Issue 29, Summer 1993

General Overview: The image features the cover of “Alabama Heritage” magazine, specifically Issue Number 134. The central focus is an intricately designed porcelain plate. Specific Elements or Objects: Magazine Title and Issue Number: At the top of the cover, the title “Alabama Heritage” is elegantly written in green font. Just below the title, the smaller font indicates “Issue Number 29.” Porcelain Plate: Positioned prominently in the center of the cover. The plate appears to be antique and meticulously crafted. Artwork on the Plate: The central design features a variety of colorful fruits, including grapes and possibly peaches or apples. Surrounding the fruits are intricate patterns of flowers and leaves, meticulously painted. The rim of the plate showcases a repeating pattern of red flowers connected by delicate green vines.

Issue 29, Summer 1993

On the cover: The highlight of the Loeb collection of First Period Worcester at the Montgomery Museum of Fine Arts is the brilliantly colored and exquisitely painted “Duke of Gloucester” fluted dish, circa 1775-78, thought to have been commissioned by William Henry, Duke of Gloucester (1743-1805), the third son of Frederick, Prince of Wales. [Photograph by Chip Cooper]

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Features

This captivating image depicts a person adorned in traditional green attire. Their tunic features intricate patterns, and they wear red boots with similar designs. The individual holds a long staff in their right hand, and a feathered accessory adorns their head. In the background, two tents, possibly made of animal hide, stand amidst lush vegetation. The sky appears clear, creating a sense of historical richness and cultural heritage.
This portrait of Osceola appeared in McKenny and Hall’s History of the Indian Tribes of North American (1842-1844) and has long been attributed to artist Charles Bird King, but no evidence supports this claim. [Courtesy Otto G. Richter Library, University of Miami]

Osceola: The Man Behind the Myths

By Patricia R. Wickman

Though he eventually chose to live with the Creeks in Florida, the legendary figure Osceola had both Creek and European heritage. Newspapers raved about Osceola’s exploits against the United States Army in the Second Seminole War, even going so far as to call him invincible. Forced into a permanent game of hide-and-seek with the U.S. government, when Osceola was eventually captured, he quickly succumbed to malaria and died. As Patricia R. Wickman notes, the legend of Osceola did not end with Second Seminole War. This remarkable man’s story lives on in American mythology.

The Loeb Collection of First Period Worcester

By Louise Joyner

Within the walls of the Montgomery Museum of Fine Arts lies the Loeb porcelain collection, fifty-one unique pieces of porcelain produced by the Worcester Company. Now called “Royal Worcester,” the company is well known for its use of soft-paste porcelain and its durable glaze. The beautiful, uncracked china has endured over two centuries of wear and reveals the merits of the Worcester product.

The image presents a harmonious composition of two exquisite porcelain pieces – a dish and a covered bowl. These delicate artifacts are showcased against a modern, unadorned backdrop, emphasizing their timeless beauty. Specific Elements or Objects: Porcelain Dish: Shape and Structure: The dish boasts an oval shape with a wide, flat base and gently raised edges. Its inner surface is pristine white, providing a canvas for the intricate designs. Floral Adornments: The central motif features a bouquet of blooming flowers – a symphony of colors and delicate petals. Surrounding this central design, an elaborate pattern of leaves and smaller flowers gracefully encircles the dish. The edge of the dish is adorned with tiny blossoms, interspersed with fresh green leaves. Craftsmanship: The porcelain is meticulously crafted, showcasing the artistry of skilled hands. Covered Bowl: Shape and Lid: The covered bowl is elegantly round, its form echoing the harmony of nature. The domed lid crowns the bowl, adorned with intricate flower sculptures serving as the handle. Decorative Details: The bowl’s body is a pristine white canvas, adorned with small red polka dots. These dots playfully dance amidst green leaves and yellow flowers, creating a delightful visual contrast. The sculpted flower arrangement atop the lid is a testament to the artist’s skill and attention to detail. Background: The plain, unembellished background serves as a silent stage, allowing the porcelain pieces to take center stage. This juxtaposition of classic craftsmanship against a modern backdrop creates a captivating fusion of tradition and contemporary aesthetics.
The exquisite encrusted decoration on this chestnut basket demonstrates the elaborate skills of the First Period Worcester craftsmen, circa 1770. The Spray of flowers in the center of the stand derives from the German Meissen style. [Chip Cooper]
This intriguing image depicts a classical painting with four characters positioned against a dark and dramatic backdrop. Central Character: The central figure stands prominently in the center. Clad in a flowing robe with hues of blue and pink. One hand is extended outward, while the other appears to be gesturing or holding something. Kneeling Character: Positioned to the left of the central figure. This character kneels and seems to be offering something to the central character. Their attire features shades of orange and white. Background Characters: Two additional figures linger in the background. Due to the darkness and positioning, their roles or actions remain unclear. Dramatic Lighting: Shadows and highlights cast by the lighting create an intricate effect. Certain parts of the characters’ attire are illuminated, while others remain in shadow.
The original painting and artist have not been identified, but this copy resembles the sketch “Tobias and the Angel” by Sogliani. [Courtesy St. Mary’s -on-the-Highlands, Birmingham; gift of the Ivey Foreman Lewis Family]

Souvenirs from the Grand Tour

By Jeff Mansell

When newlyweds Ivey and Kate Lewis took their Grand Tour across Europe, they made a list of the paintings they wished to be copied and brought home with them. Jeff Mansell observes that their list of religious, mythological, and landscape paintings ranged in style and nationality. For many years these paintings graced the walls of the Lewis’s Marengo County home, Bleak House. The Bleak House collection survived the Civil War as well as several location changes, only to be split upon Kate Lewis’s death in 1925. Today only fourteen of these paintings, adorned with gold-leaf frames, have been located.

