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--Derick
Hello Seekers:
First of all, I have lost track of Diane at: blankenstein(a)starext.com.
She was interested in the first name of Greenberry as in Greenberry
CHANEY. Maybe she will see this as it is being shared to the CHEYNE-L
subscribers; and, maybe some of you have a Greenberry as a first name in
some of your ancester records.
First is a msg. from back on 29 Oct 1997 from: Al WOOTTEN, Deltaville,
VA: awootten(a)NRAO.EDU ---
msg. looks like this:
Nicholas Greenberry was
person: Nicholas GREENBERRY
x born: ____ _____ 1627, England.
x died: 17 Dec 1698, Annapolis, MD
x father:
x mother:
x spouse: Ann GREENBERRY, cb. 1669, England.
x child: Katherine GREENBERRY, b. 1669, England; d. 1725.
x child: Charles GREENBERRY, b. England.
x child: Ann GREENBERRY, b. 1676, MD.
x child: Elizabeth GREENBERRY, b. 1678; d. 1719, MD.
Col. GREENBERRY came to America in 1674 on the ship, "Constant
Friendship" with son Charles amd daughter Katherine, amd settled at
Greenberry's Point, Arundel Co., MD. He was County Commissioner
1686-1689, Member of the of 20' 1690, Member of Council of Sir Lionel
Copley 1692-1697, President of the Council and Acting Governor of
Maryland 1693-1694, Chancellor of Provincial Judge Admiralty and
Commissioner in Chancery 1695, Captain of the Fort 1.
He was a Royalist, opponent of Lord Baltimore. He lived at Greenberry
Point, across the Severn from Annapolis on the Bay, now a site occupied
by countless radio towers. He is buried at St. Anne's in Annapolis.
Many descendants through the female line were given the name Greenberry
as a name apparently in his honor. A similar tradition came through the
TOWNSHEND family of the northern neck, and the neighboring DADE family.
I have a collection of some of the myriad of folks named "Townshend DADE
at my site.
website is: http://www.cv.nrao.edu/~awootten/
genealogy homepage is: http://members.tripod.com/~astral
=============================================
and another GREENBERRY interesting one -
Wynelle HOLDEN: DonHolden988(a)worldnet.att.net
lists -
Wynelle CHANEY 1933, Taylor Co., TX __ (6), Louie Comumbus (Lum) CHANEY
18 Taylor Co., TX (5), William Greenberry CHANEY, 1860, Blount Co., AL
__(4), George Washington CHANEY 1835, Rhea Co., TN (3), Charles CHANEy?
1801 (20 TN, William CHANEY? (1) died Jefferson Co., TN, 1880 Census, AR
lists Charles with father born VA.
above is from some sort of 'list' - am not just sure now how I got a
copy of this ------
======================================
the following is from the BALTGEN-L list that I subscribed to once:
Col. Nicholas GREENBERRY was quite a famous Indian fighter and political
figure of early 17th Centery Anne Arundel County, Maryland. His
children (including several daughters) and grandchildren married with
many of the other notable families of early Maryland, and the given name
Greenberry continues to this day amongst their descendants. In
addition, there seem to have been others in the ensuing years who were
named in honor of him, but not directly related. I don't know what the
attraction is for this name, but it has spread from Maryland, through
every generation and place where his descendants migrated.
Phil Stackhouse...........merlin(a)clark.net
================================
The above is all I have found on any GREENBERRY, first or surname.
===============================
Trust no one objects to my sending this data in this format - couldn't
quite figure out who else to do it.
Have a great week ahead! Shirley: bobert(a)panacom.com
Latest news on RootsWeb server problems:
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The new server first booted on Friday night, and after working on it
all day Saturday we attempted to bring it online Saturday night when
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And we failed.
Failed because it turned out we had to do an OS upgrade on the new
server to handle some of its hardware.
So last night we did some additional tunes on the old server, and
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RootsWeb Genealogical Data Cooperative http://www.rootsweb.com/
P.O. Box 6798, Frazier Park, CA 93222-6798 leverich(a)rootsweb.com
You may be aware of what an escheat is but for those that don't, it is money
or property that has reverted to the state or state agency. This may be in
the form of stocks, bonds, tax refunds, security deposits or whatever. The
reason the state has taken possession is usually because they can't find the
party to whom it is due.
