8 10 134 https://slaverymonuments.org/files/original/989d349cf2e301dd21d20cfc9f7beb5d.jpg 2c7858ee36cb5b304d288ff6e9c4c428 https://slaverymonuments.org/files/original/54426bbfb208b19269b2d79798c030bc.jpg 5f78918b3875ccb0fa96e912472f8fdc https://slaverymonuments.org/files/original/eb0638026bf1f2ed104459a9098dabf7.jpg ce75e67b14c4d5e3509f303b2be7d4ba https://slaverymonuments.org/files/original/fb86b751919b51a900f33f9e123fc4b4.jpg 94cc8e134f691cab4a1c496d9803dba5 https://slaverymonuments.org/files/original/a6eb5d2eacb31a391d4a7341c7a00e64.jpg b2e14c5df42060324820be1d03aa01db https://slaverymonuments.org/files/original/1f7d416092ce8b95188fbc2d184bc5f9.jpg 2f7e9b9a704c303b5f17ce307fb48c39 https://slaverymonuments.org/files/original/9c976699c313d348774665198cda1e40.jpg 60c4006cc34b06cef494ed161bf5fb7a 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 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 Harriet Tubman (Salisbury, Maryland) Subject The topic of the resource <psubject topic="" br=""></psubject>Subject (Topic) Abolitionists--United States Freedom Maryland--Salisbury Public art Public sculpture Slavery--Maryland Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Subject (Object Type) Commemorative sculpture Description An account of the resource The bronze statue of Harriet Tubman is placed on a concrete base. Tubman wears a nineteenth-century inspired dress that she lifts with her left hand, creating a rippling effect in the bronze cloth. On her left shoulder sits a saw-whet owl, at her left foot rests a rabbit. She extends her right arm into the air, perpendicular to her body with her palm extending outwards. A Maryland blue crab and ten seashells are sculpted into the base of the monument. Creator An entity primarily responsible for making the resource Hill, James, 1945- Date A point or period of time associated with an event in the lifecycle of the resource September 22, 2009 Contributor An entity responsible for making contributions to the resource Salisbury University (funder); Students assisting with the project included Mike Benson, Jason Bromley, Jen Drake, Sarah Halcot, Christopher Hill, Robbie Johnson, Sam Jones, Diana Mosteller, Keely Patton, Tom Ruch, Dan Stachurski, Phillip Taylor and Tom Wright. SU faculty emeritus Gerry Patt Jr. helped with the sculpture’s casting. Faculty emerita Marie Cavallaro documented the procedure. Rights Information about rights held in and over the resource Salisbury University, 1101 Camden Avenue, Salisbury, Maryland, 21801, United States 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 Teacher Education and Technology Center, Salisbury University, S. Salisbury Boulevard (BUS. 13), Salisbury, Maryland, 21801, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on bronze plaque: Harriet Tubman. C. 1821-1913. ‘The midnight sky and the silent stars have been the witness of your devotion to freedom and of your heroism,’ wrote fellow abolitionist and Eastern Shore native Frederick Douglass of Harriet Tubman. A Civil War nurse, scout, spy, military strategist and early women’s suffragist, the ‘Moses of her people’ freed hundreds of slaves via the Underground Railroad. With the support of the Salisbury University community, sculptor James Hill and his students realized this work in 2009, with the hope that her story will continue to inspire courage and action in the pursuit of human rights. Extent The size or duration of the resource. 84 in. (213.36 cm) Medium The material or physical carrier of the resource. Bronze; Concrete Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Press Releases. “New SU Sculpture Honors Harriet Tubman.” News. Salisbury University. September 22, 2009. Assessed March 21, 2018. http://www.salisbury.edu/news/article.html?id=3995. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Harriet Tubman Statue Source A related resource from which the described resource is derived Photographs by Renée Ater 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 bird bronze figurative portrait seashell https://slaverymonuments.org/files/original/970c81817f5cbef89e3307fa8db63ee7.jpg eaa05ff30451121b1e27d593b6c5ec43 https://slaverymonuments.org/files/original/15f2ef49e548e6d920bed698b53ef9b6.jpg 7b36d4a2eded0dd4a82e0b05ff8effd4 https://slaverymonuments.org/files/original/88a5db7e17595edd9713c27772616995.jpg 745b5a702c3d791ab81d17a818735ffd https://slaverymonuments.org/files/original/06b1f4d816b5228c4cf5cecdd81dc17f.jpg 188b148031bb146851005028cb820e05 https://slaverymonuments.org/files/original/670671e5a2ac36539ab68d1f0696bf81.jpg 1f87d961f4cec52261d138ce8258d43b 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 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 North to Freedom (Brewer, Maine) Creator An entity primarily responsible for making the resource Hines, Glenn M., 1950- Hines, Diane, 1951- Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Fugitive slaves--United States Maine--Brewer Public art Public sculpture Underground Railroad Subject (Object Type) Commemorative sculpture 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 Chamberlain Freedom Park, 12 State Street, Brewer, Maine, 04412, United States <div class="Uekwlc QzqPSc"> <div class="pBr83e"></div> </div> Date A point or period of time associated with an event in the lifecycle of the resource 2002 Description An account of the resource Located in Chamberlain Freedom Park in Brewer, Maine, the bronze statue depicts a male freedom seeker from the waist up. He presses his hands against a manhole and appears to be emerging from an underground tunnel. His well-defined torso leans northward, while his head is turned in the opposite direction, his firm gaze fixed toward the south—the direction from which he escaped. 