shot+2021-03-08+at+3.43.29+PM.png Suited Man for educators https://www.watersedgemuseum.org/new-page-17 daily 0.75 2021-04-27 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/385b4f0c-ceb2-4841-8f85-db8954f762da/2+Clarence+DeShields+Playing+the+Guitar.jpg Clarence DeShields for educators https://www.watersedgemuseum.org/the daily 0.75 2021-04-27 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1619553752308-TF2Q1VZ7LKGM0ZDIU5EB/Screen+Shot+2021-03-02+at+10.18.05+AM.png The Moaneys for educators https://www.watersedgemuseum.org/madonna-for-educators daily 0.75 2021-06-09 https://www.watersedgemuseum.org/new-page-78 daily 0.75 2021-07-31 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/220e988e-075a-4c82-a85a-0b1fa7c01511/Screen+Shot+2021-07-31+at+4.51.03+PM.png Environmental Justice as a Civil Right https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/6fcbf69a-f1a0-4ecc-9da8-d007e32ec29b/Screen+Shot+2021-07-31+at+5.19.33+PM.png Environmental Justice as a Civil Right https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/b064e935-5baa-45d5-8c11-e8e74045fd21/Screen+Shot+2021-07-31+at+4.56.40+PM.png Environmental Justice as a Civil Right https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/9ec777d9-d301-445c-ba97-fe0e613c1b47/Screen+Shot+2021-07-31+at+5.05.09+PM.png Environmental Justice as a Civil Right https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/424634c1-daee-498a-b530-d2e50019acfe/Screen+Shot+2021-07-31+at+5.03.33+PM.png Environmental Justice as a Civil Right https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1627766561204-SQIGGLY332ESNJIK8D8A/Screen%2BShot%2B2021-07-31%2Bat%2B5.21.21%2BPM.jpg Environmental Justice as a Civil Right https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1627763587883-PRZ19G1H42XORTDDH8FO/Screen%2BShot%2B2021-07-31%2Bat%2B4.32.06%2BPM.jpg Environmental Justice as a Civil Right - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1627764470127-DA5IAKTBKRA0GEHOPMR2/Screen%252BShot%252B2021-07-31%252Bat%252B4.42.42%252BPM.jpg Environmental Justice as a Civil Right - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1627765902358-M3TN0CNJ5CXPZZPNZ97D/Screen+Shot+2021-07-31+at+5.11.38+PM.png Environmental Justice as a Civil Right - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1627766172024-D7O73N7VKPFISXVQDKIL/Screen+Shot+2021-07-31+at+4.56.11+PM.png Environmental Justice as a Civil Right - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.watersedgemuseum.org/plan-your-visit daily 0.75 2026-03-17 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1637257926170-J85QXFP4OY1NIU9HFKGR/DSC_2109.jpg https://www.watersedgemuseum.org/hours daily 0.75 2024-10-20 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1664221097430-SYHUE0XVZ2PJK95UE8SO/Old+Ark%27s+A+Moverin+%E2%80%93+Ruth+Starr+Rose https://www.watersedgemuseum.org/contact daily 0.75 2022-12-05 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/d85e44d8-2ff0-4b54-ac31-d0454e59eb43/Anthony+Jukes.png https://www.watersedgemuseum.org/location daily 0.75 2024-02-06 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1664222362476-627N4C0ONX24SKRSTT1S/DJI_0058%2Bcopy.jpeg https://www.watersedgemuseum.org/maryland-to-mexico-gallery daily 0.75 2022-12-01 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/25bdd764-0721-4970-8033-6b5c3b6c5349/IMG_7182.jpg Maryland to Mexico Gallery https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/9dc06bf1-9261-449e-8f65-78a421e40e2c/DSC_2143.jpg Maryland to Mexico Gallery https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/e217e745-3c41-48f7-acbf-3e0d5c2f4fe2/1949+Mexico+El+Milagro+serigraph.jpg Maryland to Mexico Gallery https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1ee2f7b5-106b-4e56-8404-81a275d211b2/Serigraph+%281%29.JPG Maryland to Mexico Gallery https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/cb3f4c9a-ad57-462d-bfc4-cee6b86bcbf5/Serigraph+%283%29.JPG Maryland to Mexico Gallery https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/2e782d47-db54-4c08-a5c4-77ae0f49280d/Oil+Painting.JPG Maryland to Mexico Gallery https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/3057879f-0d20-4808-9092-d581542aedf5/096A3552.JPG Maryland to Mexico Gallery https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/dd5479bf-ef44-4416-811e-e143e7c1c09d/MD+to+MX+Logo.png Maryland to Mexico Gallery - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/63423b00-e9c1-4819-8930-63c509d1d9fd/1.png