There is a web page ( http://www.foundmoney.com/cgi/search.asp ) that lists
folks that are owed money. There is a $10 charge to provide the information
if your name is listed below.
If you know what state has money that may be yours and visit
http://www.unclaimed.org. there is NO CHARGE.
Check the list and see if your name is here:
CHEYNE B C, amount provided by holder
CHEYNE DONALD, amount provided by holder
CHEYNE DOUG, claim $93.72
CHEYNE ELAINE K., amount provided by holder
CHEYNE ELLOIT & SL, amount provided by holder
CHEYNE ERNEST, claim $100.00
CHEYNE ESTATE OF WAL, claim $921.85
CHEYNE GEORGE W, amount provided by holder
CHEYNE HENRY DUNCAN, amount provided by holder
CHEYNE IAN AND/OR K, amount provided by holder
CHEYNE JAMES, amount provided by holder
CHEYNE JENNIFER, claim $140.65
CHEYNE KAY, claim $51.65
CHEYNE M. AND/OR NA, amount provided by holder
CHEYNE MARJORIE, claim $100.68
CHEYNE MARK, amount provided by holder
CHEYNE MICHAEL S, claim $1,592.86
CHEYNE PAMELA, claim $107.79
CHEYNE PERLA, amount provided by holder
CHEYNE R M, claim $200.85
CHEYNE RON, amount provided by holder
CHEYNE RONALD R, amount provided by holder
CHEYNE WILLIAM, claim $80.23
CHEYNE WILLIAM, claim $168.76
CHEYNE-SALVATIERRA AMADA, claim $95.28
CHEYNEY A, claim $136.03
CHEYNEY ALEX T, amount provided by holder
CHEYNEY ASSOCIATES, claim $216.21
CHEYNEY DAVID, amount provided by holder
CHEYNEY HOWARD III, amount provided by holder
CHEYNEY JO, amount provided by holder
CHEYNEY JOSEPH H, claim $410.19
CHEYNEY LINDA D, amount provided by holder
CHEYNEY MARGARET K, claim $87.25
CHEYNEY MAUREEN % CHITTEN, amount provided by holder
CHEYNEY RALPH, claim $204.64
CHEYNEY ROBERT W, claim $116.78
CHEYNEY S A & RUTH A, claim $58.16
CHEYNEY STEPHEN, amount provided by holder
CHEYNEY TERESA, claim $129.51
CHEYNEY THOMAS E, amount provided by holder
CHEYNEY TOM, amount provided by holder
>At 09:58 AM 6/5/98 -0700, you wrote:
>>Hi, just wanted to put in my 2 bits worth. As an alternate to rubbing,
>>after the area of the stone has been cleansed or brushed, squirt it
>>with shaving creme, then you can use a card or your hand to quickly wipe
>>the shaving creme from the non-indented area. This will provide a
>>simple contrast media for picture taking. This proceedure is quicker
>>and involves fewer supplies to carry around when you are traveling out
>>of a flight bag. Inexpensive squirt bottles or your grandchild's water
>>gun can then be used to rinse off the shaving creme. Happy Hunting!
>>
While this method may produce good results for *YOU*, it has a very
destructive effect on the stone. If you want a good example, try this on the
paint of a car (like folks sometimes do to the groom's car at weddings).
Leave it on a for a few hours and take a look at the paint job (or "former"
paint job). And this is with a non-porous surface! The porous surface of a
gravestone absorbs the phosphorus ingredients of the shaving cream and
breaks down the structure. While it will give you the opportunity for great
pictures, those coming along at a later date will be faced with names and
dates that are much more difficult to read that the ones you read. The Assn.
of Gravestone Studies (http://www.berkshire.net/ags/) HIGHLY recommends
against this practice, even if the substance is washed off afterwards.
--Derick
THE ASSOCIATION FOR GRAVESTONE STUDIES
GRAVESTONE RUBBING FOR BEGINNERS
by Jessie Lie Farber
Part 2
AGS PUBLICATIONS
Farber, Jessie Lie, "Gravestone Rubbing for Beginners." Published
by AGS, 30 Elm Street, Worcester, MA 01609.
