Utente:Brunokito/Sandbox35

William Henry Dorsey, 1903 (dalla rivista Coloured American)

William Henry Dorsey (Filadelfia, 23 ottobre 1837Filadelfia, 9 gennaio 1923) è stato un numismatico, artista, bibliofilo, raccoglitore di album di ritagli storici, storico sociale, collezionista di storia afroamericana del XIX secolo statunitense; fu fondatore e custode dei documenti della American Negro Historical Society. Era molto noto per i 388 album che ha compilato di ritagli di giornali e riviste che raccontano la vita dei neri nella sua città natale di Filadelfia e in tutto il paese durante il 19º secolo.

Biografia modifica

Primi anni di vita e storia familiare modifica

Dorsey nacque a Filadelfia il 23 ottobre 1837, in una famiglia benestante guidata da suo padre Thomas J. Dorsey, un noto ristoratore e parte dell'élite nera. Thomas fuggì dalla schiavitù da una piantagione nel Maryland nel 1830 e si recò a Filadelfia con i suoi fratelli, tra cui Basil Dorsey. Finirono nella fattoria dell'abolizionista nero Robert Purvis. Thomas fu catturato e restituito, ma gli amici che si era fatto a Filadelfia raccolsero fondi per comprare la sua libertà nel 1836.[1][2][3][4]

Faceva parte di un "triumvirato di ristoratori di colore, che alcuni anni prima si sarebbe potuto dire che governassero il mondo sociale di Filadelfia attraverso il loro stomaco", riferì un giornale nel 1896. Gli altri erano Henry Jones e Henry Minton.[2] L'attività di ristorazione di Thomas riscuoteva tanto successo che lui e la sua famiglia vivevano uno stile di vita privilegiato, possedendo una casa in Locust Street, uno degli indirizzi più importanti della città, e altre proprietà.[3][4][2]

Alcune delle principali figure del giorno mangiarono al suo tavolo: gli abolizionisti Frederick Douglass e il deputato della Pennsylvania William D. Kelley; Il senatore del Massachusetts Charles Sumner un attivista abolizionista, e William Lloyd Garrison, editore del quotidiano abolizionista The Liberator.[2] La moglie di Dorsey accompagnò Douglass alla seconda cena di insediamento del Presidente Lincoln. Al figlio William fu lasciata in eredità una lettera che Sumner scrisse a Thomas. Era tra i suoi beni più preziosi.[2][3][1][5]

Thomas sposò una donna nera libera di nome Louisa Tobias. William era il loro figlio maggiore e unico, e avevano due figlie, Sarah e Mary Louise. Dorsey frequentò la Bird School e l'Institute for Coloured Youth (che in seguito divenne la Cheyney University of Pennsylvania), frequentati dai figli di genitori benestanti. Evitò di seguire le orme di suo padre come ristoratore e si considerava un artista. Studiò con Antonio Zeno Shindler, un austriaco che per un certo periodo lavorò allo Smithsonian Institution.[4][1][3]

Quando Thomas morì, lasciò un fondo fiduciario che assicurò alla sua famiglia una vita agiata, ma anche Dorsey lavorava per vivere. Fu messaggero personale del sindaco William S. Stokley dal 1872 al 1881. Come membro dell'Old Reliable Club of Pennsylvania, composto da eminenti uomini neri nello stato, appoggiò Stokely per la rielezione nel 1881.[6][7][8] Dopo che Stokley fu sconfitto, il nuovo sindaco Samuel King rimosse Dorsey come messaggero, ma in seguito lo assunse con un contratto chiavi in mano alla Stazione Centrale.[4][1][9][10][11]

La nipote di Dorsey lo descrisse come un uomo cupo, solitario, grosso, con gli zigomi alti e il "colore rossastro" di un nativo americano.[4] È stato anche descritto come cortese e raffinato.[1]