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 Brewer Historical Society; Dick Campbell (landscape design); Brian Higgins (historic interpretation) Rights Information about rights held in and over the resource Brewer Historical Society, P.O. Box 602, Brewer, Maine, 04412, United States Has Part A related resource that is included either physically or logically in the described resource. Information plaque: The Brewer Historical Society created this park to honor Civil War hero General Joshua L. Chamberlain, a Brewer native. The park also commemorates Maine's role as a stop on the "Underground Railroad" used by runaway slaves to reach freedom in Canada. A statue of an unknown slave lifts himself, leaning North while looking South, from an underground railroad tunnel uncovered during construction in 1995. The "North to Freedom" statue, by Maine sculptors Glenn and Diane Hines, represents all who made the dangerous journeys along the "Underground Railroad." Landscape design: Dick Campbell Historic Interpretation: Brian Higgins Medium The material or physical carrier of the resource. Bronze; Field stone Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Ricker, Nok-Noi. "‘North to Freedom’ Statue in Brewer Only Official Maine Memorial to Underground Railroad." Bangor Daily News, September 1, 2012. Accessed April 30, 2021. https://bangordailynews.com/2012/09/01/news/bangor/north-to-freedom-statue-in-brewer-only-official-maine-memorial-to-underground-railroad/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater bronze figurative https://slaverymonuments.org/files/original/58c3326ac2e8cf96565e44e97deeed96.jpg 6f907100d66257cf1e759e29a9b2365b 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 Burial Grounds Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection is just a fraction of the burial grounds dedicated to enslaved persons, "contrabands," and freed persons. Many of these cemeteries and memorial parks have suffered greatly over the years--some have been desecrated and destroyed while others have been long ignored and fallen into disrepair. The monuments and memorials in this collection are part of local efforts to restore and recognize the importance of black life in death, including the <a href="https://www.slaverymonuments.org/items/show/1130" target="_blank" rel="noopener">Freedman's Cemetery Memorial</a> in Dallas, Texas; <a href="https://www.slaverymonuments.org/items/show/1136" target="_blank" rel="noopener">African Burial Ground National Memorial </a>in New York City; <a href="https://www.slaverymonuments.org/items/show/1128" target="_blank" rel="noopener">African Burying Ground Memorial</a> in Portsmouth, New Hampshire; and <a href="https://www.slaverymonuments.org/items/show/2" target="_blank" rel="noopener">Contrabands and Freedmen Cemetery Memorial</a> in Alexandria, Virginia. As of 2026, the Black Cemetery Network (blackcemeterynetwork.org) has documented 201 Black cemeteries in New England, the Middle Atlantic, the South, and the Midwest. Some of these cemeteries are dedicated to enslaved persons such as the Enslaved Cemetery in Mahwah, New Jersey; Betton Hills Plantation Cemetery in Tallahassee, Florida; and the Enslaved Burial Ground in Old Round Rock Cemetery in Round Rock, Texas. In 2022, the African American Burial Grounds Preservation Program authorized the National Park Service to administer an annual grant program to assist in the preservation of historic Black burial grounds. See Congress.gov. "Text - H.R.6805 - 117th Congress (2021-2022): African-American Burial Grounds Preservation Act." April 28, 2022. https://www.congress.gov/bill/117th-congress/house-bill/6805/text. 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 250 feet (76.2 meters) 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 Burial Ground National Monument (New York, New York) Subject The topic of the resource Subject (Topic) African Americans--History African American cemeteries New York (State)--New York  Public art Public sculpture Slavery--New York (State) Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial sits on .35 acres and includes seven distinct design features: Wall of Remembrance, Ancestral Re-Internment Grove, Memorial Wall, The Ancestral Chamber, Circle of the Diaspora, Spiral Processional Ramp, and The Ancestral Libation Court. The visitor is invited to walk through the monumental triangular structure known as “The Ancestral Chamber,” which represents the Middle Passage across the Atlantic Ocean. After passing through the chamber, the visitor encounters a spiral memorial wall featuring twenty religious symbols including a number of Adinkra symbols (Akan peoples, Ghana). The floor of the monument includes a world map centered on the West African coast with sun rays radiating towards North America, Brazil, Europe, and the Caribbean Islands. Creator An entity primarily responsible for making the resource Leon, Rodney, 1972- Hollant-Denis, Nicole, 1965- Date A point or period of time associated with an event in the lifecycle of the resource October 5, 2007 Contributor An entity responsible for making contributions to the resource Monica Aliaga-Robles (project architect); Robert Silman Associates (structural engineer); Langan Engineering (civil engineer); Elizabeth Kennedy Landscape Architects; Domingo Gonzales Associates (lighting design); Dr. Gerald Palevsky (fountain); General Services Administration; Federal Steering Committee; African-American descendant community; and the National Park Service. 