News

“Today really is the pits.”

“Today really is the pits.” That was the clever subject line of an email chain last week between Peale board member William “Chick” Chickering and Jackson Gilman-Forlini, City of Baltimore Historic Preservation Officer, about the digging of the Peale’s elevator pit. Renovation work continued last week as the team exposed original brickwork and early 19th c. joists. Areas for the cafe and elevator shaft have also been laid out in the building.

According to Gliman-Forlini, the interior walls, particularly around the foundation, “are all original to the best of anyone’s knowledge. There’s no record of these having been replaced at any time.” Also original to Rembrandt Peale’s building are the stove niches on the second and third floors, which have now been uncovered.

On the other hand, “the façade was replaced in 1930 with salvaged brick from an 1830s townhouse on the corner of Saratoga and St. Paul that was selected because it closely matched the color, size, and texture of the original façade brick. The exterior wall along Watchhouse Alley was also replaced in 1905,” most likely with new brick at that time. Other features, like the brick wall that bisects the “East Wing” first floor was added in 1930. The flag stone pavers in the current garden date to that era as well. Gilman-Forlini notes that they “originally served as the pre-1930 toilet partitions!”

Dating historic joists uncovered in Peale’s renovations

Over the last few weeks, the Peale’s renovation team has made some intriguing discoveries as they removed a 20th-century ceiling. The image above shows straight cut marks on the room’s wooden joists, indicating that this joist was cut by a “sash-style” sawmill, and therefore, is as least as old as the 1830 conversion of the building into City Hall.

It’s possible that the joists could date to the original 1814 building; however, the team is cautious not to assign the joists to Rembrandt Peale’s original construction because records indicate that a large quantity of joists and framing lumber were purchased by the City as part of the 1830 adaptations undertaken when the Museum was converted into Baltimore’s first City Hall. “There’s a very good chance that much more of the original framing lumber survives than we previously thought. At the latest, these joists date to 1830,” said Jackson Gilman-Forlini, Historic Preservation Officer with the City of Baltimore.

Learn more about renovation work at the Peale from 1830 to the present in this interview with Gilman-Forlini, and stay tuned for more news and photos in this News section, on our Flickr page, and in our weekly emails!

With your support, such discoveries will continue to be made in the weeks and months ahead. We’ve raised $4.8 million to date to return this historic gem to public use, so are nearing the end of the Peale’s $5.2 million capital campaign! Any amount you can contribute will help continue our interior renovations to make the Peale a fully accessible home for Baltimore’s stories.

Donate to help reopen the Peale!

Take a quick survey about programming at the Peale

A group of three musicians perform a concert in the bricked garden of the Peale.

A great deal has changed since March 2020! As such, we wanted to know what you are thinking when it comes to your preferences for online and virtual programs.

When are YOU most available to attend online programs and what types of virtual events are YOU most interested in? Please take a moment to complete a 3-question survey! We thank you in advance.

> Please take this 3-question survey!

Final renovations at the Peale have begun! 

The “Peale Gallery” at the Peale, the room where we have shared the stories of the Peale family and building, has become the site office for the final round of renovations now underway. With Charles Willson Peale watching from the replica of his 1822 self-portrait, The Artist in his Museum (the original is in the collection of the Pennsylvania Academy of Fine Art), the construction supervisors follow the renovation plans drawn up by our architects at SM+P.

The building has been mostly emptied, but a few heavy objects remain, including that massive Peale replica painting at left in this photo (part of the amazing “Mermaids, Mummies, and Mastodons” exhibition that told the story of early American museums at the Peale in the early 1990s; you can still get the seminal catalogue of the exhibition in our online shop). You can also just make out an ornate metal window guard serving as a screen in the fireplace this room. It is one of many that were brought to the Peale to save them when the 1820s building whose windows they protected was being torn down – and they weigh a ton, almost literally!

How will we continue to safeguard – let alone move – these weighty objects during the renovations? Stay tuned to find out in the Peale’s renovation chronicles, coming to your inbox in our e-newsletter and available in the News section on our website!

Visit the Virtual Peale ANYTIME in Second Life

Video about the Peale in Second Life by NovataSecondLife.

NOW OPEN! Visit the Virtual Peale Anytime!

The newest incarnation of the historic Peale Museum building opens on its 206th birthday as a full 3-D virtual space in Second Life, hosting exhibitions, events, programs, and casual visits!

You can now check out the building anytime!

New to Second Life?

  1. Install the Second Life viewer to participate in the tour in Second Life.
  2. Set up your free account from the Virtual Ability website and get logged in! (Picking an avatar is the fun part!)
  3. Learn some essential skills for moving around and interacting with the environment on the New Resident Orientation Course.

If you are joining us in Second Life, Peale Museum Island will be open to visitors starting at 11:00am ET at this link.

If you need assistance setting up your Second Life account or Avatar, please contact our friends at Virtual Ability here.


 

Blues/Lamentations for George Perry Floyd, Oct 14, 1973-May 25, 2020

From Mama Linda’s Chapbook, 29 June 2020

O MY LORD!
Did you see what
They did to George Floyd?

O MY LORD!
Did you see what
They did to George Floyd?
They put pressure on his neck
With their knee
Poor George went on to Calvary.

