You searched for: "association for gravestone studies" (page 5 of 5)

Michael Cornish first became interested in gravemarkers while writing a senior thesis at the Massachusetts College of Art, and since that time, he has prepared numerous exhibitions of his photographic work and conducted important research on colonial markers. Widely known for his work on the carver Joseph Barbur of West Medway, Mass., and a group of “tendril carvers” in southeastern Massachusetts, Cornish speaks frequently to historical societies around Massachusetts, delivering slide shows tailored to the particular area. An inventory photographer for the City of Boston’s Historic Burying Ground Initiative, he has also consulted for several towns regarding the preservation and rehabilitation of their burying grounds. As a member of the AGS Board of Directors, Cornish has worked in various capacities and played an active role in organizing and participating in the annual conventions, programs, exhibits, and tours.

The Cornish Collection includes many thousands of photographs and direct rubbings of early New England gravestones, primarily in Massachusetts and Connecticut, focusing on their beauty and artistic merit. Originally inspired by the work of Harriette Merrifield Forbes, and encouraged by Dan and Jessie Farber, Cornish photographed in a variety of formats, including Kodachrome transparencies, black-and-white negatives, and black-and-white prints. The collection also includes research notes relating to his work on Barbur and other stonecarvers.

A resident of New Braintree, Massachusetts, Carol Andrews became interested in the work of gravestone carvers when working on the history of her local cemetery. She has subsequently conducted research on the history and production of carvers from central and western Massachusetts during the eighteenth and early nineteenth centuries.

The Andrews Collection contains photographs and research notes arranged in alphabetical order regarding the work of identified Massachusetts carvers. Among the names represented in the collection are Abercrombie, Codner, Colburn, Daugherty, Geyer, Hartwell, Hastings, Kenfield, Kilburn, Kinney, Lewis, New, Park, Pool, Pratt, Rankin, Reed, Sikes, White, and Woods. Andrews assembled more comprehensive representations of the work of the Soules (Beza Sr. and Jr., Coomer, et al.), William Young, and Thomas Harmon. The collection also includes some correspondence with Vincent Luti and Robert Drinkwater relating to her research.

While working as caretaker for veterans’ graves in 1966, Edward H. Duane became concerned about the deterioration he saw affecting the older tombstones. A resident of Leicester and (after 1968) Paxton, Mass., Duane was employed for many years as a shipper for companies in nearby Worcester, but preserving the information on tombstones became his calling. Over the following years, he made hundreds of rubbings of New England tombstones, teaching the technique at workshops and classes throughout the region. Among other works, he was author of The Old Burial Ground, Rutland, Mass., 1717-1888 (1983).

The Duane Collection contains an array of materials used by Edward Duane in his stone rubbing workshops in the 1970s and 1980s, along with newsclippings and short publications on New England gravestones and gravestone preservation. Among other items is an early essay of his, “Old New England Headstone, 1668-1815” (1967), accompanied by related correspondence from Allan Ludwig.

A senior archives and records management specialist at the New York State Archives, Warren F. Broderick has published extensively on topics ranging from gravestone carving to the history of the upper Hudson River Valley. He is co-author of Pottery Works (1995), editor of a new edition of Granville Hicks’s Small Town (2004), and a contributor of numerous journal articles of historical subjects.

The Broderick Collection includes photographs of tombstones in Old Catholic Cemeteries in, Lansingburgh and Lebanon Springs, N.Y., and St. Josephs Cemetery, Pittsfield, Mass. The collection includes a folder of slides taken of St. Josephs Cemetery by Barbara Rotundo.

Born in Cheshire, Conn., in 1822, Joseph Dudley learned “the marble business” from his father Elias, who had in turn been trained by David Ritter of New Haven. A staunch Methodist swept up in the religious ferment of the Second Great Awakening, Dudley joined his father’s business as a stonecutter in about 1845 and notes that he was among the first to letter tombstones in the rural Ever Green Cemetery in Woodstock, Conn., when it opened in 1848. He later worked in Meriden, Conn.

By generations, this volume has served as an account book, diary and memorandum book, memoir, geneaological record, and scrapbook, with each layer accumulated over all previous. Dudley’s memoir (beginning p. 78) includes a discussion of his upbringing in Cheshire, the tumultuous religious revivals during the 1840s and his reception into the Methodist Church and the Millerites, and much on his introduction to the marble business and work as a stonecutter through about 1853. The diary somewhat erratically covers the years 1873-1893.