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 290 Broadway, New York, New York, 10007, United States Has Part A related resource that is included either physically or logically in the described resource. Description of the seven elements from Rodney Leon, “The Ancestral Libation Chamber: Memorial on the African Burial Ground National Memorial,” National Park Service, https://www.nps.gov/afbg/learn/historyculture/upload/Rodney-Leon-Memorial.pdf. Wall of Remembrance: As one happens by the north wall facing Duane Street you are immediately struck by the scale and detail of a highly polished wall of granite inscribed with following libation text. For all those who were lost For all those who were stolen For all those who were left behind For all those who were not forgotten The Wall of Remembrance is intended to draw a person in, and thus begin the process of enlightenment and education. Ancestral Re-interment Grove:  A path extends itself north to south from Duane Street. Along this path are seven burial mounds marking the locations of the seven large sarcophagi containing the remains of the 419 African descendants that were re-interred in October of 2003. In addition, a grove of seven trees create a natural buffer and shelter between the re-interment zone and adjacent building. The burial mounds serve as markers and the trees as guardians for the entrance to the Libation Chamber. It is appropriate to place flowers and other offerings along the path in front of the burial mounds. Memorial Wall:  The Southern wall of the Libation Chamber shall be engraved with a map containing images and text describing the components of the African Burial Ground National Monument site in context of the burial ground's actual boundaries in lower Manhattan. This map will allow people to understand the extent and scope of the burial ground's actual size which extends significantly beyond the boundaries of the memorial site. The Ancestral Chamber:  The Ancestral Chamber is intended to reflect African cultural, spiritual and ancestral essence. This spiritual form rises out of the ground like an ancestral pillar and represents the soaring African spirit embracing and comforting all those who enter. The Ancestral Chamber is oriented towards the east and open to the sky above, allowing natural light to penetrate and illuminate the interior space. The interior of The Ancestral Chamber provides a sacred space for individual contemplation, reflection, meditation and prayer. Circle of the Diaspora:  Signs, symbols and images of the African Diaspora are engraved around the perimeter wall encircling the Libation Court. These symbols come from different areas and cultures throughout the Diaspora, especially Africa, Latin America and the Caribbean. Symbolic meaning is described below the image. As one circumambulates around the perimeter of the court and spirals down the processional ramp, these symbols present themselves as a reminder of the complexity and diversity of African culture's manifestation. They all come together to form a communal place and a reminder of the Burial Ground being an international center of gathering. For a complete list of the symbols, see https://www.nps.gov/afbg/learn/historyculture/adinkra-symbols.htm. Spiral Processional Ramp:  The Spiral Processional Ramp descends down 4’ below street level thereby bringing the visitor physically, psychologically and spiritually closer to the ancestors and original interment level. The ramp and stairs serve as bridges between the living and the spiritual realm. They symbolize the process of transcendence from physical to spiritual and passage from profane to sacred. The process will evolve from the public “secular” space of the city to the spiritual space of the Libation Court and culminate in the sacred space of The Ancestral Chamber. Ancestral Libation Court: The Ancestral Libation Court is situated on axis with The Ancestral Chamber. It is located 4’ below street level, providing a physical and psychological separation from the public activity of the surrounding urban environment. The Libation Court is a communal gathering place where small to medium-scale public cultural ceremonies may occur. This spiritual space is where re- consecration of the African Burial Ground National Monument will continually take place during the libation or other ceremonial rituals. The sacred ceremonial ritual of “libation” is the act which will serve as an offering and an acknowledgement linking past, present and future generations in the spirit of Sankofa (an Adinkra symbol of West Africa meaning ‘learn from the past’). Extent The size or duration of the resource. 250 feet (76.2 meters) Medium The material or physical carrier of the resource. Black 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. Frohne, Andrea E. The African Burial Ground in New York City: Memory, Spirituality, Space. New York: Syracuse University Press, 2015. "African Burial Ground: African Burial Ground National Monument, New York." Tourist Map, National Park Service, 2011. Accessed May 24, 2020. https://www.loc.gov/item/2011587283/. Ater, Renée and Steven Zucker. "African Burial Ground, New York City." Smarthistory, August 1, 2020. Accessed January 23, 2026. https://smarthistory.org/african-burial-ground-new-york/. 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: <a href="https://www.loc.gov/pictures/item/2010719190/" title="African Burial Ground National Monument" target="_blank" rel="noopener">Carol Highsmith, Library of Congress</a> Date Created Date of creation of the resource. Groundbreaking: September 28, 2005 Rights Information about rights held in and over the resource National Park Service, U.S. Department of the Interior, 1849 C Street, NW, Washington, DC, 20240, United States abstract Adinkra symbols archaeology black granite map https://slaverymonuments.org/files/original/65af46a67fcc33da4f65e526f8c404d7.jpg 63ce44941fa6937cba8d18c921839e50 https://slaverymonuments.org/files/original/2bc1f0edc691080db2efb75826851172.jpg 1b52a7b04f990462cca5910ca2c309e7 https://slaverymonuments.org/files/original/023b2645a39b3328faa258a472ea65d9.jpg 53496cd17ac3427071e32b136f096270 https://slaverymonuments.org/files/original/9f258fdaebac3184564a33f541cd9923.jpg 53affaea163681af14b2f3eb878a8308 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 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 The Slave Memorial (Mount Vernon, Virginia) Subject The topic of the resource Subject (Topic) Cemeteries--Virginia Enslaved persons George Washington’s Mount Vernon Plantations--Virginia Slavery--Virginia Subject (Object) Commemorative sculpture Description An account of the resource Near the Mount Vernon cemetery for enslaved persons, the memorial consists of three concentric circles acting as steps that are inscribed with the words: “Faith,” “Hope” and “Love.” The steps lead toward the central, gray granite column, which is truncated to suggest “life unfinished.” Inscribed on the surface of