Nel 1859, all'età di 22 anni, si recò nello stato schiavista della Georgia per sposare Virginia Cashin, nata in Alabama nel 1839.[4] La coppia ebbe sei figli. Fu indicata come sarta nel censimento del 1880.[12][4] Dorsey era un membro della chiesa episcopale di St. Thomas, la prima chiesa episcopale nera del paese fondata nel 1792 sotto la guida di Absalom Jones.[4][13]

Fu anche politicamente attivo nell'Old Reliable Club e come vicepresidente e segretario del Charles Sumner Club, un'organizzazione letteraria, sociale e politica fondata nel 1873.[14][4] Entrambi questi gruppi repubblicani approvarono i candidati.[6][15]

Un appassionato collezionista modifica

Dorsey prese la passione del collezionismo da suo padre, che era noto per la sua vasta gamma di libri e cimeli.[16] La più grande collezione del figlio erano i suoi album di ritagli, 388 dei quali sono ancora in circolazione oggi, ma in condizioni di abbandono. Dorsey ritagliò e salvò il suo primo articolo di giornale nel 1866, un breve articolo sulla morte della sua bisnonna che aveva 100 anni. Iniziò seriamente il collezionismo nel 1870 e continuò fino al 1903 quando pubblicò il suo ultimo articolo.[17][9][4]

Gli album illustrano la vita dei neri in America nel XIX secolo. Gli articoli e altri elementi sono stati selezionati da giornali e riviste in bianco e nero a Boston, San Francisco, Philadelphia, Washington, DC e altrove. In alcuni casi, ha giustapposto il duro trattamento riservato ai neri alla loro capacità di superare la disumanità loro inflitta. I contenuti includevano il “buono e il cattivo, il bello e il brutto, delitto, scandalo, moda e vaudeville”, ma anche ricette, menu, appunti di riunioni, annunci sociali, politica e linciaggi. Gli album includevano anche articoli sui nativi americani, africani e Isolani del Pacifico.[4][9] Mostravano l'interesse di Dorsey per l'archeologia, la storia naturale, la criminalità, lo scandalo, la letteratura e il teatro.[4]

È stato tra i consulenti della W.E.B. DuBois quando lo storico fece ricerche sul suo studio sulla popolazione nera nella città alla fine degli anni 1890 e li compilò nel libro "The Philadelphia Negro". DuBois utilizzò anche gli album di ritagli come risorsa.[4][18]

Il suo museo domestico modifica

Dorsey possedeva una delle collezioni più impressionanti ed eclettiche di oggetti sulla storia dei neri, così come sulla storia di altri popoli. Diverse persone gli hanno regalato libri, immagini, album di ritagli, cataloghi e manufatti per la collezione.[4]

Allestì un museo al secondo piano della sua casa al 206 di Dean Street a Filadelfia. Il museo era una tale novità che furono scritti articoli su di esso e su di lui. James Wesley Cromwell, giornalista e proprietario/editore del People's Advocate di Washington, DC, visitò il museo nel 1874. Scrisse una storia per la New National Era pubblicata da Douglass.[19]

«It was in the front room of the second story of one of those small but cosy homes of the many narrow streets of Philadelphia that we were ushered into a miniature museum and art gallery, the private collection of our old friend, Mr. William H. Dorsey, of that city. Our surprise at what was in store for us was so unexpected and complete, and withal so pleasant, that we cannot resist the temptation to give the readers of the National Era an opportunity of realizing the same pleasure.[19]»

Cromwell described in detail the variety of items that he saw, including a mosaic of the Camere del Parlamento britannico; a landscape on the Hudson River, an oil painting on canvas only an inch and a half in diameter; Charlemagne in Italian marble and a piece of stair taken from the home of the artist Thomas Sully.[13][19]

He was just as impressed with Dorsey’s collection of books, pamphlets, artifacts, musical compositions, artwork and engravings of prominent Black people, along with photos, autographed letters and facsimiles. The books included the lives of African kings and scholars, Phillis Wheatley’s poetry published in 1881 and "Sketches of the Higher Classes of Colored Society in Philadelphia” (1841). He also saw the book “Literature of Negroes” (1801), stating “This work is regarded as the very best authority extant at that day, and it is doubted whether it has since been surpassed." Also included were the works of Africans Ignatius Sancho, Ben Solomon (Ayuba Suleiman Diallo) and Jacobus Capitein, all of whom managed to escape slavery and became great men.[19]