Instruction for getting started right, written with special
concern for the gravestones being rubbed. Recommended for
anyone unfamiliar with rubbing using rubbing wax or
lumberman's chalk or crayon, especially teachers or group
leaders planning to introduce gravestone rubbing to others.
6 pages. $1.50; members $1.00.
Farber, Jessie Lie, "A Technique for the Experienced Rubber."
Published by AGS. 30 Elm Street, Worcester, MA 01609.
Instruction in using oil paint to make rubbings on tough,
thin paper such as acid free tissue paper used by art
museums for packing art objects. 3 pages, $1.50; members
$1.00.
Duval, Francis, ed. The AGS Series of Regional Guides to 17th and
18th Century Graveyards. Published by AGS, 30 Elm Street,
Worcester, MA 01609.
This series is in preparation, with two guides now
available:
Guide 1, to the graveyards of the Narrangansett Bay area
(eastern Rhode Island and parts of southern Massachusetts),
by Vincent Luti. 17 pages. $4.50; members $3.50.
Guide 2, to the graveyards of Long Island, New York, by
Richard Welch. 16 pages. $5.50; members $4.75.
Each guide gives directions and information about the stones
to be found in choice yards in the area. Excellent
illustrations.
THE ASSOCIATION FOR GRAVESTONE STUDIES
A TECHNIQUE FOR THE EXPERIENCED RUBBER
by Jessie Lie Farber
NOTE: Whether you are an experienced rubber or a beginner, this
information sheet should be read after reading the information
sheet, "Gravestone Rubbing for Beginners," available from the
Association for Gravestone Studies, 30 Elm Street, Worcester, MA
01609.
An increasing number of early graveyards restrict stone-rubbing,
and for good reason: an inexperienced rubber or a careless one
can do permanent damage to historically and artistically precious
old gravestone carvings. The technique described here is one that
poses the particular threat of getting paint on the stone, a
defacement difficult if not impossible to correct. For this
reason, the technique is not recommended for use by anyone
without considerable experience in the art of gravestone rubbing.
MATERIALS NEEDED
Use a tough, thin paper considerably larger in size than the area
to be rubbed. An art supply store will have a number of papers to
choose from. To find the paper you prefer to work with will
require experimenting with an assortment of papers. Among those I
can recommend are "cigarette paper," model airplane paper, and
the acid-free tissue used by art museums for packing art objects.
Masking tape, for fixing the paper to the stone.
A pad of writing paper and a pencil, for noting data about the
stone.
(Optional) A few paper clips for attaching these notes to your
rubbings.
Tube(s) of oil paint.
A roll of paper towels.
An applicator. I use a 3" or 4" section of discarded nylon
stockings or pantyhose. A piece of felt can also serve as an
applicator.
Scissors, for cutting the nylon or the paper.
A palette. A small (about 5" x 7") piece of masonite will serve
satisfactorily.
A soft brush, for cleaning dust off the stone.
A spray bottle of water, for washing bird dung or other foreign
matter from the stone.
(Optional) Absorbent cloth, for wiping or drying the stone.
A soft wood stick, such as an ice cream stick, for removing small
deposits of lichen from the stone.
Paper or plastic bags for trash, such as discarded masking tape
and paper towels, and a container for carrying all this into the
graveyard.
(Optional) A thin rubber glove to protect the rubbing hand from
paint.
Because skill is required to control the application of paint,
you should first experiment with this technique using objects
other than gravestones. Make experimental rubbings of tiles, book
covers. iron gratings, pressed flowers or leaves glued to a sheet
of paper or cardboard, even raised wood grain--anything with a
surface design in relief. Experimenting with a variety of papers
and surfaces will help develop the skill needed to successfully
use the gravestone rubbing technique described here. Only after
you have achieved some good rubbings and are confident that you
can control the paint and will not deface the object being rubbed
should you proceed to the graveyard for the purpose of using this
rubbing technique on an old gravestone. Even then, you should
first make some gravestone rubbings using rubbing wax (available
from Oldstone Enterprises. c/o Ray Bentley, 186 Lincoln Street,
Boston, MA O2111, telephone 6l7/542-4112) or lumberman's chalk,
available at many hardware stores. Rubbing with these materials
will give you valuable experience with the texture, shape and
carving of the stones without the threat of defacing them with
paint.