the column: “In memory of the Afro Americans who served as slaves at Mount Vernon this monument marking their burial ground.” The commemorative work is located 50 yards southwest of George and Mary Washington’s tomb. Creator An entity primarily responsible for making the resource Howard University Architecture Students Source A related resource from which the described resource is derived Photograph: <a href="https://www.flickr.com/photos/timevanson/16759857225/in/photostream/" target="_blank" rel="noopener">Tim Evanson, Flickr, CC BY-SA 2.0</a> Date A point or period of time associated with an event in the lifecycle of the resource September 21, 1983 Contributor An entity responsible for making contributions to the resource Mount Vernon Ladies’ Association (MVLA); Black Women United for Action Rights Information about rights held in and over the resource Mount Vernon Ladies’ Association, Mount Vernon, 3200 Mount Vernon Memorial Highway Mount Vernon, Virginia, 22121, United States 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 3200 Mount Vernon Memorial Highway Mount Vernon, Virginia, 22121, United States Medium The material or physical carrier of the resource. Granite Rights Holder A person or organization owning or managing rights over the resource. 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. George Washington’s Mount Vernon. “The Slave Memorial.” Accessed October 9, 2024. https://www.mountvernon.org/george-washington/slavery/the-slave-memorial-at-mount-vernon. Has Part A related resource that is included either physically or logically in the described resource. Inscription on the monument: In memory of the Afro Americans who served as slaves at Mount Vernon. This monument marking their burial ground dedicated September 21, 1983, Mount Vernon Ladies’ Association Inscription on plaque near memorial entrance: Slave Memorial In 1929, the Mount Vernon Ladies' Association placed a marker noting the location of the slave cemetery, believed to be the first commemoration of its kind at a historic site. Despite this recognition, the burial ground lay unattended for decades, until a group of citizens began a concerted effort to honor the enslaved people buried here. In 1983, Mount Vernon dedicated a new memorial, which was designed by architecture students at Howard University. It is a lasting tribute to the memory of those individuals who lived and toiled in bondage here. Approaching Slave Memorial Quiet please and remain on gravel path Inscription on Slave Burial Area plaque: Slave Burial Area “Near (George Washington’s) tomb you see the burying place of his slaves containing 150 graves.” Visitor to Mount Vernon 1833 Many African American—free and enslaved—who worked at Mount Vernon from the 1750s into the 19th century are believed to be buried near here, according to early visitor accounts, oral tradition and a circa 1860 map. Among them is William Lee, George Washington’s personal servant during the Revolutionary War, who was granted freedom and an annuity in Washington’s will. West Ford (1784-1863), a freed slave was hired by the Washington family in the 19th century, is also thought to be buried here. The Mount Vernon Ladies’ Association sought Ford’s advice in the early restoration of the estate. Today, a memorial stands at the center of the burial area, serving as a testament to the hundreds of slaves who labored on Mount Vernon’s grounds and lay in unmarked graves. 1929 Marker In memory of the many faithful, colored servants of the Washington family buried at Mount Vernon from 1760 to 1860. Their unidentified graves surround this spot. columns granite inscription https://slaverymonuments.org/files/original/4d067b13954a799018a97269857061ad.jpg c70e1807c8422f73c9e9a83ac08dc9b0 https://slaverymonuments.org/files/original/4b5c91b408741aa89b5670428cbe0762.jpg f69336ea0a8289b7d5238a7c0f59d61f https://slaverymonuments.org/files/original/8f7b5278533b2eeeaf3cb7473361bf71.jpg 721797c2285f1b69ee5c53d0c45e50e1 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 360 in. (914.4 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 Knockin’ On Freedom’s Door (Peoria, Illinois) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Fugitive slaves--United States Illinois--Peoria Public art Public sculpture Underground Railroad Subject (Name) Pettengill, Moses, 1802-1883 Pettengill, Lucy, 1802-1864 Lincoln, Abraham, 1809-1865 Subject (Object Type) Commemorative sculpture Description An account of the resource Preston Jackson‘s monumental bronze and stainless steel Knockin’ on Freedom’s Door is located on the site of the former Pettengill House in Peoria, an important station on the Underground Railroad. The work features multiple bronze sculptural groups within a stainless-steel frame. The sculptural grouping includes a male and female freedom seeker, climbing out of a small rowboat as two white members of the Underground Railroad look down upon the pair. The pair of Underground Railroad conductors are presumably Moses and Lucy Pettengill. Moses holds a bucket of water in one hand and a ladle in the other, while Lucy clutches at her chest. At the very top of the sculpture, looking down over the scene is a portrait of Abraham Lincoln in profile. Creator An entity primarily responsible for making the resource Jackson, Preston, 1944- Date A point or period of time associated with an event in the lifecycle of the resource October 24, 2008 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 Peoria Civic Center, 201 SW Jefferson Ave, Peoria, Illinois, 61602, United States Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque with dedication: “Knocking on Freedom's Door” Preston Jackson, Sculptor Dedicated October 24, 2008 From the 1840s to 1860s, the Moses and Lucy Pettengill House at the corner of Liberty and Jefferson was a safe house for hunted slaves escaping north along the Underground Railroad to freedom. In 2003, the Peoria Civic Center Authority voted to develop the Pettengill housing location as Peoria's newest historic site. In Dec. 2005, the National Park Service officially named