https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/7d326d14-797d-49d4-ba08-b6c3151271e3/2.png https://www.watersedgemuseum.org/all-gods-chilluns-got-shoes-lithograph daily 0.75 2022-10-16 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1665958615049-OKYDJBBBWY59J0NJHG1F/DSC_2240.jpg All Gods Chilluns got Shoes lithograph - All Gods Chilluns got Shoes 1946 Color lithograph 9 ¾” x 13” plate The exquisite use of bright red and yellow bring this print to life. The signed and dated color proofs which follow are a rare survival from any artist’s studio, let alone a print that was honored by the American Color Print Society. The journey from a concept to a finished work of art is as thought provoking as the therapeutic values of this work, as the community experienced healing from the scar of slavery through this interactive process of honoring their ancestors and their religious beliefs. Back to West Wall https://www.watersedgemuseum.org/all-gods-chilluns-got-shoes-serigraph daily 0.75 2022-10-16 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1665958844879-RYMGGSSU3HO7T5N6TCSV/Serigraph.JPG All Gods Chilluns got Shoes Serigraph - All Gods Chilluns got Shoes 1946 Color Serigraph 13” x 16 ½” This presents an opportunity to compare this beautiful color serigraph to the color lithograph featured above. Few artists worked on similar themes in as many different mediums as Ruth Starr Rose and for her this was a part of exploring with different types of artistic techniques to drill down to the serious task of trying to portray the spirituality of an oftentimes overlooked group of people whom she counted as her closest friends. In this visual exercise of contrasting the detail of a color lithograph to a color serigraph, it is possible to discern the more lyrical qualities of a serigraph because the colors overlap and the lines less defined thereby allowing for greater interpretation on the part of the viewer. Back to West Wall https://www.watersedgemuseum.org/keep-your-hand-on-the-plow-1 daily 0.75 2022-10-16 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1665959293019-JQWNVTA2533DU2AF6NQI/DSC_2167.jpg Keep Your Hand on the Plow - Keep Your Hand on the Plow ca. 1950 Color serigraph 12 1/2” x 16” plate As you study this vibrant color serigraph, Keep Your Hand On The Plow, consider the meaning of the demon (Satan?) in the upper left corner. Why is this demon astride an atomic missile? Why is the demon targeting the men as well as the United States? Keep in mind that this art was created in 1950, the U. S. had already used atomic weapons against Japan and the Civil Rights Movement was gaining strength and support throughout parts of the country. The Korean War was raging and the Cold War was looming on the horizon. The two male figures, in a demonstration of brotherly love, are being guided toward a better and brighter future by a swirling figure of an angel. The Spiritual of the same name that inspired the artist, also inspired recording artists Mahalia Jackson, Bob Dylan, and Pete Seeger in their support and demand for racial equality. Back to West Wall https://www.watersedgemuseum.org/anthony-jukes daily 0.75 2022-10-16 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1665959448189-BRLK3K8FRXJMZE1TUETQ/Anthony+Jukes+Serigraph.JPG Anthony Jukes - Anthony Jukes ca. 1964 Color serigraph 25 ½” x 18” In this portrait of a youth seated on a chair, we see Anthony Jukes, a confident young boy wearing a crisp red and white shirt with royal blue overalls. Anthony is seated on a green and yellow wooden chair and seems to greet the viewer with a smile. His hands are placed on his lap and his expression is one of quiet reflection and satisfaction. Anthony Jukes was one of many children from Alexandria, Virginia who spent time with Rose in her studio during the final months of her life. Back to West Wall https://www.watersedgemuseum.org/a-black-ball daily 0.75 2022-10-16 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1665960045759-8J7QX8WC2XRM0JCL4V2U/A+Black+Ball+La+Pastorelle.jpg A Black Ball - A Black Ball ca. 1830. 9” x 10 15/16” La Pastorelle. Life in Philadelphia. Aquatint, colored. London, H. Isaacs, Soho Square, London. William Summers delineator, Charles Hunt Engraver. This prints is intended to portray how people of color were trivialized and mocked during the 19th century. Ruth Starr Rose grew up feeling embarrassed by these depictions and made it her life’s work to portray Marylanders of African descent with the dignity and self-respect that she knew and admired. Back to West Wall https://www.watersedgemuseum.org/a-black-tea-party daily 0.75 2022-10-16 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1665960227549-SY64XN8GVYMRM330IDVZ/A+Black+Tea+Party.jpg A Black Tea Party - A Black Tea Party ca. 1833. 