9 10 134 https://mail.slaverymonuments.org/files/original/79dbb3250a9613ab576f7b6c91f18367.jpeg 7c64c9087e25f85e2726b5ca979690ed Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The commemorative works under the theme of "Emancipation" include two different types of monuments and memorials: those focused on the end of slavery in the United States through the Emancipation Proclamation, and memorials to emancipation and liberation movements in the Caribbean. The forms of the monuments and memorials range from figurative sculpture such as <a href="https://www.slaverymonuments.org/items/show/1145" target="_blank" rel="noopener">Redemption Song</a> in Kingston, Jamaica; a series of gateways at the <a href="https://www.slaverymonuments.org/items/show/1214" target="_blank" rel="noopener">Camp Barker Memorial</a> located at Garrison Elementary School in Washington, DC; and the abstract forms of <a href="https://www.slaverymonuments.org/items/show/1162" target="_blank" rel="noopener">L'Arbre de la liberté</a> in Schoelcher, Martinique. Thomas Ball's <a href="https://www.slaverymonuments.org/items/show/1223" target="_blank" rel="noopener">Freedmen's Memorial to Abraham Lincoln </a>(1876) as well as Meta Warrick Fuller's <a href="https://www.slaverymonuments.org/items/show/1121" target="_blank" rel="noopener">Emancipation</a> (1913) are also included here as they represent early sculptural engagements with the theme in the United States. In the near future, we will add more commemorative works from the Caribbean to this theme including public art in Trinidad and Tobago, U.S. Virgin Islands, and Sint Maarten. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 84 in. (213.36 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Neg Mawon Emancipation Monument (Roseau, Dominica) Subject The topic of the resource Subject (Topic) Dominica--Roseau Enslaved persons--Emancipation--Dominica Freedoom Maroons--Dominica Public art Public sculpture Slavery--Dominica Slavery--England Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource Standing resolutely forward, the muscular figure of a shirtless self-emancipated man ('neg mawon'), with broken shackles and chains around his wrists and neck, holds a conch shell to his lips. The bronze figure, located in the center of a traffic circle, celebrates the self-emancipated (maroon) societies that engaged in a sustained struggle against slavery and French colonialism. The work was unveiled during Dominica’s 2013 Emancipation Celebrations. Creator An entity primarily responsible for making the resource Zamora, Franklyn Date A point or period of time associated with an event in the lifecycle of the resource August 1, 2013 Contributor An entity responsible for making contributions to the resource Government of the Commonwealth of Dominica; Ministry of Culture; National Cultural Council. Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Turkey Lane and Victoria Street, Roseau, Dominica Has Part A related resource that is included either physically or logically in the described resource. Plaque next to monument: This monument is a symbol of freedom and emancipation. It is a tribute to all the enslaved Africans who suffered and were executed in the history of Dominica. It honours the Maroons who risked their lives to fight for the emancipation of all. It pays homage to those who were sold and executed at the Old Roseau Market and who were held at the Barracoon Building in Roseau before being sold and sent to the plantations. This monument salutes the memory of our African ancestors and the immense contribution of their skills to our early infrastructure and the development of agriculture in Dominica through the shedding of their blood, sweat and tears. It celebrates the powerful and lasting influence which our which our African ancestors had on Dominica's present day culture, especially in our forms of music, language, costumes and cuisine. This memorial is a reminder to all Dominicans that we should continue to sustain our African heritage and its many cultural expressions. Extent The size or duration of the resource. 84 in. (213.36 cm) Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: Ariane Colenbrander, <a href="https://www.flickr.com/photos/arianec/49267300456/in/album-72157712340816712/" target="_blank" rel="noopener">Flickr</a> Medium The material or physical carrier of the resource. Bronze Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dominica News Online. "Emancipation Statue Unveiled." August 2, 2013. Accessed February 15, 2025. https://dominicanewsonline.com/news/homepage/news/culture/emancipation-statue-unveiled/. Government Information Service. "Emancipation Monument Officially Unveiled." Government of the Commonwealth Dominica. August 6, 2013. Accessed February 15, 2025. https://news.gov.dm/news/news-items/emancipation-monument-officially-unveiled. Rights Information about rights held in and over the resource Government of the Commonwealth of Dominica, Government Headquarters, Kennedy Avenue, Roseau, Commonwealth of Dominica. bronze figurative inscription manacles seashell https://mail.slaverymonuments.org/files/original/d17eedd1cef2ebb69b85644859142dc4.jpg 62fdf503218aa25488aa6e68e0b1dcbb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Abolition of Slavery Creator An entity primarily responsible for making the resource Written by Renée Ater Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This grouping of commemorative works focus on the abolition of slavery in countries engaged with the slave trade including England, France, The Netherlands, and Spain. England enacted the Slave Trade Act of 1807, prohibiting the Atlantic slave trade in the British Empire. It did not abolish slavery in its colonies until the 1833 Slavery Abolition Act. France first abolished slavery on February 4, 1794, during the French Revolution. Napolean Bonaparte reinstituted slavery in France's colonies in 1802. Slavery was officially abolished in France with the Decree of the Abolition of Slavery of April 27, 1848. The Netherlands officially abolished slavery in its colonies (Suriname and the Dutch Caribbean) on July 1, 1863, but it was not until July 1, 1873, that enslaved persons were freed from state supervision on plantations. Spain abolished the slave trade in 1817 with a treaty with England, which was not enforced until 1820. However, slavery continued in its colonies. The Spanish National Assembly abolished slavery in Puerto Rico in 1863 and in Cuba in 1886. Updated January 26, 2026 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 354.331 x 196.85 in. (900 x 500 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Clave/Monument to Slavery (Rotterdam, The Netherlands) Subject The topic of the resource Subject (Topic) Abolition of slavery Public art Public sculpture Slave ships The Netherlands--Rotterdam Transatlantic slave trade Subject (Object Type) Commemorative sculpture Creator An entity primarily responsible for making the resource da Silva, Alex, 1974-2019 Date A point or period of time associated with an event in the lifecycle of the resource June 16, 2013 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Lloydstraat, 45-59, 3024 Rotterdam, The Netherlands Extent The size or duration of the resource. 354.331 x 196.85 in. (900 x 500 cm) Medium The material or physical carrier of the resource. Corten steel; Hot-dip galvanized (HDG) steel Description An account of the resource Four nude figures dance across the abstracted bow of a ship. Each figure strikes a distinct, rhythmic pose even as they are shackled together at the ankle by iron chains. The outer most figure appears to have broken free from this rhythmic chain-gang. Iron chains dangle freely from his right ankle. Unveiled on the 150th anniversary of the abolition of slavery in Surinam and the Dutch Antilles, the memorial is located along the Maas River in Lloydkwartier, a newly designed neighborhood built in the old port area of Delfshaven. The work’s location and title evoke the Dutch slave trade. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. "Alex da Silva. clave. Monument to Slavery (2013)." BKOR-CBK Rotterdam. Accessed February 15, 2025. https://www.bkor.nl/en/beeld/clave-monument-voor-de-slavernij/. Thissen, Siebe. "In Memoriam Alex da Silva (1974-2019)." BKOR-CBK Rotterdam. Accessed February 15, 2025. https://www.bkor.nl/en/documentatie/in-memoriam-alex-da-silva-1974-2019/. Art@Site. "Alex da Silva." Accessed May 28, 2019. http://www.artatsite.com/Rotterdam/details/Silva-Alex-da-Slavernijmonument-Clave-sculpture-statue-Art-At-Site-Rotterdam.html. Has Part A related resource that is included either physically or logically in the described resource. Inscription in Dutch: Het lichaam is dat slaaf is vertrekt de ziel die vrij is blijft English translation: The body, which is a slave, departs, but the soul, which is free, remains. Source A related resource from which the described resource is derived Photograph by Emily Hirsch, 2024 Contributor An entity responsible for making contributions to the resource Surinam Working Group; STC Group; Municipality of Rotterdam; and CBK Rotterdam Rights Information about rights held in and over the resource Municipality of Rotterdam, City Hall, Coolsingel 40, 3011 AD Rotterdam, The Netherlands Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Slavernijmonument Rights Holder A person or organization owning or managing rights over the resource. Renée Ater abstract chains Corten steel figurative galvanized steel shackles slave ship https://mail.slaverymonuments.org/files/original/8c6ffefb82885fe1cf6733f740146bc6.jpeg 0206afab2634ec4de8d93e3d5f6f2e8a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Underground Railroad Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The memorial and monuments in this collection are dedicated to the Underground Railroad, an organized network of routes and safe houses that assisted freedom seekers [enslaved people] on their journeys northward. The Underground Railroad was part of the larger movement for the abolition of slavery in the United States. The movement to abolish slavery was a complicated political movement that, at its core, was driven by the resistance and activism of enslaved Black people and freedmen and women abolitionists. Historian Manisha Sinha explores the history of American abolition, including the Underground Railroad in The Slave's Cause: A History of Abolition (2016).  Although Harriet Tubman is the most famous conductor in the Underground Railroad, she is not the subject of the memorials featured in this collection (see the collection on this site, <a href="https://www.slaverymonuments.org/collections/show/1" target="_blank" rel="noopener">Black Abolitionists</a>, to view works specifically dedicated to her life and work). Rather the monuments and memorials featured here, such as Ed Dwight's <a href="https://www.slaverymonuments.org/items/show/1170" target="_blank" rel="noopener">Gateway to Freedom: International Memorial to the Underground Railroad</a>, highlight other prominent conductors, as well as celebrate the fortitude and bravery of the freedom seekers as they made the perilous journey north. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 120 x 120 x 144 in. (304.8 x 304.8 x 365.76 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gateway to Freedom: International Memorial to the Underground Railroad (Detroit, Michigan) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Fugitive slaves--United States Michigan--Detroit Public art Public sculpture Underground Railroad Subject (Object Type) Commemorative sculpture Description An account of the resource Two gateway pillars (approximately fifteen feet tall), topped with candles symbolizing the “Flame of Freedom,” flank Ed Dwight's memorial to the Underground Railroad. The work, which overlooks the Detroit River, includes a ten-by-twelve-foot sculptural group: eight freedom seekers and an Underground Railroad conductor, who gazes and points towards Canada. Dwight modeled the conductor after George DeBaptiste, a freeman from Virginia who migrated to Detroit in 1846. DeBaptiste was an active abolitionist, Underground Railroad operative, and leader of the Vigilant Committee of Detroit, a watchdog and legal advocacy group for the black community. Panels with engravings of quilt squares appear on either side of the figural group. Here, Dwight appears to be referencing one of the most popular myths surrounding the Underground Railroad: “Freedom Quilts,” objects said to have been created by passengers of the Underground Railroad and hung in windows as coded maps or guideposts for escapees on the run. The base of the sculpture is adorned with an engraving of a lantern set inside a windowsill. Creator An entity primarily responsible for making the resource Dwight, Ed, 1933- Date A point or period of time associated with an event in the lifecycle of the resource October 20, 2001 Contributor An entity responsible for making contributions to the resource Detroit 300; International Underground Railroad Monument Collaborative (now the Michigan Underground Railroad Exploratory Collective) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Hart Plaza, 1 Hart Plaza, Detroit, Michigan, 48226, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on base: Until Emancipation, Detroit and the Detroit River community served as the gateway to freedom for thousands of African American people escaping enslavement. Detroit was one of the largest terminals of the Underground Railroad, a network of abolitionists aiding enslaved people seeking freedom. Detroit's Underground Railroad code name was Midnight. At first, Michigan was a destination for freedom seekers, but Canada became a safer sanctuary after slavery was abolished there in 1834. With passage of the Fugitive Slave Act in 1850, many runaways left their homes in Detroit and crossed the river to Canada to remain free. Some returned after Emancipation in 1863. The successful operation of Detroit's Underground Railroad was due to the effort and cooperation of diverse groups of people, including people of African descent, Whites, and North American Indians. This legacy of freedom is a vital part of Detroit and its history. Plaque on the back of the memorial: International Memorial to the Underground Railroad The Gateway to Freedom Ed Dwight- Sculptor Dedicated October 20, 2001 With companion work Tower of Freedom in the Civic Esplande, Windsor, Ontario, Canada A project of the Detroit 300 and the International Underground Railroad Monument Collaborative. Extent The size or duration of the resource. 120 x 120 x 144 in. (304.8 x 304.8 x 365.76 cm) Medium The material or physical carrier of the resource. Bronze; Pink granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Faires, Nora. "Across the Border to Freedom: The International Underground Railroad Memorial and the Meanings of Migration." Journal of American Ethnic History 32, no. 2 (2013): 38-67. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Source A related resource from which the described resource is derived Photograph: <a href="https://www.waymarking.com/waymarks/WMHC02_Gateway_to_Freedom_Detroit_Michigan_USA" target="_blank" rel="noopener">Waymaking</a> Rights Information about rights held in and over the resource City of Detroit, 2 Woodward Avenue, Detroit, Michigan, 48226, United States bronze figurative granite lantern quilt squares https://mail.slaverymonuments.org/files/original/c3754f52151df1b7e183477511f1e542.jpg d1c808b9bdeacba36fa3a26aff328434 https://mail.slaverymonuments.org/files/original/442c0a8e4de3fd456c8f3f6f1f808f4a.jpg 83f383f12e97eaeed991ca119477fd64 https://mail.slaverymonuments.org/files/original/d49f585894b0071825b5e53553fbfa48.jpg e36765a8b585f8375a2d2cfa4041080b https://mail.slaverymonuments.org/files/original/c0c3fb8db4b943a8e7cfeb06f890dc82.jpeg d4ee31936535e6acc5a601b81f36ba50 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Underground Railroad Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The memorial and monuments in this collection are dedicated to the Underground Railroad, an organized network of routes and safe houses that assisted freedom seekers [enslaved people] on their journeys northward. The Underground Railroad was part of the larger movement for the abolition of slavery in the United States. The movement to abolish slavery was a complicated political movement that, at its core, was driven by the resistance and activism of enslaved Black people and freedmen and women abolitionists. Historian Manisha Sinha explores the history of American abolition, including the Underground Railroad in The Slave's Cause: A History of Abolition (2016).  Although Harriet Tubman is the most famous conductor in the Underground Railroad, she is not the subject of the memorials featured in this collection (see the collection on this site, <a href="https://www.slaverymonuments.org/collections/show/1" target="_blank" rel="noopener">Black Abolitionists</a>, to view works specifically dedicated to her life and work). Rather the monuments and memorials featured here, such as Ed Dwight's <a href="https://www.slaverymonuments.org/items/show/1170" target="_blank" rel="noopener">Gateway to Freedom: International Memorial to the Underground Railroad</a>, highlight other prominent conductors, as well as celebrate the fortitude and bravery of the freedom seekers as they made the perilous journey north. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image Everdure bronze with patina; Brick; Granite Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jerry Rescue Monument (Syracuse, New York) Creator An entity primarily responsible for making the resource BuMann, Sharon, 1953- Subject The topic of the resource Subject (Topic) Abolition of slavery Public art Public sculpture New York (State)--Syracuse Resistance Slavery--New York (State) Subject (Name) Henry, William "Jerry", 1811-1853(?) Loguen, Jermain Wesley, 1813-1872 May, Samuel Joseph, 1797-1871 Subject (Object Type) Commemorative sculpture Date A point or period of time associated with an event in the lifecycle of the resource August 10, 1990 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Clinton Square, 2 S Clinton Street, Syracuse, New York, 13202, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on the central bronze plaque (back wall): The Jerry Rescue In 1827, The State of New York was among the first in the Union to abolish slavery. By the mid-1800’s, Syracuse was known nationally as a hub of ant-slavery activity. Harriet Tubman, Gerrit Smith, the Rev. Samuel J. May, and the Rev. Jermain W. Loguen lived in the area and played historic roles helping escaped slaves reach freedom and safety in the northern United States and Canada. They organized and maintained the secret routes and hiding places known as the Underground Railroad. Their Abolitionist sentiments were shared by many men and women in the community. When Congress passed the Fugitive Slave law in 1850, a local Vigilance Committee publicly called on people everywhere to oppose it. Then-Mayor Alfred H. Honey was one of the community leaders who denounced the law as 'a most flagrant outrage upon the inalienable rights of man.'  With the attention of the nation focused on the acts of civil disobedience this position might spark, the great American orator Daniel Webster, came to Syracuse and delivered a dramatic address from the balcony overlooking City Hall. He warned the supporters of the Vigilance Committee of the dire legal consequences they faced in opposing the Fugitive Slave Law. Meanwhile, William 'Jerry' Henry had escaped from slavery in Missouri, and was working as a cabinet maker and cooper in Syracuse. At noon on October 1st, 1851, he was apprehended, taken before the local U.S. Commissioner, and charged as a fugitive slave. Alerted, the Vigilance Committee sprang into action. At first, disorganized attempt to free Jerry that afternoon failed. But, later that evening, a mob of outraged citizens, both black and white, stormed the jail across Clinton Street from this site, and rescued him. Jerry was hidden in the city for a few days, then spirited north along the Underground Railroad to Kingston, Ontario. Twenty-seven people, including Loguen and eleven other black citizens, were indicted for their involvement. Enoch Reed, a black man, was the only person convicted of any crime related to the rescue; it was a minor offense, and he died before his case could be heard on appeal. For many years afterwards, Abolitionists from all over the north gathered in Syracuse on October 1st, to celebrate Jerry's rescue. Inscription on left bronze plaque (back wall): Monument Symbolism The STAR, as a light in the darkness, represents hope. Its four points are oriented to the actual points of the compass, important in fixing direction for a journey. Its elevation conveys the importance of Jerry’s recuse in the history of civil rights. The BRICK WALLS symbolize buildings or barriers, which can include or exclude. The spaces provoke interest and concern for who or what lies beyond. The FOREGROUND FIGURES aiding Jerry represent the Rev. Samuel J. May and the Rev. Jermain W. Loguen, who did not physically take part in the event but were instrumental in arranging the rescue. They and the crowd behind them are larger-than-life to suggest that, when courage and compassion combine to influence public opinion, human life is enlarged. The BROKEN SHACKLES Jerry wears emphasize the failure of legal authority to impose unjust restraints upon human rights or to limit human dignity. Monument design: BuMann Studio Central Square, New York Sharon BuMann/Sculptor Copyright 1990 Inscription on right bronze plaque (back wall): This project was made possible by the support of the  City of Syracuse Mayor Thomas G. Young State of New York Governor Mario M. Cuomo Senator Tarky Lombardi, Jr. Benefactors New York State Natural Heritage Trust New York State Bicenntienal Commission Central New York Community Foundation Rosamond Gifford Foundation Updowntowners of Syracuse Anheuser-Busch, Inc. Atlas Fence, Inc. Barnes & Cone, Inc. Bartran & Associates Bock Brick, Inc. Chappell's Donald W. Clark Suzanne M. Congel The Edgewater Companies Lora S. Flanagan IBEW Local 43 Key Bank of Central New York Lenweaver Design Mayor's Minority Affairs Council McConnell Constrution Corp. Edward McNeil OBG Technical Services, Inc. O'Brien and Gere Engineering, Inc. O'Conner Memorial, Inc. Omega Psi Phi Fraternity Inc.