Peoria as the 11th Illinois Underground Railway Network to Freedom Historic Site. Preston Jackson, internationally known African American sculptor and a resident of Peoria, was commissioned to create a public artwork that expressed the drama and raw emotions of slaves’ flight to the north along with the generosity of Pettengills, close friends of Abraham Lincoln. Generous support made this project possible, particularly from: Dr. Norman & Barbara Meyn Caterpillar Foundation National Park Service Turner Construction Company Oberlander Electric Advanced Technology Services AmerenCilco//Bill & Helen Barrick Ken & Jody Baum Brewer’s Distrubuting CEFCU Commerce Bancshares Foundation Dr. Peter & Barbara Court PSA Dewberry Harvey & Stuckel, Chartered HOK Sports Facilities Group Illinois Mutual Micro-Pavers, Inc. Selma E. Neumiller OSF Saint Francis Medical Center Tom & Debbie Ritschel Ransburg Foundation RLI Insurance Company Gene & Harriet Swager West Central IL Building & Construction Trades Council Ruby K. Warner Family Trust Bronze plaque with a relief of the home of Moses and Lucy Pettengill: "On this site stood the house of Moses and Lucy Pettengill Moses Pettengill [1802-1883] Lucy Pettengill [1802-1864] The house was noted as Peoria's station on the Underground Railway Network from the 1840s to the 1860s. Fleeing slaves were given food and refuge in this home. The Pettengills helped the escaping slaves with their dangerous journey along the Illinois River on their way to Farmington, Lawn Ridge and Princeton. The Pettengills assisted in founding: Illinois State Anti-Slavery Society [Oct 1837] Peoria Anti-Slavery Society [Feb 1844] Illinois State Female Anti-Slavery Society [May 1844] Abraham Lincoln was their intimate friend, and came to the home many times to discuss political affairs with the ardent Whigs. “In my own experience of about fifty years of opposition to intemperance, Secret Societies, and slavery, I have had the blessing of an approving conscience which is far more valuable than gold and silver.” - Moses Pettengill [1879] Extent The size or duration of the resource. 360 in. (914.4 cm) Medium The material or physical carrier of the resource. Stainless steel; 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: <a href="https://ordinaryphilosophy.com/2017/10/24/photobook-knockin-on-freedoms-door-at-moses-and-lucy-pettingills-house-site-in-peoria-illinois/" target="_blank" rel="noopener">Amy Cools, Ordinary Philosophy</a> Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Thompson, Katie. "The Long Road to Freedom: Peoria and the Underground Railroad." Peoria Magazine, January/February 2008. Accessed February 10, 2026. https://ww2.peoriamagazines.com/as/2008/jan-feb/long-road-freedom. "Preston Jackson: Artist, Educator, Storyteller." Peoria Magazine, July 2021. Accessed February 10, 2026. https://ww2.peoriamagazines.com/pm/2021/jul/preston-jackson. Contributor An entity responsible for making contributions to the resource Dr. Norman & Barbara Meyn; Caterpillar Foundation; National Park Service; Turner Construction Company; Oberlander Electric; Advanced Technology Services; AmerenCilco//Bill and Helen Barrick; Ken and Jody Baum; Brewer’s Distributing CEFCU; Commerce Bancshares Foundation; Dr. Peter and Barbara Court; PSA Dewberry; Harvey & Stuckel Chartered; HOK Sports Facilities Group; Illinois Mutual; Micro-Pavers, Inc.; Selma E. Neumiller; OSF Saint Francis Medical Center; Tom and Debbie Ritschel; Ransburg Foundation; RLI Insurance Company; Gene and Harriet Swager; West Central IL Building & Construction Trades Council; Ruby K. Warner Family Trust Rights Information about rights held in and over the resource Peoria Civic Center Authority, 201 SW Jefferson Avenue, Peoria, Illinois, 61602, United States boat bronze figurative https://slaverymonuments.org/files/original/7b770ddd009b1e14d8aee73769212655.jpeg 61a6822b1324146db308408cb28fbe06 https://slaverymonuments.org/files/original/e43ae51b6372cb23d78a5f157eabe056.jpeg 543807d93c2a4300b05979996cd9bea0 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 300 in. (762 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 Shadow of a Face: Harriet Tubman Monument (Newark, New Jersey) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Black Power movements--New Jersey--Newark Civil rights movements--United States Freedom New Jersey--Newark Public art Public sculpture Underground Railroad Subject (Name): Tubman, Harriet, 1822-1913 Subject (Object Type): Commemorative sculpture Description An account of the resource A larger-than-life metal structure outlining a figure of Harriet Tubman stands at the site where a statue of Christopher Columbus once stood. Two sloped and offset semi-circular walls surround the metal structure. One of the walls is made of unfinished concrete; on its outer perimeter is a striking relief of Harriet Tubman’s face, assembled like a puzzle. On the inner perimeter are a series of blue tiles featuring varied designs. The other semi-circular wall, known as the Learning Wall, is composed of metal and wood planks. Its outer perimeter features a timeline of Harriet Tubman’s life, while the inner perimeter presents paragraphs of text under the heading Newark’s Black Liberation Heritage. The central metal structure in anchored to the ground with six vertical metal beams, along with six horizontal beams that extend over the Learning Wall, forming a trellis-like structure representing Tubman’s cloak. At night, a series of ground lights encircle the monument, illuminating the metal structure and trellis, backlighting the Newark’s Black Liberation Heritage text, and highlighting the bench beside the concrete wall. On-site, the viewer can hear oral histories from members of the Newark community responding to the question, “What is your story of liberation?” as well as Queen Latifah’s narration of Tubman’s stories and Newark’s history. Community members were also invited to carve abstract representations of their narratives into the blue tiles, which appear on the concrete wall alongside their recorded stories. Creator An entity primarily responsible for making the resource John, Nina Cooke, 1973- 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 March 9, 2023 Contributor An entity responsible for making contributions to the resource Audible (recorded oral histories; funder); The City of Newark (funder); the Mellon Foundation (funder); and individual residents in partnership with The Newark City Parks Foundation, Newark Arts, The Newark Museum of Art, and the Newark Public Library. Rights Information about rights held in and over the resource City of Newark, City Hall, 920 Broad Street, Newark, New Jersey, 07102, United States Relation A related resource Harriet Tubman Monument Project Videos Series, https://vimeo.com/showcase/tubman-monument-newark. 