THE TECHNIQUE
1. Study the stone. Determine whether or not it is sound. A
stone with cracks, spalling, an eroded surface, or a hollow
sound when lightly thumped with a finger should not be
rubbed.
A stone that is cut in high relief cannot be successfully
rubbed using this technique. Sharp protuberances such as the
nose on a carved face are especially hazardous as these
protrusions tend to break the paper and allow paint to
penetrate onto the stone.
2. Clean the stone, carefully. This rubbing technique is very
sensitive and will show any particles of dirt, lichen, or
erosion. Avoid eroding surfaces. Avoid stones with more than
a few small spots of lichen. Do not use anything but water
to wash the stone. Experiments have shown that a chemical
added to the water can result in damage that sometimes
becomes apparent years later.
3. Record data. If you are eager and enthusiastic to make your
rubbing, you may be tempted to record the data after you
finish your rubbing. However, experience will probably teach
you that an interruption (such as rain) or fatigue, or
simple memory failure will eventually result in your failing
to make the notes if you wait.
I suggest you record the location, name of the deceased,
death date, the stonecarver (if known), and the date the
rubbing is made. If you do not rub the whole stone, you may
want to transcribe the inscription.
4. Cover the area to be rubbed with paper and secure it firmly
to the stone with masking tape. To protect the stone, the
paper must be considerably larger than the area to be
rubbed.
5. Using your finger, rub the paper against the stone,
indenting the paper where the stone is incised. This is a
laborious process and one that is often omitted, but it is
worth the labor. Omitting this procedure insures that the
quality of the rubbing will be inferior.
6. Apply paint to the applicator. Wrap a small section of nylon
around the index finger of your rubbing hand. Squeeze a
pea-size dab of oil paint onto the pallet. Using the covered
finger, rub this dab into the applicator (the nylon covered
finger or the felt or the dauber).
7. Test the paint on the applicator by rubbing it onto a paper
towel. Experience is needed to determine whether there is
too much or too little paint on the applicator, and whether
it is evenly spread.
8. Carefully, rub the applicator over the incised surface of
the paper. As you rub, the image of the carving will appear.
With experience, you can emphasize certain areas of your
rubbing, making them darker or lighter. Colors can be used,
and mixed. (I like to make a rubbing the color of the
stone.)
One dab of paint may be enough to rub an entire stone--or it
may not, in which case you will add paint to the applicator.
One piece of nylon is usually adequate for rubbing a stone,
but it may wear, causing streaks as you rub, and need
replacement. Experimenting and patience are the required
ingredients for proceeding with the rubbing process. This is
where you can be creative, and where each person's work
differs from anyone else's.
9. When you are satisfied, remove the rubbing and place it in a
safe place, out of the wind and away from the threat of
moisture. Attach your notes to it with a paper clip.
10. Clean up trash. Collect your rubbish (the used masking tape,
paper towels, and anything else you want to discard) and put
them in your trash bag. Try to leave the yard neater than
you found it.
11. After it is dry, roll your rubbing(s) onto a cardboard tube
for storage.
12. You may want to mount your rubbing on museum board. I
suggest you do this with dry mounting tissue. This tissue is
available in photo supply stores, which can also give you
directions for its use. Or you can have the job done by a
professional framer. If you decide to do the mounting
yourself, you should first mount a practice rubbing, or a
blank sheet of rubbing paper. It is very discouraging to
spoil one's work at this stage.
13. If you mount your rubbing, it is possible to "clean it up"
using an eraser. The eraser on a pencil will do, but if you
make many rubbings, you may want to purchase an Eberhard
Faber Pink Pearl Soft Pencil Eraser #4-00, or something
similar.
14. Sign your rubbing and, using the data you recorded, label it
by name of deceased, date, location, etc. I suggest you do
this with a lead pencil.
15. (Optional) Spray your rubbing. Number 1301 Krylon Acrylic
spray coating, available at art supply stores, will protect
the finished product from smudging and from dust.
ESTABLISHING RUBBING/DAUBING CRITERIA
The practice of making gravestone rubbings has aroused
controversy, notably at the 1976 Dublin Seminar(12). Some
communities and the entire state of New Hampshire have restricted
rubbing to those who have obtained a permit. Ideally, such
legislation should also require that the applicant demonstrate
competence in the acceptable rubbing technique before being given
a permit. Such steps have been taken because of an increasing
number of incidents where stones have been defaced by careless
applications of wax or ink. A very serious example of such
accidents has occurred in Columbia, Connecticut; the Lydia
Bennitt stone (Ludwig, plate 244), one of the most beautiful
marbles in New England, has been disfigured, perhaps permanently,
by a black ink-like substance, presumably applied by a person
using an Oriental style wet ink rubbing technique.
