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After the heron flew away, I climbed down to the base of the dam where this little egret was was waiting for..... a fish? He had watched the heron action and now he was watching me. That's okay, I thought, I have at least another 20 minutes of fading light and I'm bound to get some interesting shots of you in that time! ............. he just stood there......... oh, he took a few steps to the right...... a few steps to the left.... but he'd keep coming back to this spot to stare at me.
"Wing action, I want wing action," I mentally shouted at the little critter, hoping that egrets could read minds......nope, he just continued to stare at me until finally sauntering away out of reach of my lens.
Lesson learned? With birds you don't always get what you want!
LOL!!!
"One flicker, one movement could spoil it, They might get the eyeful they dread."
- The Workplace Wee, Nina Parmenter
www.poetrysoup.com/poem/the_workplace_wee_1049646
Yep, it is what it is.
Cheers,
Wade
#ArtByWadeBrooks
#lakecrabtree
I had a little fun with my image from the other day. Hope you like it.
Cheers,
Wade
#ArtByWadeBrooks
#lakecrabtree #blackandwhitephotography
Tampa Florida USA
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Lesson 2: the Lasso Tool | gwennie2006 • flickr™
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...and used in this example from GrfxDziner:
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Featured in a discussion of the Nikon Digital Learning Center group...
Assignment: Water
www.flickr.com/groups/NikonDigitalLearningCenter/discuss/...
This is for the Fix My Pic Please group
from a wonderful original by thombo2, titled, Rio Celeste Falls.
...and part of the monthly befor and after discussion thread
Photo fixes for October 2008:
www.flickr.com/groups/FixMyPicPlease/discuss/721576076272...
For a description of the editing, go to this forum...and scroll down some:
Page 2 of 2 for Lesson 2A: the Lasso Tool
Lesson 2: the Lasso Tool | gwennie2006 with Charles_Thompson
Automatic Download of 2-Page tutorial in .PDF format:
www.GrfxDziner.com/lessons/Lesson2AFULL.PDF
We have added links within the PDF files to help you more. Where you see a thin, green border around the image...click it and it will take you to a new page on the internet. Where you see a bolder, black border around an image in the PDF file...click it and it will show you a full size screen shot.
You can check out this forum for more information on downloading the PDF files for gwennie2006's tutorials:
www.GrfxDziner.com/forum/forum16/54.html
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Tutorials | Photo Editing Selection Tools • flickr.com
Tutorials | Photo Editing Selection Tools • GrfxDziner.com
Tutorials | Lesson 2: the Lasso Tools • GrfxDziner.com
Here is a link to an example page with before and after
images that were edited using the Laso Tool...
www.GrfxDziner.com/ExampleLesson2A.html
Search | Lesson2Aexample • flickr.com
Search | Fixed Using Lasso Tool • flickr.com
www.flickr.com/photos/tags/20thCenturyFox
www.flickr.com/photos/tags/stairway2heaven
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This is for the Fix My Pic Please group, from an amazing original by tms3499 titled, Seagull.
Here is a link for more images using the Layer Mask:
www.flickr.com/photos/tags/LayerMask/interesting/
and a link for more images using the Lasso Tool:
www.flickr.com/photos/tags/lesson2example/Interesting/
Tutorials - flickr.com • Fix My Pic Please Teach Me :)
On location sketch. At Skillebekk, Oslo.
At the risk of being too arrogant I'm really happy with that one. First the angles and proportions are quite right, the lines meet up where they should (which doesn't happen that often).
Second, I'm really happy with the paint I added. I'm on the way to loosening up!
I started the sketch with a watercolor pencil to get the global angles and proportions right. Then I drew the lines in ink. That took me quite a while because there are quite dome details. I did forget some details intentionally (and some unintentionally) though because I couldn't stay there forever and I wanted to start painting before the sun was completely gone in order to have nice shadows (this I half managed and always seems to be a problem). Then watercolor. This paper didn't warp which is good but took a surprising amount of time to absorb the water!
The one thing I'm really not too proud of is the dormer. I forgot completely what is behind it... I think I don't like dormers...
"And my heart broke loose on the wind"
Pablo Neruda
. . . . . . . .