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 Harriet Tubman Square Park, 531 Broad Street, Newark, New Jersey, 07102, United States Medium The material or physical carrier of the resource. Iron; Concrete; Wood Rights Holder A person or organization owning or managing rights over the resource. 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. Cooke John, Nina. “Harriet Tubman Monument-Studio Cooke John.” Accessed August 13, 2024. https://www.cookejohn.com/harriet-tubman-monument. Hobson, Janell. "Harriet Tubman's 'Shadow of a Face': New Monument Advances Inclusive History." Ms., March 9, 2023. Accessed May 30, 2025. https://msmagazine.com/2023/03/09/harriet-tubman-monument-newark-nj/. Nayyar, Rhea. “Harriet Tubman Monument Unveiled in New Jersey.” Hyperallergic, March 9, 2023. Accessed August 14, 2024. https://hyperallergic.com/807193/harriet-tubman-monument-unveiled-in-newark-new-jersey/. Extent The size or duration of the resource. 300 in. (762 cm) Has Part A related resource that is included either physically or logically in the described resource. Inscription on the inner perimeter of the metal wall, left to right: Newark’s Black Liberation Heritage Newark’s Black community has a long history of activism for liberation. For more than 250 years, free and enslaved Blacks worked for the liberation of themselves and others, building a community of activists and standing up boldly for their civil rights. This work served as the foundation for the political activism and cultural force of today’s Newark. First Africans in New Jersey The African presence in New Jersey dates back to the 1600s. The earliest known evidence of enslaved Africans in Newark appears in slave owner Azariah Crane’s will, dated 1721. The earliest documented “self-liberation” in Newark was by a 35-year-old Black man named Charles, who ran away from his enslaver, Emanuel Cocker, in 1748. Black Soldiers in the Revolution The American Revolutionary War (1775-83) advanced the ideals of universal human equality but left intact the economic and social underpinnings of slavery. Some enslaved Africans saw the Revolution as an opportunity to advance their individual and community liberation. Jack Cudjo Banquante, a native-born African enslaved by Benjamin Coe of Newark, was the only known Black Newarker to gain his freedom in recognition of his heroism in the Revolutionary War. Freedom Seekers in New Jersey Beginning in the early 1800s, fugitive slaves from Southern states increasingly came through New Jersey on their journey to Northern states and Canada, where they hoped to live as free individuals. The Underground Railroad—the secretly organized network of institutions, safe houses, and like-minded Black and White abolitionist activists—operated in several states including New Jersey and assisted individuals in their strategies for freedom. New Jersey Safe Houses New Jersey had twelve confirmed safe houses as part of the Underground Railroad. Newark’s known safe house, located at 70 Warren Street, was built in 1830 by Jacob D. King, a leader in the African Methodist Episcopal Zion Church (the first Black church in Newark) and a founding member of the Colored Anti-Slavery Society of Newark. Newark’s Black Churches Newark’s Black religious institutions were multifaceted sites for racial pride, education, community organizing, Underground Railroad activism, and fundraising for Black liberation. In 1849, Frederick Douglass spoke at the Colored Presbyterian Church to promote his newspaper, The North Star, and to rally the city’s vibrant Black abolitionist community for the cause of freedom. Colored Anti-Slavery Society The Colored Anti-Slavery Society of Newark was one of the first Black-led anti slavery organizations in the country. Organized in 1834 by local clergy and working-class Blacks, the Society called for an immediate end to slavery in New Jersey and worked tirelessly towards it. White Abolitionists Newark-based white abolitionists also fought for the immediate end to slavery. Some, not all, believed that Blacks should have full civil rights here in the United States, while some advocated for a mass relocation of free Blacks to Africa. The goal of the American Colonization Society, for instance, was to gradually settle free Blacks and emancipated slaves in Liberia. Black Business Owners Many of the earliest successful Black Newark business owners were important supporters of the Underground Railroad. For instance, it is believed that Black stagecoach owners were essential to the network. Transporting people to New York City and other major towns gave them the cover to assist fugitive slaves on their route to freedom. The goal of the American Colonization Society, for instance, was to gradually settle free Blacks and emancipated slaves in Liberia. Anti-Abolitionist Interests In the mid-1800s, Newark’s leaders openly opposed abolitionist calls to federally end slavery, fearing it would destroy the city’s valuable customer base in the South. In 1839, a public meeting chaired by Newark’s mayor and attended by the city’s leading politicians, industrialists, and merchants resolved that the federal government should not intervene in Southern states’ choice to continue slavery, thus preserving their economic and financial interests. New Jersey Abolished Slavery In his first act as