The white newspaper Filadelfia Times wrote about the museum three times in October 1896. In a first short article, reporter Louis Megargee wrote about Dorsey.[2] In the second, he laid out a long story about the museum and its contents. He declared it the “most remarkable little museum in the country. There is certainly no other like it.” Megargee noted much the same as Cromwell, but he also mentioned the scrapbooks, coins, canes, china, relics, and items relating to slavery and emancipation. He mentioned “Tribute to the Negro” - a book that was very popular at Bird School, but “now out of print and rarely seen.”[13]

Among the items in the scrapbooks were engravings of ministers Absalom Jones and Richard Allen, both of which were presented to Dorsey by Allen’s daughter; a photo of Nick Biddle, a Black man who in 1861 was the first person wounded in the Civil War, and portraits of Black musician Francis Johnson and actor Ira Aldridge.[13]

Megargee was awed by Dorsey’s collection of paintings by white artists Thomas Moran and James Hamilton and Black artists John G. Chaplin, Robert Scott Duncanson and Dorsey himself. Included was “Night on the Delaware” by Hamilton, painted in 1874. Hamilton’s autograph was on the back, and Dorsey had refused requests to sell it.”[13][1][19]

Later in October, in a third story without a byline, a writer expounded on the vastness of the collection. The newspaper posted drawings of rooms in the museum: “three rooms divided and subdivided filled with shelves and tables and pendants hanging from the ceiling. … With his early art training he has hung pictures on the walls, doors on both sides, wherever there is room to hang.” A series of 12 of his own figure studies hung on a door between two rooms.[1][13]

Books, scrapbooks, artifacts, pamphlets, Native American relics (flints, battle axes, implements), guns and bayonets covered every surface. There was Benjamin Banneker’s 1795 almanac, a portrait and photo of Sojourner Truth and letters dictated by her. Dorsey’s compilation of materials about Douglass filled three volumes of “almost everything” that had appeared in newspapers, along with personal letters to Dorsey. There were also unusual items: parts of a girder from the Liberty Bell, a brick from Independence Hall and fragments from buildings erected for the Philadelphia Centennial Exhibition in 1876.[1]

The museum also included a heavy leather-covered Bible printed in Germany in 1736, owned by Dorsey’s grandfather and handed down to Dorsey by his mother. Above the Bible hung a framed copy of the Boston Gazette from March 12, 1770, with an article about the death of Crispus Attucks, the first person killed in the Guerra d'indipendenza americana Another item was a candelabrum from an auction in Bordentown, NJ, in the 1840s of items owned by Giuseppe Bonaparte, the brother of Napoleon.[20] There was a landscape by Duncanson tiled "The Evening", and a painting titled “Emancipation” and a head of Michelangelo by his friend Chaplin.[1][19]

Dorsey had an autograph of African American sculptor Edmonia Lewis, retrieved when she was 23. He tried to find a biography of her in her early 20s but apparently could not. He searched for a portrait of Attacks until he was convinced that no one had painted him.[4]

«It has been my continual aim, as I have journeyed along, to gather every fragment of published matter concerning the colored race,” Dorsey told the writer. “I have spared neither time nor money in prosecuting this hobby – you may call it, if you wish – and the fruits of my labor are beginning to show. Naturally, in all these years, I have been an enthusiast in garnering anything and everything that had to me an intrinsic value; but the most careful work and best results,” pointing to the shelves under discussion, which are so well filled with material respecting the colored man. “I have here. Nothing of importance has escaped me, as I am a subscriber and reader of the more important books and magazines, and while I seldom preserve any data in its original state, you will find it cut out and placed in its proper position. I have not made any history; I have simply collated, and to anyone wishing to write an essay or volume upon the history and progress of the colored race in this nineteenth century, I have material that cannot be duplicated elsewhere. My portraits, books and letters are simply priceless, and nothing gives me more pleasure than to show and explain them to anyone feeling sufficient interest in them to visit me.[1]»