9” x 10 ½” A Black Tea Party. Life in Philadelphia. Aquatint, colored. London, Tregear at his humorous Print Shop, Cheapside. William Summers delineator, Charles Hunt Engraver. The lower print in this frame is also intended to portray how people of color were trivialized and mocked during the 19th century. Ruth Starr Rose grew up feeling embarrassed by these depictions and made it her life’s work to portray Marylanders of African descent with the dignity and self-respect that she knew and admired. Back to West Wall https://www.watersedgemuseum.org/de-sun-do-move daily 0.75 2022-10-16 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1665960739268-NE1S0TZOMCHDT5MQC5JC/De+Sun+do+move.jpg De Sun do Move - Reverend John Jasper, “De Sun do Move” N.D. 32” x 12” Chromolithograph Unkown Artist This is intended to illustrate the kind of racist work typical to the period of Ruth Starr Rose, and stands as a good example of what she felt she had to overcome. In spite of the fact that the Reverend John Jasper (1812-1901), was one of the 19th century's most important American Black ministers, people still felt it appropriate to portray him in this disrespectful manner. His fiery oratory and passionate delivery drew mixed race crowds Baptist congregants. Jasper had honed his oratory style in the 1840's delivering graveside sermons for slaves and free Blacks, and making the occasional appearance at the First African Baptist Church of Richmond. It is a testament to Jasper's charismatic powers that while still a slave in the tobacco fields and factories in the twenty-five years preceding the Civil War, he was allowed to deliver sermons to sizeable crowds of slaves, despite a Virginia law specifically prohibiting such behavior. After the War and Emancipation, Jasper was formally ordained and organized the Sixth Mount Zion Baptist Church. It was here that he delivered his famous sermon "De Sun Do Move." Though entirely counter to what science had known for centuries, Jasper's geocentric sermon still drew crowds of people of all persuasions. Back to West Wall https://www.watersedgemuseum.org/paul-robeson-as-emperor-jones daily 0.75 2022-10-16 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1665961314280-20BZD2VLUJLLSW2E2AXI/4+Paul+Robeson+by+Mabel+Dwight%2C+color+litho%2C+1930+%281%29.jpg Paul Robeson as Emperor Jones - Paul Robeson as Emperor Jones by Mabel Dwight (1870-1955) ca. 1930 Color lithograph 14 3/4" x 13" Mabel Dwight was one of Ruth Starr Rose’s earliest mentors, as well as a close friend and teacher at the Art Students League in New York City. Rose and her New York circle of friends strongly supported the principles of the civil rights movement and were directly involved in it from its infancy. Clear evidence of this is found in the artist’s own collection. Dwight gave Rose her color lithograph, Paul Robeson as “The Emperor Jones,” inscribing it, “To Ruth Starr Rose with love from Mabel Dwight, 1930.” Back to West Wall https://www.watersedgemuseum.org/baby-sleeping-on-an-african-american-quilt daily 0.75 2022-10-16 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1665961656231-QMU65ZTII1IGTM4SZZZG/Baby+Sleeping+1935.jpg Baby Sleeping on an African American quilt - Baby sleeping on an African American quilt by Mabel Dwight (1870-1955) ca. 1937 Oil on Masonite Dimensions TBD Sometimes the story of a painting is as interesting as the work of art itself, and we feel this way about this beautiful little piece. Below is information provided to us by the previous owner, Mr. Doug Wood. Just imagine what it would have been like if the painting were lost to a storm! “In 1991, I obtained this oil painting while residing in Baton Rouge, Louisiana. The lady I bought it from told me it was given as a gift from the owners of the Uncle Sam Plantation to their caretaker. The Uncle Sam Plantation, between Baton Rouge and New Orleans no longer exists. I was serving the Oklahoma Street Projects in downtown Baton Rouge at the time and the little boy reminded me of a child there named Jaylen. After spending several years in El Salvador during the mid-1990s, I returned to the US and now reside in Trussville, Alabama, a suburb just northeast of Birmingham, AL. In each of these places I (and now my wife