governor of New Jersey, Marcus L. Ward, a Newark native who lived at 51 Washington Street, secured the state’s ratification of the 13th Amendment to the U.S. Constitution on January 23, 1866. As the last state in the Union to fully abolish slavery, New Jersey joined its neighbors in supporting the freedom of all Black people. abstract concrete iron portrait wood https://slaverymonuments.org/files/original/91db44edf397c9774e367140c318c3bc.jpeg 308b33c70bee72e8c7572d15a418f15f https://slaverymonuments.org/files/original/95427215a43206452163900c59b1dd0e.jpeg ca14ad0329f241d6dcdf22f43efb5c41 https://slaverymonuments.org/files/original/ad3d20deea72c87eb8be0bf551d2a484.jpeg f67046d4f6ae7ca196b2355a8d9b23d6 https://slaverymonuments.org/files/original/95896d333ec69b20995a84a3d2014d25.jpeg be3c23b1eaf5e6c9b7bcd0498ca3ee78 https://slaverymonuments.org/files/original/761e98f78c4426efc646360041acacf9.jpeg bd04ee425b37d3df822dba31e90e749c https://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 https://slaverymonuments.org/files/original/2d6dbf6b56bec62789c06c3380744772.jpeg 62459da73c6343c4a775547032b6c892 https://slaverymonuments.org/files/original/f3318a4aac9eb56e69b5d30b4b334c57.jpeg 54b899dc314c31a08f19189e7510ec25 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 80.4 in. (204.22 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 (Rochester, New York) Creator An entity primarily responsible for making the resource Kim, Olivia, 1979- Subject The topic of the resource Subject (Topic) Antislavery movements--United States Enslaved persons--Emancipation Freedom New York (State)--Rochester Public art Public sculpture Subject (Name) Douglass, Frederick, 1818-1895 Subject (Object Type) Commemorative sculpture Description An account of the resource To mark the bicentennial of Frederick Douglass’ birth, the City of Rochester, NY, commissioned Olivia Kim to create thirteen live-size portraits of Douglass in 2018, placing them throughout the city at sites significant to Douglass’s life and work. Kim took inspiration from Stanley W. Edwards’ nineteenth-century statue of Douglass, originally erected in front of the old New York Central Train Station in Rochester, New York. Although the works are fiberglass, Kim recreated the patinated bronze of Edward’s original work.  Like Edward's original work, Douglass’ arms are slightly outstretched, his palms open upward. Kim used the hands of Kenneth B. Morris Jr., the great-great-great-grandson of Douglass, to create the hands of Douglass in her own work. In 2023, the City of Rochester acquired ten of the statues, which are undergoing repair and restoration. They will be placed in ten new indoor locations. The remaining three statues are in the care of RCTV, Rochester Educational Opportunity Center, and the University of Rochester. Date A point or period of time associated with an event in the lifecycle of the resource July 19, 2018 Contributor An entity responsible for making contributions to the resource Rochester Community Media Center (Carven Eison); Rochester Contemporary Art Center (Bleu Cease); Frederick Douglass Family Initiatives; Frederick Douglass Bicentennial Commemoration 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 School 12: Anna Murray Douglass Academy, 999 South Avenue, Rochester, New York, 14620, United States Extent The size or duration of the resource. 80.4 in. (204.22 cm) Medium The material or physical carrier of the resource. Fiberglass 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 Relation A related resource <a href="https://www.slaverymonuments.org/items/show/1195" target="_blank" rel="noopener">Stanley W. Edwards, Frederick Douglass, 1899</a> Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Kiley, Rich. "Douglass Monuments Bring History to Life." Rochester Institute of Technology, July 23, 2018. Accessed October 31, 2019. https://www.rit.edu/news/douglass-monuments-bring-history-life. Bureau of Communications and Special Events, City of Rochester. "Frederick Douglass Statues." Accessed February 20, 2025. https://www.cityofrochester.gov/departments/communciations-and-special-events/frederick-douglass-statues. Has Version A related resource that is a version, edition, or adaptation of the described resource. The temporary locations of the thirteen Frederick Douglass statues in Rochester, New York in 2018: School 12: Anna Murray Douglass Academy (999 South Avenue) Hochstein School of Music and Dance (50 North Plymouth Avenue)   Talman Building (25 East Main Street).  42 Favor Street Central Avenue and St. Paul Street Corinthian Street at State Street Alexander Street near East Avenue Alexander Street and Tracy Street Kelsey’s Landing in Maplewood Park (89 Maplewood Drive) Mt. Hope Cemetery Washington Square Park Rochester Educational Opportunity Center (161 Chestnut Street) University of Rochester’s Rush Rhees Library, Rare Books and Special Collections Rights Information about rights held in and over the resource City of Rochester, Department of Environmental Services, 30 Church Street, Rochester, New York, 14614, United States fiberglass figurative portrait https://slaverymonuments.org/files/original/ca66799a49407e8ec8a348e60bf561ec.jpg 2f0bd0145391af4ed1058f00e5db9510 https://slaverymonuments.org/files/original/b0c7652215450fa42149fa3209e8d1b2.jpg 160488037238f543465d47540bbcf83b https://slaverymonuments.org/files/original/75b0d7008e040d0e34ca7578ad93157c.jpg 359aa9863bc11aeaacc6ab55c6a2259b https://slaverymonuments.org/files/original/935c6d58a8ca3933f27bd871abfaf03e.jpg 8f7568eb063c3381d0093e34c76df515 https://slaverymonuments.org/files/original/f765f5b33795abde0f2a9da42d9baa67.jpg e602fa93131e4b9f6132c8f281c95230 https://slaverymonuments.org/files/original/5852858a37f214c54e9dd01e3453e81a.jpg dfce99f437bd9f4a49a0e27baf607f13 https://slaverymonuments.org/files/original/c72fe3c63040af484604a8333baa522a.jpg 0fc592ff8823ec812256d9561c9c78ea https://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://slaverymonuments.org/files/original/c97fa0b3696a9312696d8c1fa5ff9a9e.jpg 2ca7e07487306780d3e3596fd9864528 