Collezionisti neri e l'American Negro Historical Society modifica

Dorsey was among a small group of collectors of Black history. Like him, Cromwell and Edward M. Thomas had both assembled huge collections in their homes. A writer named Box wrote a story for the Weekly Anglo-African of New York in 1860 about Thomas’ collection, which included a Dorsey watercolor of an ancient tower in ruins. “Mr. Dorsey is a young and talented artist, and bids fair to rank among the first in his profession in this country,” Box wrote.[21][22]

In 1862, Thomas began planning an exhibition to be held in New York in October 1863. The first national Exhibition of Anglo-Africa Industry and Art was akin to a world’s fair, with steam engines and machinery, artwork, carriages and vehicles, furniture, cooking utensils, clothing and perfumes, and embroidery and needlework. The emphasis, though, was on art. The exhibition was to be financed by the sale of shares in the Anglo-African Institute, of which Dorsey was a board member. Thomas died in March 1863 before the exhibition was finalized, and it never materialized.[21][23]

Two years later, his coins, books and autographs were advertised to be sold at auction by his wife. His paintings were apparently sold at some point, too, because Dorsey ended up with a Thomas bust created by white sculptor John Quincy Adams Ward. Thomas’ portrait of Haitian liberator Toussiant L’Ouverture by Chaplin also became part of Dorsey’s collection.[21][22][24][25]

Dorsey was a founder of the American Negro Historical Society (ANHS), organized Oct. 25, 1897. It was an idea of historian/collector Roger M. Adger, but he was not the first to come up with it. In 1883, George Washington Williams, the first Black member of the Ohio Legislature and author of “The History of the Negro Race in America 1619-1880,” suggested a society to preserve the history of Black people. His idea never took hold.[26][27][28][29][30][4][31][32]

Organizers of the new ANHS included men and women: Dorsey, Adger, Rev. Matthew Anderson, Rev. Henry L. Phillips, Walter P. Hall, Alfred S. Cassey, Robert Jones, James. W. Caldwell, Charles H. Brooks, William Potter, William C. Bolivar, Henry S. Martin, Hans Shadd, Frances E.W. Harper, P. Albert Dutrieuille, Christopher J. Perry Sr., Joshua B. Matthews, Thomas Ringgold, Levi Oberton and Theophilus J. Minton. The ANHS’ purpose was to “collect relics, literature, historical facts in connection with the African race, illustrative of their progress and development.”[28][30][4][29][33]

At its monthly meetings, the group offered a forum for presentation of scholarly papers and discussions pertaining to Black history, art, music, schools, industrialization and more, and these were open to the public. Among the speakers were DuBois, Harper, Minton, Cromwell, Adger, Algernon B. Jackson, Alice Moore Dunbar, Mary Ardley Smith, Alain LeRoy Locke, Jessie Redmon Fauset, Caroline LaCount and Rev. John B. Reeve.[30][34][33]

Among its other activities: organized a memorial service for abolitionist Purvis, held a memorial meeting on the centennial of the anniversary of the birth of Sumner, sent a delegation to the funeral of King (the first mayor to appoint Black police officers) and held an Emancipation Day celebration on the 35th anniversary of signing of the proclamation. [35][36][37][38][39]

Once its member Bolivar, a noted bibliophile and writer, was offered a column in The Philadelphia Tribune, the lectures were discontinued. The organization received donations of books, pamphlets, autographs, pictures, programs and artifacts that were placed with Dorsey, who was its custodian and also a donor. The society also received items from the collections of Adger and Jacob C. White Jr. In 1934, Leon Gardiner passed on some ANHS materials to the Historical Society of Pennsylvania.[30][4][32][33]

Dorsey l'artista modifica

He was just as committed to creating art as collecting it. He produced commissioned works and participated in several exhibitions, but apparently won no prizes. He considered himself a professional painter - unlike Bolivar and Adger, who were hobbyists – and he was determined to stick with it.[4]