and children) have served and continue to serve inner city communities. Our home has art work of other children from Guatemala and El Salvador and reminds us of the beautiful children we serve. In the early morning hours of 23 January 2012, a tornado ripped through our community and neighborhood. My family was unharmed but we had extensive restoration work done on our home. A 2” x 4” piece of wood was stuck through one of our front windows and the jagged end embedded into the door of a closet. The picture remained hanging on the wall scant inches from the debris. The painting receiving some slight damage at the time (no rips or tears) with some of the blue paint scraped off the child’s pajamas. After our home was restored, I hung the painting on an inner wall. Throughout the years I have typed in queries for Ruth Starr Rose online and found there was scant information available. At one time I found the telephone number for her granddaughter and talked to her. She told me many of the wonderful things about her grandmother and her legacy. Last night, I typed “Ruth Starr Rose” into the Google search engine and I found all kinds of wonderful information about our painter that was not there just one year ago. My wife, Sonia, and I were elated that Ruth had her own exhibition once again after so many decades. It was a thrill to see so many works we had never seen before. I love the painting of the little boy on the stairs. I can imagine Ruth making her little model more comfortable with a pillow since he was posed on those blue wooden stairs.” Back to West Wall https://www.watersedgemuseum.org/oil-study-of-baby-sleeping-on-an-african-american-quilt daily 0.75 2022-10-16 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1665962063540-QBHWOWRE72IGQCUUXSHB/Baby+Sleeping+Study.JPG Oil Study of Baby Sleeping on an African American quilt - Oil Study of Sleeping Baby on an African American quilt ca. 1937 Oil on Masonite 12” x 16” This study for Sleeping Baby is interesting because it was actually used as a study for two paintings. In typical Ruth Starr Rose fashion, nothing was ever wasted, and she recycled the Masonite board for a study of a baby sleeping on an African American quilt, with a quick oil painting sketch of a mule-driven sleigh in front of the old laundry at Hope! It is interesting to see how the artist grappled with placing the baby on the quilt, and also to note the interesting detail of the quilt with its feathery red, green, and white geometric patterns. Back to West Wall https://www.watersedgemuseum.org/mexican-square daily 0.75 2022-10-16 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1665962185455-BEFFKLXH0DH41QO5MHMX/Oil+Painting.JPG Mexican Square - Mexican Square ca. 1948 Oil on Masonite 12” x 17” This small oil painting expresses the intimacy and quiet civility of a small town square in Mexico. The artist Ruth Starr Rose lived in Mexico from 1946-1948, rigorously documenting through drawings, lithographs, and serigraphs the Afro-Latino culture of Mexico over seventy-five years ago. What do you think inspired this woman to take a solo trip, driving her Willy’s jeep from the Eastern Shore of the Chesapeake Bay all the way to Jalisco in 1946? Rose’s impressive work goes to the heart of the matter in her quest to understand the spirituality of Mexicans, from sophisticated urban dwellers who worshiped the Black Christ of Mexico presented in the Cathedral of Mexico City, to rural Easter carnivals and religious celebrations in Ajijic, to the Purépecha tribe in the mountains above her home. As an anthropological artist, she was fascinated by the Purépecha women, and was proud of how they retained their ancestral lands and also how much they put their trust in her when taking her to ancient ritual sites. Above all others, the reclusive Purépechas were the people whom she became close to over her two-year residency in Jalisco, and she wrote, “I gained the confident friendship of the Tarascan Indians, who took me to many of their half-pagan, half-Christian ceremonies in remote places in the nearby mountains.” Back to West Wall https://www.watersedgemuseum.org/mexican-women-dining-under-a-tent daily 0.75 2022-10-16 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1665962551564-TUTG3IKBMGBOYHUU1EZ8/IMG_7182.jpg Mexican women dining under a tent - Mexican women dining under a tent ca. 1946 Gouache on watercolor paper 17 ¾” x 20” Mexican women and their children are enjoying one another’s company and a nourishing home-cooked meal