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 196.8 in. (499.87 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 Fers, hommage au General Dumas (Paris, France) Subject The topic of the resource Subject (Topic) Abolition of slavery France--Paris Public art Public sculpture Transatlantic slave trade Subject (Name) Davy de La Pailleterie, Thomas-Alexandre Dumas, 1762-1806 Subject (Object Type) Commemorative sculpture Description An account of the resource Made in 2008, the monumental ironwork is dedicated to both the memory of General Thomas-Alexandre Dumas (Davy de La Pailleterie), the first Black general in France and in acknowledgment of the abolition of slavery. The memorial was dedicated on April 4, 2009, with support from UNESCO. The work, consisting of two broken shackles and iron chains, was erected on the site of Alphonse-Emmanuel de Moncel's Monument au Général Dumas (1913). The Vichy regime destroyed this statue in 1942 during the Nazi occupation of France. Creator An entity primarily responsible for making the resource Lacourt, Driss Sans-Arcidet, 1960- also known as Le Musée Khômbol Date A point or period of time associated with an event in the lifecycle of the resource April 4, 2009 Contributor An entity responsible for making contributions to the resource Claude Ribbe; L'association des amis du Général Dumas; Office of the Mayor of Paris 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 Jardin Solitude, Place du General Catroux, Avenue de Villiers, 75017 Paris, France Extent The size or duration of the resource. 196.8 in. (499.872 cm) Medium The material or physical carrier of the resource. Iron Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. "Un symbole contre l'esclavage en plein Paris." Le Parisien, February 18, 2009. Accessed April 29, 2019. http://www.leparisien.fr/paris-75/paris-75017/un-symbole-contre-l-esclavage-en-plein-paris-18-02-2009-414757.php. "Paris : Fers brisés, hommage au général Thomas Alexandre Dumas, une oeuvre signée Musée Khômbol alias Driss Sans-Arcidet - XVIIème." Paris La Douce, June 15, 2019. Accessed December 20, 2025. https://www.parisladouce.com/2019/06/paris-fers-brises-hommage-au-general.html. Khadraoui-Fortune, Sophia. "General Alexandre Dumas: A Century-long Tale of Memorials." Contemporary French Civilization 50, no. 4 (December 4, 2025): 389-409. 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: <a href="https://commons.wikimedia.org/wiki/File:Jardin_Solitude_et_Fers_Paris_2022.jpg" title="Jardin Solitude et Fers Paris 2022" target="_blank" rel="noopener">Wikimedia Commons</a> Has Part A related resource that is included either physically or logically in the described resource. Signage: Général Alexandre Dumas Œuvre réalisée par Musée Khômbol 2008 Dominique Tillard Constructeur Commande publique de la Ville de Paris Thomas-Alexandre Davy de La Pailleterie, né esclave à Jérémie (Saint-Domingue, aujourd'hui Haïti) le 25 mars 1762 d'une femme esclave d'origine africaine et d'un colon, mort libre à Villers-Cotterêts (Aisne) le 26 février 1806. Il s'engage à vingt-quatre ans comme cavalier sous le pseudonyme d'Alexandre Dumas. Héroïque combattant des armées révolutionnaires, il sera rapidement promu général, le premier d'origine afro antillaise. Commandant en chef de l'armée des Pyrénées, des Alpes, de l'Ouest, fondateur des Chasseurs alpins, héros de l'armée d'Italie, connu pour son courage et sa valeur exceptionnels, mais aussi sa sensibilité, son respect des prisonniers et des populations civiles, il saura démissionner pour épargner les Vendéens et sa conscience, justifiant son surnom de Monsieur de l'Humanité Capturé à son retour de l'expédition d'Égypte, il subit deux années d'une dure détention et, revenu en France en 1802 au moment du rétablissement de l'esclavage, il n'obtient le bénéfice d'aucun des honneurs qui lui sont dus. Son fils reprendra ce même pseudonyme d'Alexandre Dumas et s'inspirera des aventures du Général pour écrire Les Trois Mousquetaires, dont le succès contribuera à faire de lui l'écrivain français le plus lu dans le monde. Un troisième Alexandre Dumas, auteur de La Dame aux Camélias, petit-fils du Général, viendra clore cette dynastie. La présente œuvre remplace la statue de 1913 détruite sous l'occupation nazie et rejoint sur cette place les monuments dédiés à son fils et son petit-fils. English translation: Thomas-Alexandre Davy de La Pailleterie, born a slave in Jérémie (Saint-Domingue, today Haiti) on March 25, 1762 to a slave woman of African origin and a colonist, died free in Villers-Cotterêts (Aisne, France) February 26, 1806. He signed up as a rider at the age of twenty-four under the pseudonym Alexandre Dumas. A heroic fighter in revolutionary armies, he was quickly promoted to general, the first of Afro-Caribbean origin. Commander-in-chief at times, of the armies of the Pyrenees, the Alps, and the West, founder of the Alpine Hunters, hero of the army of Italy, known for his exceptional courage and valor, but also his sensitivity, his respect for prisoners and civilian populations, he also would know how to resign to spare the Vendéens and his conscience, justifying his nickname of Monsieur de l'Humanité. Captured on his return from the Egyptian expedition, he underwent two years of harsh detention and, returning to France in 1802 at the time of the reestablishment of slavery, he did not obtain the benefit of any of the honors which were due to him. His son took up the same pseudonym of Alexandre Dumas and was inspired by the General's adventures to write The Three Musketeers, the success of which helped to make him the most widely read French writer in the world. A third Alexandre Dumas, author of La Dame aux Camélias, grandson of the General, completed this dynasty. This work replaces the 1913 statue destroyed under the Nazi occupation and joins the monuments dedicated to his son and grandson on this square. Rights Information about rights held in and over the resource Office of the Mayor of Paris, Hôtel de Ville, Place de l'Hôtel de Ville, 75004 Paris, France abstract chains iron shackles