Dorsey was among a handful of Black professional artists during the 19th century. (Joshua Johnson, who died in 1824, was the earliest.) In a newspaper article about the Black population in Philadelphia in 1867, the Evening Telegraph named Dorsey as one of five artists, along with one photographer. The others were David Bustill Bowser (portrait, decorative and banner painter, the most noted), Robert Douglass Jr. (portrait painter), Raymond J. Barr (painter), Cassey (wood carver and a founder of ANHS) and Galloway W. Cheston (photographer). At the time, Dorsey was 28 years old and was described as a young man who had “decided artistic ability.” He had a studio at 1104 Locust Street that was filled with his oil and watercolor landscapes.[40]

In its “Annual Exhibition Record of the Pennsylvania Academy of the Fine Arts from 1807-1870,” the academy (PAFA) listed a “William H. Dorsay (or Dorsey)” as an exhibitor. According to the entry, Dorsey was born circa 1824 with an address at 1104 Locust Street in the years 1867 and 1868. At least five works were shown in the exhibition, including “Coast Scene,” a Dorsey artwork mentioned by Roger Lane in his book “William Dorsey’s Philadelphia & Ours: On the Past and Future of the Black City in America.”[41][4] This appears to be Dorsey as exhibitor in the PAFA show. His works in the 1867 show: “The Deserted House,” “Cataract” and “Moonlight.” In 1868: “Marine” and “Coast Scene.” Both were drawings and for sale.

In 1884, a correspondent for The New York Globe stated that Dorsey was one of two artists in an upcoming exhibition in New Orleans “whose paintings have secured them almost national fame. I refer to William H. Dorsey and Henry Ossawa Tanner.” There appears to be no documentation of Dorsey exhibiting outside Philadelphia or in mixed-race venues, according to author Lane, who described the artist's style as “conventional.”[4] In some instances, Dorsey copied the subjects of other well-known artists.[13]

In November 1880, Dorsey exhibited with Henry Ossawa Tanner, Douglass, Duncanson, Bowser, Edward Mitchell Bannister and Alfred Stidum - known for his portraits in crayon - at the Working Men’s Club of Philadelphia. "This the first enterprise of this kind ever started among people," stated the People's Advocate newspaper. "The exhibits are all works of colored artists and some of them are very creditable." In 1884, he participated in the Progressive Workingmen’s Club Fair, and in 1889, the Industrial Exposition of works by Black people sponsored by the Ladies Quaker City Association. One newspaper reported that his paintings were among the best watercolors in the show but incorrectly attributed them to a schoolteacher in Brooklyn.[4][42][43][44]

In the spring of 1887, he illustrated a story for the Philadelphia Tribune about problems at Olive Cemetery, including neglect, flooding and falling stones. He exhibited at several industrial fairs that were organized to raise money to help pay the debts of the Christian Recorder newspaper, whose focus was on news about Black people. The aim of the fairs was to demonstrate the industrial and artistic skills of the Black population, who were asked to donate items for sale. In her book “Reminiscences of School Life, and Hints on Teaching” (1913), Fanny Jackson Coppin told of the 1879 fair and contributions by such “well-known” artists as Tanner, whose father was editor of the paper; Douglass and Dorsey. He also participated in the 1891 fair along with Bolivar, Adger and Lewis, whose entry was a pair of busts.[4][45]

In 1897, Dorsey and Jones, an ANHS founder and author, created a model for a monument to honor Octavius V. Catto, a Black activist and schoolteacher who was killed in 1871 on Election Day by a white man. Black residents of Philadelphia had been quietly planning the memorial, which was to be erected in Merion Cemetery at 513 S. 15th Street. The granite monument was designed as triangular in shape, 14 feet at the base and 21 feet high with openings on each side. A life-size bronze head of Catto was to be placed at the main entrance, and his remains were to be placed in a cement sarcophagus inside the monument. Funds were to be raised to build it. Dorsey kept articles about Catto’s death in his scrapbooks.[46][18][32]