I took this the day before I left for Singapore and was less than delighted. I planned to re-take it here in the breezy sunshine, but I had no idea February was going to eat me alive.
It's been a crazy month so far, but it's been a good one.
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This is for the Fix My Pic Please group,
from an amazing original by seventytw0dpi, titled,
perfume(the death of the girl from the rue des Marais).
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gwennie2006 | from Flower to Fire...
GrfxDziner.com | Blogger GrfxDziner:
GrfxDziner.blogspot.com/2009/04/from-flower-to-fire.html
check out this blog too from the
Deanna Cremin Memorial Foundation:
Blogger GrfxDziner | Powder Blue [thanks to you!]...
GrfxDziner.blogspot.com/2010/05/powder-blue-thanks-to-you...
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This is for the Fix My Pic Please group
from an wonderful original by Jenny Romney, titled, Powder Blues.
fiveprime.org/hivemind/Tags/DCMemorialFoundation
Ain't No Mountain High Enough | GrfxDziner.com
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Finally I am update!
Life is a bit busy and I'm struggling with time but it worth every second. I learned to have fun (perhaps because I still don't talk with my inner critic) and in this sketch, with to much details, I've tried to use everything I've learned and simplify all the visual information.
I woke up early(Since My body was still on Chicago time!) while in Seattle and was awarded with an overcast grey day! I shot anyway, and tried to get creative with what I had to work with, so I shot some potential B&W(By changing my LCD to show me the monochrome image) and then thought about white balance! So, most of the sliding on this was actually done IN camera by changing my white balance towards the cool end of things! FInished it up in ColorEFX 4 and just love this one!!
The funny thing is, that the next morning was that amazing sunrise I captured here and here, and so it wasn't until this weekend, a month later, that I even looked at what I thought was a wash out the day before!!
Lesson1: never give up when your in the field! Think! How can I make the best out of what I have been given?
Lesson2:Don't delete shots too soon! they may still have life left in them!!
I enjoyed this assignment. My 8 year old granddaughter was spending the weekend with us. Last Christmas I gave her a complete watercolor sketch set. When she visits we sketch together, so Saturday we set up lawn chairs in the yard and painted.
Some examples with rollover before and after versions:
www.GrfxDziner.com/ExampleLesson1.html
...and for the lasso tool...
www.GrfxDziner.com/ExampleLesson2D.html
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This is for the Fix My Pic Please group.
From a beautiful original by nign 2007-2008 titled, the second tulip at my balcony.
I really liked the colors and angles of the original. I used the pen tool to select the larger leaves in the foreground. I copied these twice to new layers. I flipped one horizontally and slide it to thebside. I then scaled and blurred the other and slide it to the opposite side. I selected the tulip and had this on its own layer, and then used a yellow spot light to the bottom left of the tulip.
I added a little gradient on the top as a multiplier, and flipped the image vertically, and horizontally. Thank you so much nign 2007-2008 for letting e work on your beautiful photo.
I loved drawing this house, which I think is why I added colour! I think I enjoyed it because it felt simple but still had lots of interesting details to get my teeth into without being overwhelming. I'm enjoying working on volumes because it's really helping me to simplify what I'm looking at and this one in particular felt so much easier because it was a front facing image. #lesson2 #lesson2thickness
Lesson 2
Great practice house because of ornamentation have to really focus on the simple volumes. Still want to make the windows too big ;)
#lesson2 My exterior view- Don't like it. Got too wound up in the detail. I was in Switzerland for a few days, I didn't do enough sketching. Too much walking!
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This photo was challenging Golden Rays from the pool of Highly Competitive -
Flickr's 100 Best - www.flickr.com/groups/best100only/. Wish me luck!
During the challenges for February, 2009:
www.flickr.com/groups/best100only/discuss/72157613236011413/
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Vanessa | Ana Hernandez Bridal Salon
Boston, Massachusetts
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This is for the Fix My Pic Please group.
From an original by -just julie- titled, {fix my pic}.