in the peaceful shade of their tent. These are the women from the Purépecha nation whom Rose was proud to have spent time with while living in Jalisco, Mexico. Back to West Wall https://www.watersedgemuseum.org/the-black-christ-of-mexico daily 0.75 2022-10-16 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1665962703985-NG2R9B081ACSK31B2CQO/Serigraph+%281%29.JPG The Black Christ of Mexico - The Black Christ of Mexico ca. 1949 Color Serigraph 12” x 15 ½” The Black Christ of Mexico was another more complex religious scene establishing Rose’s ability and desire to delve deeply into cultural and religious practices. In a 1955 letter to philosopher Raymond Piper, Rose identified this print as the culmination of her two years spent living in the village of Ajijic. She explained that her ability to speak Spanish enabled her to gain the “confident friendship” of the Afro Latino indigenous people there, who escorted her to many “half-Pagan, half-Christian” ceremonies in remote mountain villages, which she later wrote represented the high points of her time spent in Mexico. In the serigraph, Rose positions a figure of a black Christ on the cross at the center of her composition. Women mourn at his feet. The scene merges Mexican Christians on the left with the ancient priests of the Quetzacóatl deity on the right to indicate the long history and deep sophistication of religious worship in Mexico. Back to West Wall https://www.watersedgemuseum.org/mexican-youth-playing-musical-instruments daily 0.75 2022-10-16 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1665962854520-MFO2G4RI5B5Z2KYBZ8MW/Mexican+Youth+playing+musical+instruments.JPG Mexican youth playing musical instruments - Mexican youth playing musical instruments ca. 1947 Watercolor and gouache on paper 26” x 22” Framed In this large-scale watercolor and gouache composition are two youths assembled under the shade of a large tree playing a guitar and a large bass for any passersby to enjoy. In analyzing the buildings in the background, it looks as though they are in the village of Ajijic, a lovely artistic community perched on the edge of Lake Chapala that was home to Ruth Starr Rose from 1946 until January 1949. Back to West Wall https://www.watersedgemuseum.org/rosendo-of-mexico daily 0.75 2022-10-16 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1665962923424-XWH0WEGF2T6X6870LSNF/DSC_2143.jpg Rosendo of Mexico - Rosendo of Mexico ca. 1946 Color serigraph 18” x 13” Framed In Rosendo of Mexico, Rose shows a confident young boy whose face and large hat stand out from the print’s flattened, decorative background. A palm tree, as well as the predominating palette of greens and sandy browns, situates the sitter in the village of Ajijic. He is wearing a fine green shirt with a collar and clean overalls. His modest appearance is elevated by his happy, lighthearted expression of his reserved smile and tilted head. Back to West Wall https://www.watersedgemuseum.org/burro daily 0.75 2022-10-16 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1665962990765-9PIS3GIEO47WX1GUOXE1/Serigraph+%283%29.JPG Burro - Burro ca. 1948 Color serigraph 12” x 16” Framed A colorful hammock invites the viewer into the composition. On the other side of the hammock is a steadfast burro, who stands in front of palm trees and fruiting banana trees. The rustic setting expresses the gentle qualities of life in rural Mexico, and the tranquil experience that awaits all who are lucky enough to spend time living among the people there. Back to West Wall https://www.watersedgemuseum.org/el-milagro daily 0.75 2022-10-16 https://images.squarespace-cdn.com/content/v1/5ffdeacf8e3d4510ab03103a/1665963099552-65QCT31O2JDH4H426ZIY/1949+Mexico+El+Milagro+serigraph.jpg El Milagro - El Milagro ca. 1949 Color serigraph 15 ½” x 10 ¼” The main focus of this color serigraph is a young girl with two long braids who is kneeling with her hands held clasped in prayer as she worships a figure of the Madonna and heart-shaped religious votive at an outdoor shrine in her small village in Mexico. She is experiencing a miracle, as she quietly looks up to witness a beam of light coming down from the heavens piercing through the top of the sanctuary and illuminating her angelic face. The women around her are calmly going about their daily routines, carrying parcels from the outdoor market and the red-tiled stucco buildings and abstracted landscape present a well-ordered environment. 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