Persons taking rubbings from gravestones must understand that
stones differ in their fragility. While a sound stone can be
rubbed with perfect safety, many are so delicate that touching
the surface could cause the detachment of a major portion of the
design. Connecticut Valley sandstones are particularly
susceptible to damage from handling, but every stone should be
examined carefully before rubbing. If cracks can be seen, if a
hollow sound is heard when the face of the stone is tapped
lightly with the back of a fingernail, or if grains become
detached when the stone is rubbed with the fingertip, the stone
should not be rubbed.
Even greater caution should be exercised in making three
dimensional castings of gravestone designs. Casting materials
which might penetrate or stain a stone, or release compounds
which could eventually discolor and become insoluble, such as
vegetable oil aerosols like Pam, should never be applied to the
surface of a gravestone.
Enforcing rubbing standards is difficult for municipalities,
especially since most rubbings are done on weekends, when offices
which issue permits and offer advice and guidelines are closed.
Therefore, the task may be left largely to word-of-mouth
transmission by interested individuals.
Patrick Crocker pcrocker(a)aone.com
For any interested gravestone cleaners, this site was recently posted to one
of the lists:
http://www.oklahoma.net/~davidm/caretom.txt
For the reader with questions about the care of gravestones and how to
obtain rubbings, I offer this which appeared on NORTHEAST ROOTS list
---------------------------------------------
THE ASSOCIATION FOR GRAVESTONE STUDIES
GRAVESTONE RUBBING FOR BEGINNERS
by Jessie Lie Farber
RUBBING
Rubbing is what you did as a child when you placed a scrap of
paper over a coin and brought up the coin's design by covering
the paper with pencil strokes. Using different materials, this
technique can be used to reproduce the relief design of any
surface. It is an ancient technique which originated in the
Orient and which, like etching and other printing techniques, is
employed by artists today to made original prints. Using this
technique to make a print of the carving on a gravestone is
GRAVESTONE RUBBING.
WHY MAKE A RUBBING?
A gravestone rubbing is an excellent document, accurately
reproducing, life-size, the design and surface condition of the
stone. Rubbings are, therefore, useful as records. Some rubbings
are works of art in their own right and are in the collections of
galleries and museums. Unfortunately, most rubbings are ephemeral
novelties, souvenirs, which find their way to dorm and den walls
on their way to the waste basket--hardly a justification for
encouraging the novice rubber, armed with coloring materials, to
try his hand on handsome and vulnerable old gravestones.
The Association for Gravestone Studies offers this introduction
to gravestone rubbing because the increasing popularity of the
activity without guidance is a threat to the stones. In addition,
it is our hope that getting to know the stones through rubbing
will encourage respectful interest in them and result in strong
community support for their care.
MATERIALS NEEDED
Kits containing rubbing supplies are sold at stationery and art
shops in areas where stone rubbing is popular. However, all you
really need for a good start is:
Masking tape. Scissors for cutting your paper.
A bottle of water and soft brush for gently cleaning dust and
bird droppings from the stone.
Paper. For the beginner an average weight wrapping paper works
well and is cheap. Later you may want to try a rice paper, vellum
tissue or even a thin pellon (interfacing material).
Rubbing wax or lumberman's chalk. Rubbing wax is available in
many art supply stores. I prefer the inexpensive lumberman's
chalk found in most hardware stores. If you use chalk you may
want to spray your finished rubbing to prevent smearing. Art
stores carry fixing spray.
CHOOSING A STONE
Beginners often choose stones from which a good rubbing cannot be
made. If you choose a "good" stone. you have an excellent chance
of producing a satisfying and encouraging print on your first
try. Avoid rough stones, stones which are eroded or otherwise
damaged, stones on which there is lichen. To get a good, clean-line
print, the stone carving must be sharply but not deeply cut.
Rounded, high relief carving will cause you to tear the paper as
you rub, and you will risk defacing the stone with color. Note
any hollowness or separation or flaking on the face of the stone.