Beginning in the early nineteenth century, the small town of Alford in far southwestern Massachusetts was the site of significant marble quarrying operations. Highly profitable for several decades, the quarries began to decline in profitability by mid-century when new sites became accessible by rail. By the early 1870s, the Alford Marble Works stood as one of the last quarries in the region to remain active.

The Alford Marble Works ledger includes pay and work records for quarrymen during its last years of operation. Although the Marble Works is sometimes recorded as suspending activity in 1872, it is clear from these records that their work continued through the end of 1873.

A local historian and photographer from Dorchester, Mass., and an official in the Dorchester Historical Society, Robert Bayard Severy was born on October 11, 1944, at the New England Hospital for Women and Children in Roxbury, Massachusetts. After high school Severy attended Suffolk University and received a certificate from the Franklin Institute in Photography in 1967. For over 32 years, he was employed in the Human Resources Division of the Commonwealth of Massachusetts, pursuing his interests in photography throughout and documented the changing streetscapes of Boston and nearby towns. Since the early 1980s, Severy has documented gravestones in New England cemeteries.
The Severy Collection includes nearly 2,000 black and white prints (with some color) of gravestones in cemeteries in Massachusetts and Vermont. The collection is arranged by town and cemetery, and includes particularly good documentation of gravestones in Barnstable, Boston (Old Granary, King’s Chapel, Copps Hill), Brimfield, Dorchester (Cedar Grove, Dorchester North), Manomet (Manomet), Newbury (1st Parish), Norwell (First Parish), Quincy (Hancock), Watertown (Mt. Auburn), and Weymouth (Old North, Mt. Hope, Fairmount) in Massachusetts; and Bennington and Wilmington, Vermont. Larger collections of Severy’s work can be found in many other institutions, including Historic New England, The Bostonian Society, The Boston Athenaeum, The Boston Public Library, University of Massachusetts Boston, and several local public libraries and historical societies.

A folklorist at Indiana University Kokomo for many years, Susanne S. Ridlen is noted for her research on grave markers in the Midwest. Her dissertation at Indiana University was on tombstones carved to mimic tree-stumps, a rustic form of funerary monument that enjoyed a vogue during the late nineteenth century. Ridlen’s research culminated in publication of her book Tree-Stump Tombstones: A Field Guide to Rustic Funerary Art in Indiana (Kokomo, 1999).

The Ridlen collection provides an extensive visual record of tree-stump tombstones in Indiana. Organized by county, town, and cemetery, the collection typically includes several views of each marker along with documentation of the individual(s) interred, the date of creation, inscriptions, and any other design motifs employed. These images and data form the basis for Ridlen’s Tree-Stump Tombstones.

Edwin S. Dethlefsen and his colleague James Deetz did pioneering work in the historical archaeology and material culture of seventeenth- and eighteenth-century gravestones in New England. Through a series of articles in the mid-1960s, based on intensive study of well documented sites in Massachusetts, Deetz and Dethlefsen developed a basic framework for understanding the stylistic evolution of gravestones. Their work was foundational for later studies in material culture and folk art, but also the broader study of death and bereavement and colonial culture.

The Dethlefsen Collection consists of nearly 2,900 negatives (black and white, 35m and 2×2″) of gravestones, primarily from eastern Massachusetts and Newport, R.I. Among the towns documented are Boston, Cambridge, Charlestown, Concord, Dorchester, Harvard, Lexington, Marblehead, Marshfield, Plymouth, Quincy, and Scituate.

An industrious artisan with a wide custom, Jonah B. Griswold made gravestones and sepulchral monuments in Sturbridge, Mass., during the three decades saddling the Civil War. Making 20 or more stones a month, Griswold had clients throughout southern Worcester County, including the Brookfields, Charlton, Wales, Woodstock, Warren, Brimfield, Union, Oxford, Worcester, Southbridge, Holland, New Boston, Spencer, Webster, Dudley, and Podunk, and as far south as Pomfret, Conn.

The four volumes that survive from Griswold’s operation include: record of cash expenditures for personal items, 1843-1876, combined with accounts of work performed for Griswold and daybook with records of marble purchased and stones carved, 1861-1876; daybook of cash on hand 1841-1842, with accounts of stone purchased and stones carved, April 1843-1849; daybook of stones carved, 1849-1860; and daybook of stones carved, 1855-1876. Griswold seldom records inscriptions, with most entries restricted to the name of the client and/or deceased, location, and cost, such as: “Oct. 14. Brookfield. Stone for Mr. Woods child 25.43” Prices during the antebellum period ranged from $10 (half that for infants) to over $140, with larger monuments going higher.