For a description of this edit, go to this forum...and scroll down:
www.GrfxDziner.com/forum/forum8/29.html
Thank you -just julie-, for letting me work on your beautiful photo:)
#lesson2
It seemed to me that my perception of angles was a little more accurate when I went to sketch outside, after I had completed the indoors exercices. The left diagonale is way off (the bottom point does not relate to the end point of the balcony lattice. But apart from this, it's an improvement to what I have sketched before.
At the Botanical Gardens on Saturday for Sydney Urban Sketchers get together, so tackled the same monument that Liz had sketched in her demonstration but from a different angle. I found this harder to do than the shoes, with the busy background distracting me, and maybe because I did this one before exercise 1. Shame about the pen leakage!!
I found the feedback Liz gave about achieving texture in trees and plants very helpful. I experimented a bit with different techniques today!
I was much happier with my second attempt on this house. I was more careful to line up my roof lines. I need to work on how to draw a believable fence.
Jordan (Katie Price)
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This sketch was done with Neocolor II and a waterbrush. I like this more than my first sketches and I could work so much faster.
(mentre gli altri applicano idee magiche sulla gente e il cibo, io gioco).
Ho sempre avuto un po' il gusto dell'orrido e subito il fascino di ciò che rievoca il passato. Cose antiche e usate, ma anche no.
Charleston est. 1670, pop. 127,999 (2013)
• Rainbow Row consists of 13 early-18th c. wharfside houses • designed for colonial mercantile life with ships docked at wharfs across the street • upper floors served as residences • ground floors were used by factors as counting rooms or as shops • though joined by common walls like row houses, diverse roof styles offer evidence that nearly all of these bldgs. were constructed separately over a period of time —"Urban Architecture in Colonial Charleston"
(L) No. 89 (c.1787), Deas-Tunno House (blue)
• 3½-story brick house • outbuildings include slave quarters & former warehouses restored as residences • built by John Deas, Jr. (1761-1790), member of a prominent Scottish family of merchants & planters • either during or shortly after the American Revolution this house replaced a tenement that had been built by Scottish merchant/planter George Seaman & destroyed by the Great Fire of 1778 —Historic Charleston Foundation
• J.D. Jr.'s father, John Deas Sr. (1735-1790), was married to Seaman's stepdaughter, Elizabeth Allen Deas (1742-1802) • upon Seaman's death in 1769, she inherited most of his estate, including Thorogood Plantation & 141 slaves • by 1790, the Deas's had 208 slaves, none of whom fled the Plantation during the chaos of the Revolution —"The Goose Creek Bridge, Gateway to Sacred Places", Michael J. Heitzler
• Deas Sr. & his brother David were merchants & slave traders • David introduced golf to America, 1743 • First Golf Played, USA, 1788
• another Deas Family, this an African-American one, appears to have it's American roots in late 18th c. Charleston • research suggests the family line may have originated in Sierra Leone, where the Deas ancestors were presumably shipped from Bunce Island on the H.M.S. Brigantine Dembia, then sold or kept as slaves by John & David Deas —"Pearls of Wisdom of Three Generations"
• the slave ship was named for the Dembia River in Sierra Leone, where "black merchants [brought] slaves and ivory" • at Gambier, a settlement on the river, African children liberated from slave-smuggling vessels were kept "constantly under Christian instruction" by members of The Church Missionary Society, who also clothed, fed & provided the children with vocational training —"Southern Evangelical Intelligencer," 03 April, 1819
• in 1787 the Deas mansion was purchased by Scottish imigrant, Adam "King of the Scotch" Tunno (1753-1832), one of Charleston's wealthiest merchants • Tunno traded in Scottish imports, silk, fine cloth, wine & slaves • was steward of the St. Andrews Society • for over 40 yrs. this house was his home & place of business
• considered a bachelor, Tunno nevertheless raised a family here with a "fine looking [brown] person," Margaret Ballingall, who ran the household & oversaw the slaves • they appeared in public as a couple & attended church together at Charleston's elite St. Philip's • they were renowned for the elegance of their dinner parties —"Women in the South across Four Centuries"