--Chi Phi Chapter Paragon Supply, Inc. Parratt-Wolfe, Inc. Randall Electric. Inc. James Ross & Son Construction Santaro Industries, Inc. Syracuse Teachers Association  Taylor Rental Center Andrew Von Deak Richard N. Wright, II Jerry Rescue Memorial Committee Chester Whiteside, Founder/Co-Chairperson Roger Mac, Co-Chairperson Linda Joanne Clark Thomas R. Kennedy David Kreitor David E. Lenweaver Cheryl Wilkins-Mitchell Vicki B. Quigley Henry Schramm A project of the Syracuse Urban Arts Commission Unveiled August 10, 1990 Medium The material or physical carrier of the resource. Everdure bronze with patina; Brick; Granite Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Description An account of the resource A concrete four-pointed star serves as the sculpture’s plinth. Three brick and concrete walls form a niche, which viewers are invited to physically occupy. Affixed to the brick walls, the niche contains bronze plaques explaining the history of William "Jerry" Henry’s rescue and the symbolism of the sculpture. Emerging from the central brick wall, on the side that faces outward, away from the architectural niche, are three life-size bronze figures. Rendered in high relief, the artist, BuMann, depicts an imagined scene of Henry’s rescue. A shirtless Henry, with broken shackles on his wrists, is helped to safety with the assistance of Rev. Samuel J. May and the Rev. Jermain W. Loguen (who was himself a formerly enslaved person), men who were not actually present during the escape. Source A related resource from which the described resource is derived Photographs by Renée Ater Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Syracuse University Libraries. "'That laboratory of abolitionism, libel, and treason': Syracuse and the Underground Railroad." Special Collections Exhibits. Accessed February 9, 2025. https://library.syracuse.edu/extsites/undergroundrr/case3.php. Contributor An entity responsible for making contributions to the resource City of Syracuse; State of New York; Syracuse Urban Arts Commission; Jerry Rescue Memorial Committee; New York State Natural Heritage Trust; New York State Bicenntienal Commission; Central New York Community Foundation; Rosamond Gifford Foundation; Updowntowners of Syracuse Rights Information about rights held in and over the resource Syracuse Public Arts Commission, City Hall, 233 East Washington Street, Syracuse, New York, 13202, United States bas-relief bronze chains figurative granite manacles https://mail.slaverymonuments.org/files/original/7864b6655d7a95cdb7519ffbfabfccbc.jpg 15fef5faf61d8fe83f20b85d678dd1e4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource African American History Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials grouped under this theme acknowledge the important contributions of African Americans to American history. Slavery is anchored in the commemorative works as part of the larger story of Black existence in the United States. Some monuments, such as <a href="https://www.slaverymonuments.org/items/show/1133" target="_blank" rel="noopener">South Carolina African-American History Monument</a> and the <a href="https://www.slaverymonuments.org/items/show/1134" target="_blank" rel="noopener">Texas African American History Memorial</a>, include bas-reliefs of enslaved men and women, signaling these states' role in slavery. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1183" target="_blank" rel="noopener">Truths that Rise from the Roots Remembered</a>, honor the ability of ordinary Black people in Alexandria, Virginia (a slave trade center in the United States) to survive and thrive despite slavery, racism, and white supremacy.  Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image Varied: 144 to 180 in. (365.76 to 457.2 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Truths that Rise from the Roots Remembered (Alexandria, Virginia) Creator An entity primarily responsible for making the resource Meadows, Jerome, 1951- Date A point or period of time associated with an event in the lifecycle of the resource June 17, 1995 Contributor An entity responsible for making contributions to the resource EDAW (now AECOM); Norfolk Southern Corporation; Carlyle Development; City of Alexandria Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant African American Heritage Park, 309 Holland Lane, Alexandria, Virginia, 22314, United States Medium The material or physical carrier of the resource. Bronze; Brick; Grey stone Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Description An account of the resource Truths that Rise from the Roots Remembered is located in the African American Heritage Park, a nine-acre memorial park. The park was the site of a historic Black Baptist Cemetery, established in 1885, and later desecrated when the City of Alexandria used the space as a landfill in the early 1960s. Through archaeological excavations, (1985–1992), six headstones were identified and remain in their original location. The park was designed to co-exist with the original landscape of the cemetery and to preserve the wetlands on the site. Truths that Rise from the Roots Remembered includes a group of three stylized bronze trees whose surfaces are etched with names, historical information, and photographs of the African American community in Alexandria; a commemorative grave mound sculpture with limestone supports; and a bronze bookstand. The trees and mound are contained within a circle surrounded by gray flag stone and a semi-circular brick wall. Embedded in the gray flagstone is a red limestone circle, marked with the compass points. Subject The topic of the resource Subject (Topic) African Americans--History Freedom Public art Public sculpture Resistance Virginia--Alexandria Subject (Object Type) Commemorative sculpture Extent The size or duration of the resource. 144 to 180 in. (365.76 to 457.2 cm) Source A related resource from which the described resource is derived Photographs by Renée Ater Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Cressey, Pamela. “Sculpture Provides Inspriation.” Alexandria Gazette Packet, July 20, 1995. Accessed August 14, 2019. https://www.alexandriava.gov/historic/info/default.aspx?id=42988. Anderson, Adrian D. The African American Heritage Park, Alexandria, Virginia. Minneapolis, MN: Tellus Consultants, 1992. Accessed August 14, 2019. https://www.alexandriava.gov/uploadedFiles/historic/info/archaeology/SiteReportAnderson1992AfricanAmericanHeritagePark.pdf. Has Part A related resource that is included either physically or logically in the described resource. Plaque at the entrance to the African American Heritage Park (left): From the establishment of Alexandria in 1749 to the present time, African Americans have been a vibrant part of this city’s history. The City of Alexandria would not exist in its present form were it not for the economic, social, and cultural contributions of African Americans both slave and free. As Alexandria developed in the 19th century, African Americans began to establish enclaves with distinctive names and characteristics. Many of these areas such as: The Berg, The Bottoms, Cross Canal, Hayti, The Hump, Sunnyside, and Uptown survive today and retain historical significance for African Americans currently living in Alexandria. From these original African American neighborhoods, a sense of community developed, which led to the creation of churches, schools, civic and social organizations. these memorial sculptures in this park highlight people and institutions important to Alexandria’s African American heritage. The land for this memorial is of special significance. In 1885 this parcel of land was purchased by the Black Baptist Cemetery Association and a number of gravesites remain here. Hooff’s Run, which runs through this site provided access to the Potomac River and the town of Alexandria for a variety of traders and retailers. By the middle of the 19th century, railroads provided a new transportation system. Established about 1851, the first railroad in this vicinity was the Orange and Alexandria which passed through this land on its way from the town center to more western parts of Virginia. The Norfolk Southern Corporation has set aside this land as a memorial to recognize and celebrate and commemorate African American contributions to the Alexandria community. The Alexandria African American Heritage Park, a gift to the City from the Norfolk Southern Corporation, will contribute to the rich cultural heritage of Alexandria. The history and accomplishments of African American leaders will stimulate young people to develop esteem, hope, determination, and