In 1890, the Philadelphia Times newspaper counted Dorsey as one of five professional painters in the city, along with Douglas, Bowser, Tanner and Stidum. Dorsey and these Black artists struggled to be acknowledged. When a reader of Cromwell’s newspaper in 1877 bemoaned the paucity of Black subjects and portraits, he asked Dorsey to respond.[4][47]

Noting that the list was too short, Dorsey pointed to portraits painted by Douglass and Chaplin, and identified Bowser, Patrick Henry Reason, Duncanson, Bannister and Lewis, who had won praise at the 1876 Esposizione centennale di Filadelfia for her sculpture “The Death of Cleopatra.” He noted that Black artists faced obstacles because of the “unending prejudice of the dominant race to buffet him from place to place, for only a few years have elapsed since we have been admitted, even as visitors, to … art exhibits.”[4]

La sua morte modifica

Dorsey e la sua famiglia vivevano del suo reddito come fattorino per Stokley e del contratto chiavi in ​​mano per King, del denaro che riceveva dalle sue opere d'arte, della sua quota del fondo fiduciario di suo padre e delle sue proprietà immobiliari, nonché del denaro derivante dal lavoro di sartoria di sua moglie. La coppia si separò nel 1892 e lui si trasferì nella proprietà in Dean Street dove fondò il suo museo. Visse da solo nei suoi ultimi anni e divenne progressivamente cieco.[4] Morì il 9 gennaio 1923 ed è sepolto nell'Eden Cemetery.

Della vasta collezione di Dorsey, i suoi album sono sopravvissuti. Dopo la sua morte, un figlio presumibilmente consegnò gli album alla Cheyney University dove furono conservati e dimenticati fino al 1976. Furono recuperati tra gli effetti dell'ex presidente Leslie Pinckney Hill. Non erano in buone condizioni. In un accordo Cheyney consentì all'Università statale della Pennsylvania di valutarne la conservazione. Cheyney ha 260 album di ritagli su microfilm e ha anche fotografie dalla collezione di Dorsey.[48][18][49][50]