Any pressure or friction on the face of an unsound stone can
seriously damage it.
PROCEDURE
Cut a piece of paper considerably larger than the stone or the
part of the stone you plan to rub. Be generous with the paper; it
protects the stone from your chalk or wax.
Tape the paper tightly and securely to the clean stone. It is
best to fold the paper over the sides and top of the stone and
tape its edges to the back of the stone.
Using the broad, flat area of your chalk or wax, lightly stroke
the paper and watch the design appear. When you can see the
design rather well, use the end of your chalk stick or wax bar to
fill in and darken your print. You will decide when your rubbing
satisfies you and is finished.
Remove your print and put it where it will be protected from
sudden showers or gusts of wind while you are in the graveyard.
You will want to record the name of the deceased, death date,
location of the graveyard and the date the rubbing was taken. If
you rub only the ornamental carving rather than the whole stone,
you may want to copy the stone's full inscription for your
record.
CAUTION AND RESPONSIBILITY
As you practice and improve your skill, you will probably try
other techniques and materials, eventually choosing for yourself
those which best suit your rubbing style and your taste. A first
and vital consideration as you experiment with materials and
techniques is the protection of the stones. Some papers and
coloring materials allow color to penetrate onto the stone.
Experiment elsewhere. Do not use questionable methods on the
gravestones.
Because old gravestones are an important part of our national
heritage, you should be as careful with them as you are when
handling other ancient folk art treasures. Many rubbers are not
careful, For this reason, some cemetery associations do not allow
stone rubbing. Some require the rubber to register. You will want
to respect the graveyard's requirements and leave the stones and
the area as you found them.
Following is an annotated list of books and articles about
rubbing. Many of the publications are out of print, but they do
occasionally appear on remainder lists, and some are available in
libraries.
HARDCOVER
Andrew, Laye, Creative Rubbings. Watson-Guptill Publications, 165
West 46th Street, New York, NY 10036, 1972.
Introduces rubbing as a fascinating craft with "an immediate
appeal to children and adults whether or not they consider
themselves artistically gifted." Easily-followed steps for
creating both the rubbing and the subject to be rubbed. No
mention of gravestones, yet of interest to any rubbing
enthusiast. An attractive book, half illustrations, half
text. 96 pages.
Bodor, John J., Rubbings and Textures: A Graphic Technique. Van
Nostrand Reinhold Company, 450 West 33rd Street, New York, NY
10001, 1968.
An excellent and thorough description of five techniques for
rubbing a wide variety of subjects from all over the world.
A separate chapter on New England gravestones as rubbing
subjects, and a chapter each on the historical background of
rubbing, suggestions for teachers, and suggestions for
cataloging, storing, displaying and photographing rubbings.
Highly recommended.
Jacobs, G. Walker, Stranger Stop and Cast an Eye: A Guide to
Gravestones and Gravestone Rubbing. The Stephen Greene Press,
Brattleboro, VT 05301, 1973.
Contains a section on the history of grave symbols and
stonecutters, followed by a section on five rubbing
techniques. Good step-by-step descriptions. Well
illustrated. 123 pages.
Neal, Avon and Ann Parker. Early American Stone Sculpture Found
in the Burying Grounds of new England. Sweetwater Editions, New
York, NY, 1981. Available from AGS.
This is not a book about rubbing. We mention it here because
of the quality of the full-page rubbings in the book. Neal
and Parker have introduced 42 of New England's most
interesting gravestones, each in a double-page spread: on
one page a rubbing of a detail, on the other, the
inscription, information about the stone, and a photograph
of the whole stone . This handsome book sold for $395, which
includes an original rubbing by the artist/authors.
According to the New York Times review of the book--and we
agree--it is well worth that price. A gift from the
publishers makes it possible for AGS to offer a limited
number for contributions to AGS of $150. First come, first
served. Address AGS, 46 Plymouth Road, Needham. MA 02192.
115 oversized (11" x 16") pages.
Tashjian, Dickran and Ann, Memorials to Children of Change.
Wesleyan University Press, Middletown, CT, 1974.
Like the Neal/Parker book, this is not a book about rubbing,
but it is listed here because Ann Tashjian's rubbings will
inspire anyone who has ever made a rubbing. The text
compares the carvings on early American gravestones with
other examples of art. 309 pages.