• though state law did not prohibit inter-racial marriages, Tunno & Ballingall apparently were never married (apart from their "moral marriage," derived from decades of living together as husband & wife) • nevertheless, denied the sacraments at St. Philip's, Margaret presented a letter from Adam stating that she was his wife, & was henceforth permitted to commune • the white community viewed Ballingall as a housekeeper, concubine or slave, but among blacks she was considered Tunno's wife —"The Women of Charleston's Urban Slave Society", Cynthia M. Kennedy
• Margaret Ballingall (c. 1769-1839) aka, Bellingall, Bettingall, Battingall, and in her youth, Peggy, daughter of Sarah, was a slave who had already changed hands about eight times when, in 1795, Tunno purchased "Peg" & her 2 children, Hagar & Owen, from the daughter of Scottish planter Robert Ballingall
• evidence suggests that Tunno & Ballingall had already been living together since at least 1782, and that she had borne him both a son who died in infancy & — the very year Tunno purchased her — a daughter, Barbara, aka Barbary
• although Tunno treated Ballingall as a free woman & she lived as such, there is no record of manumission • however, Barbara, Tunno's natural daughter, was manumitted in 1803, & in Margaret's will, she identifies herself as "a free black woman"
• in his will, Tunno left "the free black woman" Margaret & daughter Hagar $1,250 each, with extra money for Margaret to purchase a new house • his natural daughter Barbara was given $2,500, slaves & several personal items from her father's home • larger bequests were left for some of his white relatives
• after Adam's death, Margaret & her children became homeowners, slaveholders & prominent members of Charleston's free black community • their financial success included dealings with white businessmen, some possibly intimate as posited by historian Amrita Chakrabarti Myers • when she died, Margaret Ballingall Tunno's estate was worth $15,000-$20,000
(C/L) 91 East Bay (c.1788), Inglis Arch House (peach)
• site of a pre-Revolutionary store leased by Scottish immigrant, George Inglis (1716-1775) • known as the lnglis Arch House after the covered alley — once known as Middle Alley — that passed through the bldg. —Historic Charleston Foundation
• purchased in 1774 by mercantile firm Leger & Greenwood — Peter Léger (1732-1775) & William Greenwood (1740-1822) — shortly after they half-heartedly participated in the "Charleston Tea Party" • though neither favored American independence, they went along with popular opposition to Britain's Tea Act by refusing a shipment of tea 12 days before the Boston Tea Party
• their building burned in the fire of 1778, about the same time that Leger & Greenwood ceased operations & Greenwood, a Tory, fled to Britain • rebuilt & sold to Rhode Island merchant Nathaniel Russell • severely damaged during the Union siege, 1864
• purchased in 1920 by preservationist Susan (Sue) Pringle Frost (1878-1960), who owned several nearby properties • New York playwright John McGowan (1894-1977) & his wife, Betty purchased No. 95 (green) from Frost in 1938, which they restored as their residence • bought No. 93 (yellow) & the adjoining No. 91 (peach) in 1941 • considered demolishing the 2 dilapidated structures to create a garden for their home • chose instead to restore them as investment property • removed 19 c. Greek Revival details from No. 91 • added the current details, e.g., the roofline & 1st floor arched doors
(C/R) No. 93 (c.1778), James Cook House (yellow)
• 3½-story stuccoed brick structure believed to have been built by house carpenter James Cook • replaced Loyalist Fenwicke Bull's Flemish gabled house and shop, destroyed in the 1778 fire • like many tradesmen of his era Cook, building houses with at least 4 slaves, assembled a real estate portfolio to take advantage of Charleston's robust rental market
• this house, however, Cook built for himself • his widow lived upstairs until her death in 1826 • the house then passed to Charleston-born Jew, Moses Hyams (1798-1868), a commission merchant dealing in rice who maintained his business at this location • Hyams was probably responsible for the Greek Revival facade & gutting of the interior for warehouse space • the neighborhood declined in the late 19th c. and was essentially a slum when preservationist Susan Pringle Frost purchased this and neighboring buildings in 1920