pride in themselves. The memorial park coexists with the original landscape of the cemetery and preserves the interesting and varied plant life on this site. The design creates an atmosphere suitable for nature walks or meditation. Plaque at the entrance to African American Heritage Park (right): Truths That Rise From The Roots — Remembered We bury more than our bodies at rest Deep within the forgiving soil We bury as well our  Our dreams, our legends, our revelry, our toil Here is where we enshrine our wisdom To be joined with that of our yesteryears And here is where our tomorrows are planted As lessons learned against future fears The artistic works incorporated into this Memorial/Park offer a symbolic testament to the efforts and accomplishments of a great many local individuals, institutions and organizations both past and present. The names and images etched upon these forms, as an acknowledgment of but some of those who have ’passed this way before’, represent the foundation, the builders, the source and substance of this historic and vibrant community. As a context in which history and art are joined this public-art setting serves as a cultural marker — a communal space in which the sons and daughters of the here and now celebrate and honor the heroes of their past. Jerome B. Meadows — Artist Zoe Briscoe — Research, Technical Assistant Park Design — EDAW Etching on the commemorative grave mound sculpture: Black Baptist Cemetery Association 1885 From the past they speak, in varied voice and familiar faces Mary Rome Matilda Gaines Sarah Hunter Abraham Hunter Julia Ann Washington Etching on the tree nearest to commemorative grave mound, left side: Education Alexandria Academy Washington Free School Mt. Hope Academy 1837-1843 Alfred Perry Sylvia Morris Lancasterian School Society of Friends American Baptist Free Mission Society Mary Chase 1861 Saint Robe Institute 1881 Jane A. Crouch Miss Sarah Gray First Select Colored School 1862 Rev. and Mrs. Robinson Rev. G.W. Parker Amanda Borden The First Free Colored Mission Day School 1863 Union Town School 1863 Nancy Williams The Primary School 1863 William K. Harris Richard H. Lyles Newtown School 1863 Anna Bell Davis Leannah Powell The Sickles Barracks School 1863 The Jacobs Free School 1864 Louisa Jacobs Harriet Jacobs Miss S.Y. Lawton Miss E.M. Lawton First National Freedmen’s School 1864 Harriet Byron Douglass 1864 Second National Freedmen’s School Rev. M.F. Sluby Laura Phenix Miss M.F. Simms Mary M. Nickens The Washington St. School Miss L.V. Lewis Etching on the tree nearest to commemorative grave mound, right side: Education Pennsylvania Freedmen’s Relief Association 1865 Bureau of Refugees, Freedmen and Abandoned Lands Gustavus Lumpkins 1867 First Free School Society of Alexandria George Seaton George W. Bryant Anthony L. Perpener Hannibal King James Piper George P. Douglas John H. Davis Samuel W. Madden J. Mck. Ware Charles Watson George W. Parker Rev. Clem Robinson George W. Sims Snowden School for Boys William F. Powell Carrie Claggett John Parker Patrick H. Lumpkins Hallowell School for Girls Matilda A. Madden Parker-Gray School 1920 Henry T. White Laura Dorsey Susie P. Madden Margaret T. Young Sarah D. Gray Harriet Thornton James B. Howard Rozier D. Lyles Mamie  E. Anderson Rev. A.W. Adkins Wesley Elam William Pitts Ferris Holland Louis Johnson Edward L. Patterson John T. Butler Lyles-Crouch Elementary School Julia Pritchett Seminary School Geraldine Stevenson St. Joseph’s Catholic School The Oblate Sisters of Providence Sister Mary John Bearchmann Sister Mary Eusebius Charles Houston Elementary School Helen L. Davis Martha Millier-Kindergarten Saretta N. Cope-Kindergarten Etching on the second tree from the commemorative grave mound, left side: Religion Alfred Street Baptist Church 1801 Jesse Henderson Evans Williams Daniel Taylor Rev. Samuel Madden Rev. Alexander A. Truatt Rev. Andrew W. Adkins “Old Zion” Methodist Church 1832 Roberts Memorial United Methodist Church 1832 James Harper Francis Hoy James Evans Philip Hamilton Simon Turley Rev. James Thomas Rev. Robert H. Robinson Rev. James Howard Beulah Baptist Church 1863 Rev. Clem Robinson Zion Baptist Church 1864 Rev. Robert Woodson, Pastor Shiloh Baptist Church 1865 Rev. Charles H. Rodgers Rev. Leland Warring Second Baptist Church Third Baptist Church 1865 Rev. Samuel Stewart Rev. Samuel Ross Meade Memorial Espiscopal Church 1869 Rev. J.W.M. Powell Canon John G. Davis Ebenezer Baptist 1880 Rev. Field Cooke Rev. L. Henry Bailey Rev. W. Howard Stanton Rev. N.B. Hargraves Rev. Austin A. Booker Good Shepard Episcopal Chapel 1880 St. Cyprian’s Episcopal Mission Etching on the second tree from the commemorative grave mound, right side: Religion Mt. Jezreel 1890 Rev. Coleman Rev. O.L. Miles Oakland Baptist Church 1891 Rev. E.R. Jackson Clara Adams William Carpenter Brook Johnson William Jerrell John W. Casey Maggie Hall Smith Wahler Daniel Simms, Jr. Nancy Shepherd Harriet Short Matilda Woods Mollie Nelson St. Joseph’s Catholic Church 1915 Thomas Blair Katie Bowman Carrie Crouch John Johnson John Parker Tabernacle of God and Saints of Christ 1921 St. John’s Baptist Church 1926 Rev. and Mrs. J.G. West Deacon David Askew Deacon Raymond Deacon Holmes Bethel Presbyterian Church Community Presbyterian Church 1928 Rev. Richard B. Strong United House of Prayer Russell Temple C.M.E. 1941 Alleyne AME Zion Church 1949 Rev. Frederick Douglass Williams Rev. Grayson Kelch Etching on the third tree from the commemorative grave mound, left side: Civic Thomas Fuller - 1789 Bejamin Banneker - 1791 William Goddard Dominick Bearcroft Alexander Bryan - 1833 Mary Savoy - 1839 David Jarbour H. Dulany - 1850 Mary Cole John Williams Moses Hepburn John Hepburn Henry Anderson Charles Watson George Seaton John Seaton Nellie Whiting Magnus L. Robinson Norman B. Pinn Freeman N.M. Murray The Home News, 1900 Edmund Hill W. Walter Jackson Murray Brothers Printers, 1903 Raymond H. Murray F. Morris Murray Norman D. Murray Miss. Susie B. Buckner Florence Murray Lewis Smith Samuel A. Tucker L.H. Williams Alexandria Home Bakery John W. Jackson Margaret Evans Washington Jackson Thomas Arrington Laura Watson Harriet Ware Etching on the third tree from the commemorative grave mound, right side: Civic Professor T.E. Dulany C. William Gray W.C. Arnold Lloyd Lewis Richard N. Poole Henry Brooks Mrs. Mattie Brooks Mrs. Katie Skinner Mrs. Lorraine Funn Atkins Mrs. Annie B. Rose Mrs. Connie Chissell George Gaddis Arthur Bracey Library Sit-In - 1939 B. Wilbert Tucker Morris Murray Edward Gaddis Clarence "Buck" Strange Sgt. George Watson Doctors Albert Johnson - 1892 J. Milton Hopkins - c. 1894 Frederick P. barrier - c. 1917 Oswald Durant Henry Ladrey C. Aubrey Lindo Abe Penn Paul Piper Charles West Herbert G. Chissell James Carpenter Newman C. Taylor Frederick Perry W. Lee Harris Elijah E. Lacey T. Bernard Blue William Skinner Lawyers James Webster Thomas Watson William Macmurray J. Byron Hopkins Alfred Collins Judge Joseph Waddy James Raby Rights Information about rights held in and over the resource City of Alexandria, City Hall, 301 King Street, Alexandria, Viriginia, 22314, United States abstract bronze inscription names trees https://mail.slaverymonuments.org/files/original/cc8fbadf957bec5b2d5a1f80e0d32483.jpg f2ffac0ed5c853c7b8d0cae0d556e09b https://mail.slaverymonuments.org/files/original/edb4a2c0ac380aaa228d125a54471fc8.jpg a8ce6a9d77593cd5d2d32e9354aeb5d2 https://mail.slaverymonuments.org/files/original/712dab0d16f9a295dd58dd9d963008e8.jpg 3263fa6197a322dbe218ed2f43d34f74 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image Unknown Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource William Seward and Harriet Tubman Statue (Schenectady, New York) Creator An entity primarily responsible