SOFT-COVER
Diandrea, Phyllis M., Rubbing Off History: A Guide to New England
Gravestones and Rubbing and Casting Technique. Published by the
author, 142 Palfrey street, Watertown, MA 02171, 1975.
Offers glimpses a bit broader than those found in most slim,
pamphlet-type publications for beginners. Brief sections on
history (stonecarvers, symbols, epitaphs) and on technique
(wax and foil). Illustrations poor and poorly reproduced. 29
pages.
English Brass Rubbing Centre, Brass Rubbings. 803 South Inglewood
Avenue, Inglewood, CA 90301, no date.
A catalog of rubbings, lectures, and activities offered by a
California rubbing center. good illustrations of rubbings
made from replicas of England monumental brasses. Also
prices for making your own rubbings and for ordering custom-made
rubbings; also for ordering rubbings made in England
from the original brasses. 27 pages.
Firestein, Cecily Barth, Rubbing Craft: How to rub doors,
letterboxes, gravestones, manhole covers, and how to use these
designs to make jewelry, T-shirts, needlepoint and more. Quick
Fox, A Division of Music Sales Corporation, 33 West 60th Street,
New York, NY 10023, 1977.
A wide-ranging treatment of rubbing and of ways to use
rubbing designs in other crafts. Of interest to the rubbing
enthusiast who wants to go beyond making the rubbing. Half
illustration, half text. The author teaches rubbing at the
New School in New York City. 95 pages.
Frisvell, Richard, Faces in Stone: The Early American Gravestone
as Primitive Art. Published by the author, 88 Beach Street,
Belmont, MA 02178, 1971.
The first edition of this small pamphlet was probably the
first of the spate of publications introducing gravestone
rubbing that appeared in the years preceding and following
the 1976 bicentennial celebration. It has been severely
criticized, and rightly so, for recommending the use of a
wire brush for cleaning stones, for recommending an ink
technique to beginners, and for other errors and
inaccuracies (e.g., recommending a late afternoon sun to
achieve a raking light for photographing stones). Its pen
and ink drawings are inadequate as illustrations.
Nevertheless, Friswell, a psychologist, wrote an insightful
introduction to the stones as they fit into early American
life and introduced many people to stone rubbing. The book
has had an impact, and collectors of books on the subject
will want to find and own a copy. 19 pages. By 1973, Faces
in Stone, with text revisions and better illustrations, had
gone into its fifth printing. A useful introduction. 19
pages.
Gillon, Edmund Vincent, Jr., Early new England Gravestone
Rubbings. Dover Publications, Inc., 190 Varick Street, New York,
NY 10014, 1966.
A three-page introduction that outlines the rubbing
technique used by the author is followed by a large and
varied collection of rubbings and photographs. No text.
'Notes on the Plates' are brief and are often inadequate and
inaccurate. The illustrations may be copied without
permission. About 200 unnumbered pages.
Kelly, Susan H. and Anne C. Williams, A Grave Business: New
England Gravestone Rubbings, a Selection. Art Resources of
Connecticut, 1979.
This excellent publication was published in conjunction with
a traveling exhibition of Kelly/Williams rubbings sponsored
by the Art Resources of Connecticut. In addition to a
catalog of the rubbings in the exhibition, with notations
about the work exhibited and the stonecarver, the
publication includes a sound and succinct introduction to
early gravestone art. A valuable addition to the library of
anyone interested in gravestone art. 42 pages
Kull, Andrew, New England Cemeteries: A Collector's Guide. The
Stephen Greene Press, Brattleboro, Vermont, 1975
Good directions for finding 262 interesting New England
cemeteries. Symbols are used to indicate whether the
cemetery is "unusually picturesque," has "interesting
carving," "Famous people," and/or "a grand style." Not
focused primarily on subjects for rubbing or on early
carvings; and by no means a complete list of yards
containing fine rubbing subjects. A big help to the serious
collector of rubbings, nevertheless. 253 pages.
McGeer, William J.A., Reproducing Relief Surfaces: A Complete
Handbook of Rubbing, Dabbing, Casting, and Daubing. Published by
the author, 102 Brimfield Road, Holland, MA 1972.