• in 1941, hoping to return the building to it's original appearance, New York playwright John McGowan (1894-1977) & his wife, Betty, secured the services of a preservation specialist, African-American carpenter/builder Thomas (Tom) Mayhem Pinckney (1871-1952), who performed the restoration
• the Greek Revival façade was removed, revealing a hip roof to which a dormer was added • landscape architect Loutrel Briggs (1893-1977) added a formal garden —Historic Charleston Foundation —Charleston County Public Library —Charleston Post & Courier, 30 April, 1979
(R) No. 95 (c.1778), Charles Cotesworth Pinckney House (green)
• 4-story Flemish gabled townhouse probably dates from shortly after the Great Fire of 1740 & seems to have survived the 1778 fire • its builder's identity is unknown • one possibility is Othniel Beale (1688-1773), chief engineer of Charles Town's fortifications • the giant order pilaster of the adjacent Beale house at No. 99-101 E. Bay matches those of this house • further, this house & the adjacent Beale structures occupay the site of a house inherited by Beale’s wife Katherine “Hannah” Gale & a lot Beale purchased across from his wharf —Roots & Recall
• its also possible that the house was built by Philadelphia Quaker Joseph Shute, a merchant who operated a fleet of ships & owned an island he named Shute's Delight (now remembered only as Shute's Folly) • in 1731 Othniel Beale had been a witness at Shute's wedding, & by 1748, Shute owned this house • in 1849 Shute declared bankruptcy, handing over for auction all assets except essential bedding, clothes, tools & "arms for muster" if he had any • returned to Philadelphia, 1751 — "The Road to Black Ned's Forge: A Story of Race, Sex, and Trade on the Colonial American Frontier"
• in 1779 the house was owned by Charles Cotesworth Pinckney (1746-1825), American statesman, Revolutionary War veteran & delegate to the Constitutional Convention • twice nominated by the Federalist Party as its candidate for U.S. President • lost both elections
• property purchased by a commercial interest in 1789 • storefront window later replaced with the existing entrances & small windows • like other properties in this group, this one was purchased in 1920 by preservationist Susan Pringle Frost (1878-1960) and restored by New York playwright John McGowan and his wife, Betty • interior detail
• Charleston Historic District, National Register # 66000964, 1969 • declared National Historic Landmark District, 1973
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This is for the Fix My Pic Please group
from an awesome original by tiffanyw81, titled IMG_4837..
Charleston est. 1670, pop. 127,999 (2013)
• Rainbow Row consists of 13 early-18th c. wharfside houses • designed for colonial mercantile life with ships docked at wharfs across the street • upper floors served as residences • ground floors were used by factors as counting rooms or as shops • though joined by common walls like row houses, diverse roof styles offer evidence that nearly all of these bldgs. were constructed separately over a period of time —"Urban Architecture in Colonial Charleston"
(L) No. 95 (c.1778), Charles Cotesworth Pinckney House (green)
• 4-story Flemish gabled townhouse probably dates from shortly after the Great Fire of 1740 & seems to have survived the 1778 fire • its builder's identity is unknown • one possibility is Col. Othniel Beale (1688-1773), chief engineer of Charles Town's fortifications • the giant order pilaster of the adjacent Beale house at No. 99-101 E. Bay matches those of this house • further, this house & the adjacent Beale structures occupay the site of a house inherited by Beale’s wife Katherine “Hannah” Gale & a lot Beale purchased across from his wharf —Roots & Recall
• its also possible that the house was built by Philadelphia Quaker Joseph Shute, a merchant who operated a fleet of ships & owned an island he named Shute's Delight (now remembered only as Shute's Folly) • in 1731 Othniel Beale had been a witness at Shute's wedding, & by 1748, Shute owned this house • in 1849 Shute declared bankruptcy, handing over for auction all assets except essential bedding, clothes, tools & "arms for muster" if he had any • returned to Philadelphia, 1751 — "The Road to Black Ned's Forge: A Story of Race, Sex, and Trade on the Colonial American Frontier"
• in 1779 the house was owned by Charles Cotesworth Pinckney (1746-1825), American statesman, Revolutionary War veteran & delegate to the Constitutional Convention • twice nominated by the Federalist Party as its candidate for U.S. President • lost both elections