for making the resource Benedict, Dexter, 1944- Subject The topic of the resource Subject (Topic) Antislavery movements--United States New York--Schenectady Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Seward, William Henry, 1801-1872 Subject (Object Type) Commemorative sculpture Date A point or period of time associated with an event in the lifecycle of the resource May 17, 2019 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Karen B. Johnson Schenectady County Public Library, 99 Clinton Street, Schenectady, New York, 12305, United States Description An account of the resource Placed outside the Schenectady County Public Library, a life-size statue of William Seward and Harriet Tubman stand on Mohawk Valley ordovician dolostone inside a garden bed. Seward stands with a cane in his right hand and his left arm around the back of Tubman. He wears nineteenth-century clothing including a jacket, vest, and pants. Tubman gestures with her right hand and carries a walking stick in her left hand. She wears a simple long dress. Draped across her chest is a sack with the end of a revolver visible. Source A related resource from which the described resource is derived Photographs by Renée Ater Contributor An entity responsible for making contributions to the resource Board of Trustees of the Schenectady County Public Library; and Community Members: Virginia and Frank Wicks; Carl George; Anita Paul and David Gerhan; Jim and Jean Underwood; Linda Patrik and David Kaczynski; Twitty and Constance Styles; Cara Molyneaux; Arnold Seiken; Roger Hull; Brian and Judith Merriam; Robert Ringlee; Miriam Butzel; Butzel Family Foundation; Norman Maender; David and Jean Cossey; Carmela St George; Barbara Armstrong and Robert Coppola; Rhonda Becker; Anastasia Pease; Eshragh Motahar; Paul and Christina Friedman; Katherine Lynes; Roger and Seneca Hoerl; Karen and Rodney Crosby; David and Ann Songayllo Hannay; Cherrice Traver; Jonathan and Rachel Marr; Marsha and Leonard Mortimore; James and Jean McLaughlin; Andrea Worthington and Robert Olberg; Kesheng Yu; Paul Wehrum; Barry Kramer; Rebecca Koopman; Assemblyman Angelo Santabarbara; Ted Vinick; Becky Cortez; Martha Huggins and Malcolm Willison; Faith and Dexter Benedict; Mary and Phillip Lyford; Clifford Brown; Caroline Bardwell; Margaret Craven Snowden, M.D.; Nancy Papish; Julie Pieper-Hemmings; Senator James Tedisco; Charles and Linda Becker; Charles and Marianne Szuberla; Patricia and Keith Barneyl; Wayne and Amy Brule; Jim and Cei Mack; Martin and Sharon Strosberg; Mary O’Keeffe; Margo and James Strosberg, M.D.; Peter and Judy Nocera; Mary and Thomas Werner; Michele and Randall Collins; Donald O. Reid; Darren and Lisa Tracy; West Branch Engineering and Consulting; Philip and Jo Ann Adams; Kenneth Baker; Marcia M. Steiner; Nicholas C. Barber; Carmel Patrick; Alden and Gay Doolittle; Betty Pieper; Robert McEvoy; Joe Spedafora; Linda Patrik and David Kaczynski; Matthew George; Brian Reh; Anita Paul; Susan and Gustave Davis, M.D.; Lek and James Meyer; Laura Lee; First Reformed Church of Schenectady; Wicks Family; Jim and Carol McCord; Capital District Civil War Round Table; Jonathan R. Miller (in memory of Aaron Rees ’95); Kathleen Pierone; Ann M. Cole; Professional Women; Schenectady County Historical Society; Hugh and Vaughn Nevin; John Polimeni; John and Lucy Halstead; Kim and Gary Mabee; Naomi Bristol; Lois and Richardson Atkinson; Brendan Degan Weingarten Savage; Henry M. Butzel Family Foundation; Lidia Pasamanick; The Honorable Richard and Bernice Russo; Touhey Family Foundation; John and Margaret Watraus; Susan Savage; Daniel and Shari Grygas; David Gerhan and Anita Paul; Deborah LaFond; Betty Carol Barlyn; Willie Terry; Mario Salerno; Philip Hilferty; Lewis and Irene Greenstein; Kim Scheverman; Arnold and Ione Seiken; David and Karen Bradley; David Kaczynski and Linda Patrik; The Brockbank Family; Estate of Marjorie Kenney (in Memory of Alice P Kenney); William Keat; Eric Bersch; Liz Paul and Paul John; Rene and William Curtin; Steve Rockwell; Jean Libby; The Reverend Ruby J. Smith; Dr Nancy D. Fitzroy; Janis Polishook; L. William Davis; Dr Walter and Anne Robb; Bradley and Catherine Lewis; Christopher Gardner; Kathleen LoGiudice and John Blanchard; Christopher Leonard; Philip M. Williamson; Jean Hayden Hutchins (in Memory of Dr Charles Steinmetz); Eric and Kent Johnson (in Memory of Mayor Karen Johnson); and The Wicks Family (in Memory of Dr Rollo and Hazel Wicks).<o:p></o:p> Rights Information about rights held in and over the resource Unknown Type The nature or genre of the resource Visual Arts-Sculpture Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque: William Seward 1801-1872 Harriet Tubman 1822-1913 Leaders Freedom Diversity Friendship "By the People for the People" Abraham Lincoln Mohawk Valley Ordovician Dolostone 2019 Sculptor/Caster Dexter Benedict References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Monument and Myth: Commemorating Harriet Tubman and the Underground Railroad Medium The material or physical carrier of the resource. Bronze; Mohawk Valley ordovician dolostone Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Williams, Stephen. "Statue of Tubman and Seward Unveiled at Library." The Daily Gazette News, May 17, 2019. Accessed September 30, 2019. https://dailygazette.com/article/2019/05/17/statue-of-tubman-and-seward-unveiled-at-library. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater bronze figurative portrait https://mail.slaverymonuments.org/files/original/ed3544921837077d7a200430ee772dee.jpg 15e69fc644df8ac67fdef8e02acfede5 https://mail.slaverymonuments.org/files/original/4d348a867103b1319fc44aab1535ae45.jpg 7b3c778dea5308eac7cf37dbd00eaebe https://mail.slaverymonuments.org/files/original/d820c950602ca48300c7664c93ff0b2f.jpg c1a76a444cb3492780d7ab6ce59b29f6 https://mail.slaverymonuments.org/files/original/ff9d1ef7253c8834e482521e52421be3.jpg 8abba3130086c97eac6da0a1d9ae035a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image Statue and base: 132 in. (335.28 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Frederick Douglass Memorial (Easton, Maryland) Creator An entity primarily responsible for making the resource Carpenter, Jay Hall, 1961- Subject The topic of the resource Subject (Topic) Antislavery movements--United States Enslaved persons--Emancipation Freedom Maryland--Easton Public art Public sculpture Slavery--Maryland Subject (Name) Douglass, Frederick, 1818-1895 Subject (Object Type) Commemorative sculpture Description An account of the resource Standing to the right of a lectern, Frederick Douglass is depicted as in elder statesman, with a furrowed brow and deep lines marking his face. Captured mid-speech, Douglass raises his right hand above his head in a rhetorical gesture, while his left-hand rests atop the lectern. The life-sized bronze figure rests on a base of stone. The work is located in front of the Maryland Circuit Court Judge’s Office in Easton, Maryland. Source A related resource from which the described resource is derived Photographs by Renée Ater Date A point or period of time associated with an event in the lifecycle of the resource June 18, 2011 Contributor An entity responsible for making contributions to the resource Frederick Douglass Honor Society (Eric Lowery, President); Town of Easton (Robert C. Wiley, Mayor); Talbot County Council (Dirck Bartlett, President); Frederick Douglass Monument Project of the Talbot County Historical Society; the Frederick Douglass Memorial Action Committee Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Talbot County Courthouse Lawn, 11 N Washington Street, Easton, Maryland, 21601, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on granite base: DOUGLASS Inscription on bronze plaque on back of monument: "In a composite nation like ours, as before the law, there should be no rich, no poor, no high, no low, no white, no black, but common country, common citizenship, equal rights and common destiny." Frederick Douglass 1818-1895 United States Marshall * Charge d'Affaires to the Dominican Republic * Minister to Haiti * Counselor to President Abraham Lincoln * Publisher * Author * Orator * Abolitionist * Slave Extent The size or duration of the resource. 