Note modifica

  1. ^ a b c d e f g h i j William H. Dorsey's African Museum, in Philadelphia Times, 25 ottobre 1896.
  2. ^ a b c d e f Louis Megargee, Seen and Heard in Many Places, in Philadelphia Times, 17 ottobre 1896.
  3. ^ a b c d Thomas J. Dorsey, 1812–1875, Caterer, su encyclopedia.com.
  4. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z Roger Lane, William Dorsey's Philadelphia & Ours: On the Past and Future of the Black City in America, Oxford University Press, 1991.
  5. ^ Frederick Douglass Visits Abraham Lincoln, su delanceyplace.com.
  6. ^ a b Old Reliable, in Philadelphia Times, 30 gennaio 1881.
  7. ^ The Old Reliables, in Philadelphia Times, 5 aprile 1882.
  8. ^ 'The Old Reliables', in Daily Independent (Harrisburg, PA), 14 aprile 1881.
  9. ^ a b c Will Thompson, For Black history, two contributions, in Philadelphia Inquirer, 6 febbraio 1991.
  10. ^ Mayor King's Llist, in Philadelphia Inquirer, 20 maggio 1881.
  11. ^ Messenger removed, in Philadelphia Inquirer, 16 aprile 1881.
  12. ^ Virginia Dorsey, su familysearch.org.
  13. ^ a b c d e f g Louis Megargee, Seen and Heard in Many Places, in Philadelphia Times, 19 ottobre 1896.
  14. ^ The Colored Men and the Obsequies, in Philadelphia Times, 25 novembre 1875.
  15. ^ Indorsed by the Sumner Club, in Philadelphia Inquirer, 20 gennaio 1892.
  16. ^ Dorsey, Thomas and William, su dh.howard.edu.
  17. ^ Ellen Gruber Garvey, Writing Black History With Scissors, su theroot.com, 4 maggio 2013.
  18. ^ a b c Cynthia Greenlee, A Priceless Archive of Ordinary Life, su theatlantic.com, 9 febbraio 2021.
  19. ^ a b c d e f James Cromwell, An Art Gallery and Museum not in the Guide Book, su loc.gov, 1º ottobre 1874.
  20. ^ The Sale, in Monmouth Democrat (Freehold, NJ), 25 settembre 1845.
  21. ^ a b c Old Masters, Penn State Press, 23 April 2020, ISBN 9780271088204.
  22. ^ a b Jordan Taliha McDonald, The Black Collectors Who Championed African-American Art during the U.S. Civil War, su artsy.net, 11 agosto 2020.
  23. ^ First National Exhibition of Anglo African industry and art, in Brooklyn Evening Star (NY), 14 luglio 1862.
  24. ^ Rare and Valuable Collection of Coins, Autographs and Books, in Evening Star (Washington, DC), 5 gennaio 1865.
  25. ^ Catalogue of a rare and valuable collection of coins, autographs, books collected by Edward M. Thomas offered for sale for the benefit of his widow], [01/10/1865], su archive.org, 1865.
  26. ^ Personal Mention, in Tennessean (Nashville), 20 giugno 1883.
  27. ^ Contributors to the Age, in New York Age, 18 dicembre 1926.
  28. ^ a b African American notes, in Pittsburgh Press (PA), 21 novembre 1897.
  29. ^ a b Gary B. Nash, First City: Philadelphia and the Forging of Historical Memory, 2002.
  30. ^ a b c d William C. Bolivar, Pencil Pusher Points (column), in Philadelphia Tribune, 26 April 1913.
  31. ^ William C. Bolivar, Pencil Pusher Points (column), in Philadelphia Tribune, 8 August 1914.
  32. ^ a b c Harrison Wayman, The American Negro Historical Society and Its Officers, February 1903.
  33. ^ a b c Leon Gardiner collection of American Negro Historical Society records, su www2.hsp.org.
  34. ^ Miss Jesse Fauset, in Philadelphia Tribune, 15 February 1913.
  35. ^ Events Today, in Philadelphia Times, 28 febbraio 1899.
  36. ^ City Notes, in Philadelphia Times, 3 marzo 1899.
  37. ^ Charles Sumner Centenary, in Morning Journal (Lancaster, PA), 7 gennaio 1911.
  38. ^ Ex-Mayor King's Funeral, in Philadelphia Inquirer, 26 marzo 1899.
  39. ^ To Celebrate Emancipation Day, in Philadelphia Times, 19 dicembre 1897.
  40. ^ Africa! The Colored Population of Philadelphia, their Numbers, Callings and Manner of Life, in Evening Telegraph (Philadelphia), 30 marzo 1867.
  41. ^ Annual Exhibition Record of the Pennsylvania Academy of the Fine Arts from 1807-1870, Sound View Press, 1988, ISBN 9780932087034.
  42. ^ Colored People's Works, in Philadelphia Inquirer, 24 aprile 1889.
  43. ^ Local Intelligence, in Philadelphia Inquirer, 25 ottobre 1880.
  44. ^ Naurice Frank Jr. Woods, Henry Ossawa Tanner: Art, Faith, Race, and Legacy, Taylor & Francis, 6 July 2017, ISBN 9781315279480.
  45. ^ Reminiscences of School Life, and Hints on Teaching, su docsouth.unc.edu.
  46. ^ In Memory of Prof. Catto, in Philadelphia Times, 3 novembre 1897.
  47. ^ Some Colored Artists Who Have Made Their Mark in the World of Art, in Philadelphia Times, 11 febbraio 1890.
  48. ^ Ron Avery, A Stirring History of Black Life, in Philadelphia Daily News, 24 dicembre 1990.
  49. ^ William H. Dorsey Scrapbook Collection, su digital.libraries.psu.edu.
  50. ^ William H. Dorsey Photograph Collection, [ca. 1850]-[ca. 1900], su researchworks.oclc.org.

Collegamenti esterni modifica