• property purchased by a commercial interest in 1789 • storefront window later replaced with the existing entrances & small windows • like other properties in this group, this one was purchased in 1920 by preservationist Susan Pringle Frost (1878-1960) and restored by New York playwright John McGowan and his wife, Betty • interior detail
(C) No. 97 (c. 1741) 3-story brick house (blue)
• built by Othniel Beale, who also built the adjoining No. 99-101 which shares a roof, party wall, & decorative elements • owned by a French immigrant, baker Casimir Dutrieux (1799-1848), & remained in his family until 1939 • estate inventory the year of his death listed 11 slaves • subsequently a boarding house, dairy, grocery, speakeasy, carpentry shop —"Charleston News & Courier," 7 May, 1979
• bldg. purchased in 1920 by preservationist Susan Pringle Frost (1878-1960), who owned several nearby properties • sold it to in 1936 to Judge Lionel Legge & his wife, Dorothy Haskell Porcher Legge (1895-2000), who had lived in No. 99-101 since 1931 •
• Legge placed a balcony salvaged from another bldg. on the second story, where the original design was thought to have had one • the storefront entrance was replaced by a fan lighted entrance • in 1992, Mrs. Legge’s restoration of No. 97 & No. 99-101 was recognized with an award from the Preservation Society of Charleston
(R) 99-101 (c. 1741), Othniel Beale House (pink)
• like the other buildings in this suite, this 3-story double bldg. was rebuilt after the fire of 1740 & probably survived the fire of 1778 • originally envisioned as a single family residence attached to a tenement • the open central passage on the ground floor divided 2 shop spaces & lead to the outbuildings • shares a common gable roof with No. 97, a continuous brick facade & a belt course that extends across the entire suite
• Beale, a sea captain, came to Charleston in 1721 from Marblehead, MA • designed the walled city's fortifications • his son, John, was a Patriot officer in the American Revolution
• Beale was also a leading merchant in the Indian trade, with agents as far inland as Mississippi exchanging British manufactured goods for deer skins • he died in 1772, leaving his wife the houses & buildings built on the land inherited from her parents, & half of the profits from the rental of No. 97, the "house and Store adjoining to the South" —"Charleston News & Courier," 7 May, 1979
• in the 1930s Judge Lionel Legge & his wife, Dorothy Haskell Porcher Legge (1895-2000), purchased & restored No. 99-101 • replaced the storefronts with early-18th c. style nine-over-nine windows & cargo doors •
• influenced by the close relationship between Charleston's architecture & that of the Caribbean colonies, Mrs. Legge, a decorator & preservationist, painted her buildings pink • oral history -Low Country Digital Library
• the name "Rainbow Row" was coined as restorations of neighboring houses through the '30s-'40s expanded on Legge's idea, adding more colors from the Caribbean palette -<a href="http://www.sciway.net/sc-photos/charle
• in 1948, in recognition of their historic restoration of No.99-101, the the Society for the Preservation of Old Dwellings loaned the Legges a wrought iron balcony salvaged from the C.F. Prigge House, which they installed on the 2nd floor
• at the rear, a courtyard & an early kitchen dependency remain • said to be the inspiration for the first stage set for George Gershwin and DuBose Heyward’s 1935 opera, “Porgy and Bess,” • landscape architect Loutrel Briggs (1893-1977) assisted the Legges in reusing this back courtyard and in designing an appropriate period garden —Historic Charleston Foundation
HABS SC-874 • Charleston Historic District, National Register # 66000964, 1969 • declared National Historic Landmark District, 1973
Charleston est. 1670, pop. 127,999 (2013)
• Rainbow Row consists of 13 early-18th c. wharfside houses • designed for colonial mercantile life with ships docked at wharfs across the street • upper floors served as residences • ground floors were used by factors as counting rooms or as shops • though joined by common walls like row houses, diverse roof styles offer evidence that nearly all of these bldgs. were constructed separately over a period of time —"Urban Architecture in Colonial Charleston"
(L) No. 89 (c.1787), Deas-Tunno House (blue)
• 3½-story brick house • outbuildings include slave quarters & former warehouses restored as residences • built by John Deas, Jr. (1761-1790), member of a prominent Scottish family of merchants & planters • either during or shortly after the American Revolution this house replaced a tenement built by Scottish merchant/planter George Seaman & destroyed by the Great Fire of 1778 —Historic Charleston Foundation
