Issue 21, Summer 1991

The image appears to be the cover of a publication titled “Alabama HERITAGE.” The central visual element, a sketched woman’s head and shoulders. She has shoulder length hair that is dark and wavy. She has blunt full bangs. It appears that she also is wearing a headband, possibly light pink in color. At the top, the elegant fonts display the title “Alabama HERITAGE.” There is additional text at the bottom, but it is too small to read clearly. The background has an aged paper texture, giving it an antique appearance.

Issue 21, Summer 1991

On the cover: Allesandro by Clara Weaver Parrish. [Courtesy Montgomery Museum of Fine Arts]

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Features

This intriguing artwork portrays a woman seated on an ornate bench. Clad in dark clothing, they cradle a bouquet of flowers in her lap. The sketchy lines and aged background lend an air of nostalgia and enigma to the scene.
“Lady in Black” by Clara Weaver Parrish, hand-colored etching on paper. [Montgomery Museum of Fine Arts]

Daughters of the South

By Christine Crafts Neal

Determined to express themselves as artists, Clara Weaver Parrish and Anne Goldthwaite, two women from Alabama, broke the mold set for them by society. These women are connected, not by a shared artistic vision, but by their courage in striking out on their own and producing strikingly original work. This article offers an appreciation of these two women, both daughters of the South. It analyzes their individual styles and compares those styles to the prevailing artistic fashions of the time, suggesting the ways in which these artists make a unique contribution to the history of Alabama art.

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Alabama Gold: Golden Harvest of the Piedmont

By Lewis S. Dean

The gold rush stampede in the South began in full force in 1829. Prospectors came on foot, on horseback, in wagons. They came expecting to strike it rich by mining or panning for gold. In some Southern states, such as Georgia, mining reached a high level of technical sophistication. Not so in Alabama. In 1839 one Randolph County miner reportedly discovered $4,000 worth of gold in a single day. For most Alabama miners, however, a good day’s work produced only a few dollars, and, on the whole, Alabama contributed only a fraction to the amount of gold mined in the South during this period. This article surveys the high hopes, hard work, and crushing disappointments that attended Alabama’s gold rush.

The illustration portrays a serene rural mountain landscape. In the foreground, we see a solitary figure standing near a wooden fence. The person wears a hat and appears to be tending to a small flock of sheep. Adjacent to the person, there’s a quaint cabin with smoke emanating from its chimney. This suggests that someone might be inside or that a cozy fire is burning. The middle ground is dominated by dense forests that cover the rolling hills. The varying shades of gray indicate depth and distance. As we move toward the background, additional mountain ranges emerge, their contours fading into the distance. Notably, the sky is absent from the scene, leaving only the upper portions of the mountains visible. Overall, this black and white illustration evokes a sense of solitude, simplicity, and the rugged beauty of rural life amidst the mountains.
This sketch illustrates the gold rush of the South. [“Gold Mining in Georgia,” Harper’s New Monthly Magazine, September 1879]
Vintage Car: The focal point of the image is a vintage automobile, likely from the mid-20th century. Its frontal view dominates the center of the frame. The car boasts a glossy dark green body, evoking a sense of elegance and nostalgia. Chrome accents adorn the vehicle, visible on the grille, bumper, and along the sides of the hood. Two round headlights emit a soft glow, adding to the overall allure. The car’s design reflects the aesthetics of an era when automotive styles were distinct and charming. Through the windshield, we catch a glimpse of red upholstery inside the cabin. The overall ambiance is moody, with a dimly lit background that accentuates the car’s features. Background: The environment surrounding the car remains mysterious and unidentifiable. The lack of specific details about the location contributes to the image’s dramatic quality.
Hubert P. Mitchell created the first-ever compact economy car. [Chip Cooper]

The 1948 Keller Super Chief: Aero Engineered Auto for Tomorrow

By G. Ward Hubbs and A.R. Gibbons

Hubert P. Mitchell saw the future, and the future was automobiles. World War II had ended and major US manufacturers had not created a new civilian car in years. Once the War ended, manufacturers began to shift back from military production to creating products for mass consumption. But even these cars would simply be retooled 1942 models. Hubert P. Mitchell was not satisfied with that idea. Hubert P. Mitchell wanted something new. Hubert P. Mitchell wanted something inexpensive. Hubert P. Mitchell wanted a car that could be produced in Alabama. And so Hubert P. Mitchell did the only thing he could under the circumstances: he purchased an automobile company and created the first compact economy car. This is his story.

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Departments

The image portrays an old, two-story house nestled amidst lush greenery. Here are the key features: Architectural Style: The house exhibits a vintage architectural style, reminiscent of an earlier era. Its design suggests a blend of elegance and practicality. Balcony: The second floor boasts a prominent balcony adorned with ornate metal railings and decorative supports. These railings feature intricate designs, adding character to the structure. Ground Floor: On the ground level, there’s a set of steps leading to a porch area. The porch also features similar metal railings, albeit weathered and aged. State of Disrepair: The overall appearance of the house hints at abandonment or disrepair. The weathered facade and overgrown vegetation contribute to this impression. Surroundings: The property is surrounded by tall trees, creating a sense of seclusion and privacy. Metal Fence: In front of the house, there’s an old and rusted metal fence that demarcates the property.
One of the finest Italianate mansions in Mobile.

Southern Architecture and Preservation

Endangered Mobile History

By John Sledge

The Mobile Historic Development Commission has developed and Endangered Properties List, including two dozen important local historic buildings threatened by vacancy, deterioration, and neglect. Among the criteria for inclusion on the list is the requirement that a building be salvageable by reasonable means. Terminal cases are avoided. This article discusses some of the houses appearing on the list.

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