Blog Southern Trip, 2021 | Material Matters

Southern Field Study

Object Lessons at Gunston Hall

The Neighborhood as Collection: A Walking Tour of Mt. Vernon, Baltimore

StudioEis: Memory, Monument, and The Embodied Past

Gunston Hall: Implementing Accessibility in a Historic House Museum

The Tipsy Hedgehog: An Experiment in Nineteenth-Century Culinary Labor

Speaking of Speakeasies: Baltimore and Prohibition in Collective Memory

Behind the Scenes: The James Brice House

Figure 1. Painting of emperor on back of rearing white horse.

Southern Trip Discoveries: An Addendum to a Past Post- Moravians Were Copyists Far and Wide

A poster with a white background reading, “KEEPING/ PRINT/ ALIVE.” The words “KEEPING” and “PRINT” are justified to the poster margins and are in printed in red ink. The “I” in “PRINT” is shown as an upside-down exclamation mark. Below the word “PRINT” is a red bar with five white stylized human skills. A thin blue line strikes through these skulls. Below this bar, the word “ALIVE,” also justified to the margins appears in blue letters with some red trim around it. Another red bar with 6 white skills and a thin blue line striking through it appears below “ALIVE.” Below this, in the lower left third of this poster is a blue circle with the words “HATCH/ SHOW/ PRINT/ NASHVILLE/ TENNESSEE” printed inside of it. A slightly larger blue circle frames this internal blue circle with the print. To the right of this circle are the words “SINCE/ 1879” with a left-pointing arrow separating the “SINCE” AND “1897.” (This arrow is pointing to the circle advertising Hatch Show Print to the left). Two parallel blue lines run across the bottom of the page forming a border of sorts, the upper of the two being thinner. Below these lines in tiny, tiny print is a line of copyright text.

“Preservation Through Production”: Lessons from Hatch Show Print and Dickinson Saltworks

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