• J.D. Jr.'s father, John Deas Sr. (1735-1790), was married to Seaman's stepdaughter, Elizabeth Allen Deas (1742-1802) • upon Seaman's death in 1769, she inherited most of his estate, including Thorogood Plantation & 141 slaves • by 1790, the Deas's had 208 slaves, none of whom fled the Plantation during the chaos of the Revolution —"The Goose Creek Bridge, Gateway to Sacred Places", Michael J. Heitzler
• Deas Sr. & his brother David were merchants & slave traders • David introduced golf to America, 1743 • First Golf Played, USA, 1788
• another Deas Family, this an African-American one, appears to have it's American roots in late 18th c. Charleston • research suggests the family line may have originated in Sierra Leone, where the Deas ancestors were presumably shipped from Bunce Island on the H.M.S. Brigantine Dembia, then sold or kept as slaves by John & David Deas —"Pearls of Wisdom of Three Generations"
• the slave ship was named for the Dembia River in Sierra Leone, where "black merchants [brought] slaves and ivory" • at Gambier, a settlement on the river, African children liberated from slave-smuggling vessels were kept "constantly under Christian instruction" by members of The Church Missionary Society, who also clothed, fed & provided the children with vocational training —"Southern Evangelical Intelligencer," 03 April, 1819
• in 1787 the Deas mansion was purchased by Scottish imigrant, Adam "King of the Scotch" Tunno (1753-1832), one of Charleston's wealthiest merchants • Tunno traded in Scottish imports, silk, fine cloth, wine & slaves • was steward of the St. Andrews Society • for over 40 yrs. this house was his home & place of business
• considered a bachelor, Tunno nevertheless raised a family here with a "fine looking [brown] person," Margaret Ballingall, who ran the household & oversaw the slaves • they appeared in public as a couple & attended church together at Charleston's elite St. Philip's • they were renowned for the elegance of their dinner parties • —"Women in the South across Four Centuries"
• though state law did not prohibit inter-racial marriages, Tunno & Ballingall were apparently never married (apart from their "moral marriage," derived from decades of living together as husband & wife) • denied the sacraments at St. Philip's, Margaret presented a letter from Adam stating that she was his wife & was henceforth permitted to commune • the white community viewed Ballingall as a housekeeper, concubine or slave, but among blacks she was considered Tunno's wife —"The Women of Charleston's Urban Slave Society", Cynthia M. Kennedy
• Margaret Ballingall (c. 1769-1839) aka, Bellingall, Bettingall, Battingall, and in her youth, Peggy, daughter of Sarah, was a slave who had already changed hands about eight times when, in 1795, Tunno purchased "Peg" & her 2 children, Hagar & Owen, from the daughter of Scottish planter Robert Ballingall
• evidence suggests that Tunno & Ballingall had already been living together since at least 1782, and that she had borne him both a son who died in infancy & — the very year Tunno purchased her — a daughter, Barbara, aka Barbary
• although Tunno treated Ballingall as a free woman & she lived as such, there is no record of manumission • however, Barbara, Tunno's natural daughter, was manumitted in 1803 & in her will, Margaret identifies herself as "a free black woman"
• in his will, Tunno left "the free black woman" Margaret & daughter Hagar $1,250 each, with extra money for Margaret to purchase a new house • his natural daughter Barbara was given $2,500, slaves & several personal items from her father's home • larger bequests were left for some of his white relatives
• after Adam's death, Margaret & her children became homeowners, slaveholders & prominent members of Charleston's free black community • their financial success included dealings with white businessmen, some possibly intimate as posited by historian Amrita Chakrabarti Myers • when she died, Margaret Ballingall Tunno's estate was worth $15,000-$20,000
(C/L) 91 East Bay (c.1788), Inglis Arch House (peach)
• site of a pre-Revolutionary store leased by Scottish immigrant, George Inglis (1716-1775) • known as the lnglis Arch House after the covered alley — once known as Middle Alley — that passed through the bldg. —Historic Charleston Foundation