132 in. (335.28 cm) Medium The material or physical carrier of the resource. Bronze; Granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Guy, Chris. "Douglass to Get Place by Easton Courthouse." The Baltimore Sun, March 17, 2004. Accessed October 31. 2019. https://www.baltimoresun.com/news/bs-xpm-2004-03-17-0403170268-story.html. Douglass Returns: The Dedication, June 16-19, 2011. Frederick Douglass Honor Society. Accessed January 31, 2026. https://frederickdouglasshonorsociety.com/wp-content/uploads/2024/07/DouglassReturnsProgram.pdf. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Rights Information about rights held in and over the resource Town of Easton, P.O. Box 520, Easton, Maryland, 21601, United States bronze figurative granite portrait https://mail.slaverymonuments.org/files/original/ca66799a49407e8ec8a348e60bf561ec.jpg 2f0bd0145391af4ed1058f00e5db9510 https://mail.slaverymonuments.org/files/original/b0c7652215450fa42149fa3209e8d1b2.jpg 160488037238f543465d47540bbcf83b https://mail.slaverymonuments.org/files/original/75b0d7008e040d0e34ca7578ad93157c.jpg 359aa9863bc11aeaacc6ab55c6a2259b https://mail.slaverymonuments.org/files/original/935c6d58a8ca3933f27bd871abfaf03e.jpg 8f7568eb063c3381d0093e34c76df515 https://mail.slaverymonuments.org/files/original/f765f5b33795abde0f2a9da42d9baa67.jpg e602fa93131e4b9f6132c8f281c95230 https://mail.slaverymonuments.org/files/original/5852858a37f214c54e9dd01e3453e81a.jpg dfce99f437bd9f4a49a0e27baf607f13 https://mail.slaverymonuments.org/files/original/c72fe3c63040af484604a8333baa522a.jpg 0fc592ff8823ec812256d9561c9c78ea https://mail.slaverymonuments.org/files/original/3514f766ba42f2a300e833eea291eda9.jpg 39f68c7a3615bce636e618f57acb2413 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 96 in. (243.84 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Frederick Douglass Memorial (New York, New York) Creator An entity primarily responsible for making the resource Koren, Gabriel, 1947- Miller, Algernon, 1945- Subject The topic of the resource Subject (Topic) Antislavery movements--United States Constellations Enslaved peoples--Emancipation Freedom Public art Public sculpture New York (State)--New York Subject (Name) Douglass, Frederick, 1818-1895 Subject (Object Type) Commemorative sculpture Description An account of the resource Standing to the right of a lectern, Gabriel Koren modeled Frederick Douglass as an elder statesman, with a furrowed brow and a deeply lined face. Resting his right hand atop the lectern, Douglass’ mouth is closed as he stares resolutely forward. Algernon Miller designed the granite seating and paving patterns, which are based on traditional African-American quilt motifs, as well as a bronze perimeter fence with a wagon wheel motif. Miller also created a bronze water wall that shows the Big Dipper constellation with the North Star. Quotations from Douglass embellish the site. Source A related resource from which the described resource is derived Photographs by Renée Ater Date A point or period of time associated with an event in the lifecycle of the resource September 20, 2011 Contributor An entity responsible for making contributions to the resource NYC Percent for Art, NYC Department of Cultural Affairs; Mark Bunnell of Quenell Rothschild & Partners (landscape architects); and Polich-Tallix (foundry). Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 301 Frederick Douglass Circle , New York, New York, 10026, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on granite block 1: Born Frederick Augustus Bailey, 1818, Talbot county, Maryland. Inscription on granite block 2: Married Anna Murray in 1838, who died in 1882. Inscription on granite block 3: Married Helen Pitts in 1884. Inscription on granite block 4: "Whatever may be said as to a division of duties and avocations, the rights of man and the rights of woman are one and inseparable, and stand upon the same indestructible basis." -1851 Inscription on granite block 5: "The flight was a bold and perilous one; but here I am, in the great city of new york, safe and sound, without the loss of blood or bone." -1855 Inscription on granite block 6: "Such is my detestation of slavery, that I would keep the merciless slaveholder profoundly ignorant of the means of flight adopted by the slave. he should be left to imagine himself surrounded by myriads of invisible tormentors..." -1855 Inscription on granite block 7: "Of my father I know nothing. Slavery had no recognition of fathers, as none of families." -1845 Inscription on granite block 8: "If there is no struggle there is no progress. Those who profess to favor freedom and yet deprecate agitation...Want crops without plowing up the ground...They want the ocean without the awful roar of its many waters...Power concedes nothing without a demand." -1857 Inscription on pavement: "Right is of no sex - truth is of no color - god is the father of us all, and we are all brethren" -Masthead of the North Star Inscription on north end of fountain. Frederick Douglass  1818-1895 Born into slavery in Maryland, Frederick Bailey found the way to freedom along the underground railroad in 1838. Disguised as a sailor, he traveled to manhattan by ship, and found shelter at the house of abolitionist David Ruggles on Lispenard Street. There, he awaited the arrival of his fiancee, Anna Murray, a free black woman from Maryland. They married, and together continued bailey's freedom journey to Massachusetts, where he changed his name to Douglass. Lauded for his oration, he became a prominent abolitionist and purchased his legal freedom from slavery. Publisher of the abolitionist journal the north star, he championed freedom for all Americans and endorsed women's suffrage. Douglass later held posts as assistant secretary of the Santo Domingo Commission (1871), Marshall of the District of Columbia (1877-1881) and U.S. Minister to Haiti (1889-1891). Following the death of his wife in 1884, Douglass married Helen Pitts. He died in Washington, D.C. On February 20, 1895. Inscription on south end of fountain: Gabriel Koren, sculptor  Algernon Miller, site artist December 2005 Inscription across fountain with constellations: "The types of mankind are various. They differ like the waves, but they are one like the sea." ". . . Under the flickering light of the north star behind some craggy hill or snow covered mountain, stood a doubtful freedom - half frozen - beckoning us to come and share its hospitality." Medium The material or physical carrier of the resource. Bronze; Granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. "Frederick Douglass Memorial." Central Park, Monuments, New York City Department of Parks and Recreation. Accessed October 31, 2019. https://www.nycgovparks.org/parks/central-park/monuments/2098. Cooper Hewett, Smithsonian Design Museum. "Harlem Focus: Public Monuments: Art in Collaboration with Landscape Design." May 9, 2013. Accessed May 23, 2020. https://www.cooperhewitt.org/tag/algernon-miller/ and https://www.youtube.com/watch?time_continue=4&v=5K_LVkcVq-g&feature=emb_logo. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Rights Information about rights held in and over the resource NYC Parks, The Arsenal, Central Park, 830 Fifth Avenue, New York, New York, 10065, United States Extent The size or duration of the resource. 