This small jewel of a book gives the reader professional
directions for rubbing and other techniques for reproducing
relief surfaces, with special emphasis on gravestones and
monumental brasses. The author is an artist and a
professional cast maker who has developed his own methods
for making molds and casts. He can cast a full size replica
(or a miniature one) of a stone, and has done so for the
Boston Museum of Fine Arts and other institutions.
Beautifully illustrated. A list of sources for materials is
included. 40 pages.
Marks, Glen K., Oldstone's guide to Creative Rubbing. Oldstone
Enterprises, Inc., 186 Lincoln Street, Boston, MA 02111, 1973.
Introduces gravestones, monumental brasses, historical
markers and collages as subjects for wax rubbings. Oldstone
Enterprises is the foremost supplier of rubbing materials.
Illustrated. 21 pages.
Smith, Elmer L., Early American Grave Stone Designs. Applied
Arts, Witmer, PA, 1968.
"A pictorial presentation of the often forgotten folk art in
the early graveyards of New Jersey, Pennsylvania, Maryland
and in Virginia." Comprised of drawings made from rubbings;
also some photographs. No text. Of interest in that it
introduces a number of little known stones. However, the
"Design Notes and References" are often inadequate and
inaccurate so that finding the stone is not made easy. 42
pages.
Wakin, B. Bertha, To Rub or Not to Rub: Being a Book on the Art
and History of Tombstones. Lith-Art Press, Woodstock, NY, 1976.
Touches briefly on symbolism, rubbing, documenting, and
using gravestones and rubbing to teach history and art.
Illustrated with poor rubbings. Not for the initiated. 72
pages.
Wasserman, Emily, Gravestone Designs: Rubbings & Photographs from
Early New York & New Jersey. Dover Publications, Inc., 180 Varick
street, New York, NY 10014.
An interesting, informative 31-page introduction to the
designs and the stonecutters is followed by a collection of
220 rubbings and photographs of New York and New Jersey
gravestones. Notes on the plates give information about the
designs illustrated, some of which is not accurate according
to current scholarship. A useful introduction to some of the
carving styles seen in these states. The illustrations may
be copied without permission. About 190 unnumbered pages.
Williams, Melvin G., The Last Word: The Lure and Lore of Early
New England Graveyards. Published by the author, Ludlow, MA,
1973.
A charming and useful introduction to gravestone studies and
gravestone rubbing, available from Oldstone Enterprises,
Inc., suppliers of rubbing materials (186 Lincoln Street,
Boston, MA 02111). Six pages are devoted to rubbing
instruction for the beginner. Includes a fold-out map
(credited to Ludwig's Graven Images) showing good yards.
Illustrated by the author, a professor of English and a
popular lecturer on gravestone art, and Ray Bentley, owner
of Oldstone Enterprises. 319 pages.
ARTICLES AND UNPUBLISHED PAPERS
Halporn, Roberta, "New York is a Rubber's Paradise." Center for
Thanatology Research, 391 Atlantic Avenue, Brooklyn, NY 11217.
1990.
Gives directions to and descriptions of several New York
City cemeteries that offer good rubbing and can be reached
by subway. Also mentions the London Brass Rubbing Center
where replicas of English Brasses can be rubbed (phone
212/879-4320). The author is a publisher of books on
thanatology and knowledgeable in the field of gravestone
studies. 11 pages.
Smaridge, Nora, "Tombstones, Manhole Covers and the Ancient Art
of Rubbing." The New York Times. Arts and Leisure Section.
Sunday, July 27, 1978.
A spin-off from the author's book on retirement hobbies. An
interesting overview of rubbing as a hobby, which probably
lured many readers into the graveyards with paper and wax.
One wishes the author had said more about good care of the
stones.
(continued in next message)
If you have experienced problems with mail, archives or RootsWeb pages
lately, this news from headquarters may explain what has happened.
--Derick
------------------------------------
> If we're lucky, we may be able to give the appearance of fully
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Last night Karen and I finished replacing the failing drive in the
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We were down for about 7 hours while we reconfigured the server.
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The bad news is that the old server is still overloaded. We had
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capacity problems.
We will probably have to continue disabling server-side includes
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that. ):
###
> The AOL/upstream problems affecting our listservers has delayed
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We now expect to be bringing the new server online early next week.
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