• purchased in 1774 by mercantile firm Leger & Greenwood — Peter Léger (1732-1775) & William Greenwood (1740-1822) — shortly after they half-heartedly participated in the "Charleston Tea Party" • though neither favored American independence, they went along with popular opposition to Britain's Tea Act by refusing a shipment of tea 12 days before the Boston Tea Party
• their building burned in the fire of 1778, about the same time that Leger & Greenwood ceased operations & Greenwood, a Tory, fled to Britain • rebuilt & sold to Rhode Island merchant Nathaniel Russell • severely damaged during the Union siege, 1864
• purchased in 1920 by preservationist Susan (Sue) Pringle Frost (1878-1960), who owned several nearby properties • New York playwright John McGowan (1894-1977) & his wife, Betty purchased No. 95 (green) from Frost in 1938, which they restored as their residence • bought No. 93 (yellow) & the adjoining No. 91 (peach) in 1941 • considered demolishing the 2 dilapidated structures to create a garden for their home • chose instead to restore them as investment property • removed 19 c. Greek Revival details from No. 91 • added the current details, e.g., the roofline & 1st floor arched doors
(C/R) No. 93 (c.1778), James Cook House (yellow)
• 3½-story stuccoed brick structure believed to have been built by house carpenter James Cook • replaced Loyalist Fenwicke Bull's Flemish gabled house and shop, destroyed in the 1778 fire • like many tradesmen of his era Cook, building houses with at least 4 slaves, assembled a real estate portfolio to take advantage of Charleston's robust rental market
• this house, however, Cook built for himself • his widow lived upstairs until her death in 1826 • the house then passed to Charleston-born Jew, Moses Hyams (1798-1868), a commission merchant dealing in rice who maintained his business at this location • Hyams was probably responsible for the Greek Revival facade & gutting of the interior for warehouse space • the neighborhood declined in the late 19th c. and was essentially a slum when preservationist Susan Pringle Frost purchased this and neighboring buildings in 1920
• in 1941, hoping to return the building to it's original appearance, New York playwright John McGowan (1894-1977) & his wife, Betty, secured the services of a preservation specialist, African-American carpenter/builder Thomas (Tom) Mayhem Pinckney (1871-1952), who performed the restoration
• the Greek Revival façade was removed, revealing a hip roof to which a dormer was added • landscape architect Loutrel Briggs (1893-1977) added a formal garden —Historic Charleston Foundation —Charleston County Public Library —Charleston Post & Courier, 30 April, 1979
(R) No. 95 (c.1778), Charles Cotesworth Pinckney House (green)
• 4-story Flemish gabled townhouse probably dates from shortly after the Great Fire of 1740 & seems to have survived the 1778 fire • its builder's identity is unknown • one possibility is Othniel Beale (1688-1773), chief engineer of Charles Town's fortifications • the giant order pilaster of the adjacent Beale house at No. 99-101 E. Bay matches those of this house • further, this house & the adjacent Beale structures occupay the site of a house inherited by Beale’s wife Katherine “Hannah” Gale & a lot Beale purchased across from his wharf —Roots & Recall
• its also possible that the house was built by Philadelphia Quaker Joseph Shute, a merchant who operated a fleet of ships & owned an island he named Shute's Delight (now remembered only as Shute's Folly) • in 1731 Othniel Beale had been a witness at Shute's wedding, & by 1748, Shute owned this house • in 1849 Shute declared bankruptcy, handing over for auction all assets except essential bedding, clothes, tools & "arms for muster" if he had any • returned to Philadelphia, 1751 — "The Road to Black Ned's Forge: A Story of Race, Sex, and Trade on the Colonial American Frontier"
• in 1779 the house was owned by Charles Cotesworth Pinckney (1746-1825), American statesman, Revolutionary War veteran & delegate to the Constitutional Convention • twice nominated by the Federalist Party as its candidate for U.S. President • lost both elections
• property purchased by a commercial interest in 1789 • storefront window later replaced with the existing entrances & small windows • like other properties in this group, this one was purchased in 1920 by preservationist Susan Pringle Frost (1878-1960) and restored by New York playwright John McGowan and his wife, Betty • interior detail
• Charleston Historic District, National Register # 66000964, 1969 • declared National Historic Landmark District, 1973