Baseball Player: The central focus is a baseball player, clad in a traditional uniform. His attire features long sleeves and pants, with dark bands around the wrists and just below the knees. In his hands, he wields a wooden baseball bat, poised mid-swing. His stance exudes motion and intensity, muscles tensed as if he’s about to connect with a pitched ball. Audience: A crowd of spectators fills the background. Although individual details remain unclear due to distance and image quality, their collective attention is riveted on the ongoing game. Another Player (partially visible): Near the batter, a second player is either seated or crouching. Only part of this player’s body is visible in one corner of the image.
Heinie Manush from Tuscumbia was the first Alabama native inducted into the Baseball Hall of Fame (1964) and the first to play in an all-star game. [Courtesy National Baseball Library and Archive, Cooperstown, New York]

Big Time Baseball: Alabamians in the Major Leagues

By Mark Inabinett

In this engaging story, an English naturalist provides a rare and thoughtful view of plantation society in antebellum Alabama. Author Harvey Jackson writes “Alabama, (Gosse) was told, was a place where men of learning like himself were sought and prized” and with that, Philip Henry Gosse (1810-1888) set out on an adventure in Alabama, landing in Mobile, then on to King’s Landing, south of Selma. He worked as a teacher of the children of several elite families, living closely with these early settlers of Alabama and “document(ing) regional distinctiveness in its early stages of development.” He detailed the food they enjoyed, their topics of conversation, their humor, and social mores.

Departments

At the Archives

The Flag of the 22nd Alabama Infantry

By Bob Bradley

With this issue, Alabama Heritage begins a new department which will highlight historically significant materials housed at the Alabama Department of Archives and History in Montgomery. Founded in 1901, the Archives is the oldest state agency of its type in the U.S. Bob Bradly, head of Special Collections at the Archives, will serve as the column’s editor. 

Bradley discusses the flag of the 22nd Alabama, which was issued to the regiment early in 1863 and carried by them until it was captured Sunday, September 20, 1863, during the battle of Chickamauga.

Top Left Patch: A dark rectangular area adorned with white text that reads “22nd Old Christmas Night.” Beneath the text lies an irregular white shape, adding an air of mystery and nostalgia. Top Right Patch: A plain, unadorned dark rectangle, seemingly untouched by any additional elements. Its simplicity contrasts with the other patches. Bottom Left Patch: Within this dark rectangle, the white text “Shiloh. Northcote.” stands out. The juxtaposition of darkness and clarity evokes curiosity. Bottom Right Patch: Similar to the top left patch, this dark rectangle features irregular white shapes. These shapes appear almost like tears or wear marks, hinting at hidden stories. Background: The entire composition rests against a textured, beige-colored background. The visible brush strokes and textures lend an aged, weathered quality to the canvas.
The flag of the 22nd Alabama was issued to the regiment early in 1863 and carried by them until it was captured Sunday, September 20, 1863, during the battle of Chickamauga. [Courtesy Alabama Department of Archives and History]
General Overview: The image captures a close-up view of three vibrant red flowers in full bloom, surrounded by green foliage and set against a backdrop of various plants. Specific Elements or Objects: Flowers: There are three prominent red flowers, each with multiple petals that are rich in color and appear soft and delicate. The flowers are at different stages of opening, with one fully bloomed showcasing its inner structures, while the others are partially opened. A subtle glow from sunlight illuminates the petals, highlighting their intricate textures and veins. Foliage: Green leaves surround the flowers; they vary in size and shape, adding a contrasting color that makes the red flowers stand out. Some leaves appear to be part of the flowering plant while others belong to surrounding vegetation. Background: The background is composed of an assortment of plants; their blurred appearance creates a bokeh effect that brings focus to the red flowers. Various shades of green mixed with natural light give depth to the image.
Neium oleander grows across the state, but is highly toxic to people. [L. J. Davenport]

The Nature Journal

The Deadly Oleander

By L. J. Davenport

With this issue, Alabama Heritage begins a new department, “The Nature Journal,” which will deal with Alabama’s natural heritage. Samford University biology professor L.J. Davenport, whose many interests include endangered species of southeastern plants and the history of botany, will serve as editor of “The Nature Journal” and will write many of the columns.

This, the first entry in the series, deals with Nerium oleander, a flower which grows throughout the state. It is a beautiful, but highly toxic, plant. L.J. Davenport discusses the poisonous nature of the plant, as well as the reasons for its continued popularity.

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