96 in. (243.84 cm) bas-relief bronze figurative granite inscription North Star portrait quilt squares https://mail.slaverymonuments.org/files/original/be6a20a053a9ac2d891e16fa613d4b21.jpg 4c1d23095173d729c64d90bc3142073f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image Statue: 90 in. (228.6 cm) Base: 30 in. (76.2 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Frederick Douglass (West Chester, Pennsylvania) Creator An entity primarily responsible for making the resource Blake, Richard, 1943- Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Pennsylvania--West Chester Public art Public sculpture Subject (Name) Douglass, Frederick, 1818-1895 Subject (Object Type) Commemorative sculpture Description An account of the resource The ten-foot-tall bronze statue of a young Frederick Douglass casts his gaze forward and ever-so-slightly downward toward an imagined viewer. Standing squarely forward, Douglass' left knee is slightly raised as if he were on the verge of walking off the granite pedestal. In his right hand, Douglass holds a cane; in his left hand, he holds the end of a rope that coils around his torso and shoulders. Source A related resource from which the described resource is derived Photograph: <a href="https://patch.com/pennsylvania/westchester/25th-anniversary-celebration-frederick-douglass-institution" target="_blank" rel="noopener">West Chester University</a> Date A point or period of time associated with an event in the lifecycle of the resource October 1, 2013 Contributor An entity responsible for making contributions to the resource Frederick Douglass Statue Monument Project; Frederick Douglass Institute (C. James Trotman); and the West Chester University Foundation. Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Clifford E. and Inez E. DeBaptiste Plaza, Philips Memorial Building, West Chester University, West Chester, Pennsylvania, 19382, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on granite base: Frederick Douglass Frederick Douglass gave his last public lecture on West Chester's campus on Feb. 1, 1895. This statue of a younger Frederick Douglass honors a champion of human rights whose lifelong quest for knowledge and truth made him a timeless voice for justice, freedom, and equality for all. Extent The size or duration of the resource. Statue: 90 in. (228.6 cm) Base: 30 in. (76.2 cm) Medium The material or physical carrier of the resource. Bronze; Granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Cummings, Colleen. "WCU Erects Statue to Honor Frederick Douglass." The Quad, October 14, 2013. Accessed October 31, 2019. https://wcuquad.com/103691/news/wcu-erects-statue-to-honor-frederick-douglass/. Garrard, Jeremy. "WCU Unveils Frederick Douglass Statue." Daily Local News, October 2, 2013. Accessed May 23, 2020. https://www.dailylocal.com/news/wcu-unveils-frederick-douglass-statue/article_5603ef47-0e70-58ca-a0fb-a1598f6e5857.html. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Rights Information about rights held in and over the resource West Chester University, 700 South High Street, West Chester, Pennsylvania, 19383, United States bronze figurative granite portrait https://mail.slaverymonuments.org/files/original/91db44edf397c9774e367140c318c3bc.jpeg 308b33c70bee72e8c7572d15a418f15f https://mail.slaverymonuments.org/files/original/95427215a43206452163900c59b1dd0e.jpeg ca14ad0329f241d6dcdf22f43efb5c41 https://mail.slaverymonuments.org/files/original/ad3d20deea72c87eb8be0bf551d2a484.jpeg f67046d4f6ae7ca196b2355a8d9b23d6 https://mail.slaverymonuments.org/files/original/95896d333ec69b20995a84a3d2014d25.jpeg be3c23b1eaf5e6c9b7bcd0498ca3ee78 https://mail.slaverymonuments.org/files/original/761e98f78c4426efc646360041acacf9.jpeg bd04ee425b37d3df822dba31e90e749c https://mail.slaverymonuments.org/files/original/f67151d1f37b048ddd84efce06b081a7.jpeg f74bb9b3f17d7070f031e831b27e4d84 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image Unknown Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Let's Have Tea (Rochester, New York) Creator An entity primarily responsible for making the resource Kettavong, Pepsy M., 1972- Subject The topic of the resource Subject (Topic) Antislavery movements--United States New York (State)--Rochester Public art Public sculpture Women--Suffrage Subject (Name) Douglass, Frederick, 1818-1895 Anthony, Susan B., 1820-1806 Subject (Object Type) Commemorative sculpture Description An account of the resource Seated in simple wooden chairs, Frederick Douglass and Susan B. Anthony engage in conversation over tea. On a table between them sits a tea pot, two teacups and saucers, and two books. Douglass leans forward, his gaze cast slightly downward, listening intently to Anthony, who sits upright in her chair. Date A point or period of time associated with an event in the lifecycle of the resource 2001 Contributor An entity responsible for making contributions to the resource Susan B. Anthony Neighborhood Association; City of Rochester, New York Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Susan B. Anthony Square Park, 39 King Street, Rochester, New York, 14608, United States Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque: Artist: Pepsy M. Kettavong Title: "Let's Have Tea" Statues of Susan B. Anthony and Frederick Douglass Date: 1998-2002 "Let's Have Tea" A project of Susan B. Anthony Neighborhood Association Inc., was made possible through the generous support of the following donors and supporters: Citibank, Arts & Cultural Council for Greater Rochester Inc., Housing Opportunities Inc., Carmelia & John Matrachisia, Emma M. Whitis, Data Vault Storage Services Inc., The People of Jasco, Gleason Foundation, Linda Steinberg, Wm B. Morse Lumber Co., William B. Morse, 3rd, Barbara & Dan Hoffman, Lisa H. Hoffman, Susan A. Hoffman, Helen Hoffman, Mary & Mark Hoffman, Mary & Richard Charles, Joan & Don Glinski, Pat Hoffman, Sue Gaffney, James Piotrowski & Sarah Jones, Diane Montano, Marilyn & Mike Spang, Kathy & Ernie Weber, Nancy P. Merritt, Landmark Society of Western New York, Robert & Joan Daly, Fleda Emma Gibbs, Ann Daniels, Diana D. Miller, Luther & Iris Miller, C. Bonnie Nowark, Jean Cammer, Dr. Stephen & Susan Levinson, Karen Jacob, Sally A. Steinwachs, Edwin G. Saphar, Jr., The Thomas F. & Elisabeth W. Judson Foundation, Tobin & Associate Inc., Pg&e Bill Rubley, Louis S. & Molly B. Wolk Foundation, Clayton H. & Dorelis A Osborne, Lorraine Cappellino, Marion J. Hawks, Queen Investment Club, Alfred L. & Jean A. Pardi, Helen Q. Williams, Dr. David A Anderson-Sankofa, Joseph & Joan Yanni, Louise Woerner & Don H. Kollmorgen,Oisavanh Kettavong, Hannelore & Robert Heyer, C. Eugene & Geraldine A. Mosholder, E. Ann & James E. Scott, Barbara D. Blaisdell, Anthony & Lenora Colaruotolo, William Jr., & Patricia Marshall, Oliver Benjamin Hemmerie, Steel Works Inc., Alison Passeck-Cain & Ed Cain, Michael D. Nazar & Catherine M. Callery, The VandenBrul Foundation, Helen H. Kirker, James E. & Marianne T. Koller,City of Rochester Parks, Recreation & Human Services, Susan B. Anthony House, Downstairs Cabaret Theatre, Lou Phommahaxay, Jason Dobbs, Sector 3 NBN Planning Committee Medium The material or physical carrier of the resource. Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photographs by Renée Ater Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. "Susan B. Anthony Square Park." Historic Rochester, City of Rochester, NY. Accessed May 23, 2020. https://www.cityofrochester.gov/article.aspx?id=8589936553. Rights Information about rights held in and over the resource City of Rochester, City Hall, 30 Church Street, Rochester, New York, 14614, United States Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Statues of Susan B. Anthony and Frederick Douglass Susan B. Anthony Square Park bronze figurative portrait