O MY LORD!
Did you see what
They did to George Floyd?

PAIN & TRAUMA!!!
George called for his
Angel Mama.

PAIN & TRAUMA!!!
George called for his
Angel Mama.
She opened up her arms
“No more hurt! No more harm.”

O MY LORD!
Did you see what
They did to George Floyd?

People came together & marched.
They shouted & they torched.

People came together & marched.
They shouted & they torched.

“NO JUSTICE! NO PEACE!
STOP THE SYSTEM OF
RACIST POLICE.”

O MY LORD!
Did you see what
They did to George Floyd?

They rallying cry was hurled
All over the world.

The rallying cry was hurled
All over this world.
Thousands gathered in
Cities & towns,
And some statues
Came tumbling down.

O MY LORD!
Did you see what
They did to George Floyd?

SOMEHOW! SOMEWAY!
WE SHALL OVERCOME SOMEDAY?

SOMEHOW! SOMEWAY!
WE SHALL OVERCOME SOMEDAY?
A change has got to come
From the heart,
Or this country will fall apart.

O MY LORD!
Did you see what
They did to George Floyd?

– Mama Linda
Copyright 2020 by Linda Goss

> Find a complete interview with Mama Linda about the creation of this poem

Now listening. We’re gathering stories about this historic moment.

Two people wearing face masks and sweatshirts stop to pick up food.
East Baltimore residents pick up takeout lunches. Photo by Daisy Brown

In a nutshell, 2020 has been momentous. From the pandemic to the protests, this year has been so historic, so unprecedented that it can be difficult to make sense of everything that’s happening in real time. Have you stopped to really assess how you are feeling?

How are the people in your life or in your neighborhood coping with isolation, economic uncertainty, social unrest, etc.?

It’s our mission to listen.

The Peale remains committed to outreach, even as we work remotely, away from the museum building at 225 Holliday Street.

We want to hear from you. The Peale invites YOU to share your experience⁠—at this moment in time⁠—with us and with the rest of Baltimore. Tell us what are you doing to cope, how you’ve been affected, and what your outlook is for the future. Your story will be included in our story archive for future historians and may be included in an online or onsite exhibition. In addition, we publish most stories on the Peale’s SoundCloud Channel, Be Here Stories.

It’s easy to share a story. There are three ways you can record your thoughts. Choose the one that’s easiest for you:

*Please note that you DO NOT have to be professional storyteller, public speaker, or historian to participate. We welcome everyone’s stories, and we want to help make sure the whole story of Baltimore is told. Check out a sample story from a previous project.

Introducing Mama Linda’s Chapbook

Mama Linda holds up a vintage photo.
Photo by Glenn Ricci, 2018.

“Ring A ling Ling! My bells are ringing.

“Well O Well Well,”  My Heart is singing.

Welcome To Mama Linda’s Chapbook.  Twice a month, I will share a poem with you.  May & June have been emotional, frightening, and heart-wrenching months for me. The Coronavirus is infecting people and claiming human lives from all walks of life. Human beings from all over the world are walking in protest exercising their right to proclaim that “BLACK LIVES MATTER.”  People are speaking out from behind their masks.  They have taken to the streets.  George Floyd was killed on May 25th, Memorial Day. June 17th was the 5th anniversary of the massacre of 9 Black people at Mother Emanuel AME Church in Charleston, SC. Six Black men have been founding hanging from trees in different locations in 4 States.

Juneteenth on June 19th represents the day Black people in Texas were told about the Emancipation Proclamation in 1865.  Since then, 49 States including DC have declared Juneteenth a State Celebration. Every year the third Sunday in June is designated as FATHER’S DAY. I didn’t buy a Father’s Day for my husband, Clay or our son, Jamaal. Instead,  I wrote this poem for them and all Black Men of America.

ASANTE SANA!  Thank you.

Peace & Blessings, Mama Linda


Black Men of America
A Father’s Day Card

Oh Black Men of America!
I pray every day that the Creator continues to show you the way.
Show you the light as you continue to fight for equal rights.
Your Ancestral Mothers and Fathers were Stolen
Forced to work and toil
On stolen land
That was not your native soil.
You have fought in wars for the USA.
The American Revolutionary War—you were there.
The War of 1812—you were there
The Civil War—you were there.
The Spanish American War—you were there
World War I—you were there.
World War II—you were there.
The Korean War—you were there.
The Vietnam War—you were there.
The Persian Gulf War—you were there.
The War in Iraq—you were there.
The War in Afghanistan—you are still there, yet
You are whipped, bruised, beaten, burned, raped, lynched, shot, stabbed and wrongly incarcerated—bodies spreading across the American landscape EVERYWHERE!
Where are the statues that represent your bravery?
Where are the statues that represent your endurance?
Where are the statues that represent your protest?
You have tried to do your best, yet
Police brutality is a reality.
Many of you are police officers, many of you are fire fighters.
You have proven over, and over again your allegiance to the USA
And yet you cannot have a say.
You cannot kneel quietly and protest, yet
A white police officer can kneel on your neck for 8 minutes and 46 seconds.
I have lost the rhyme to this poem.
I cannot unsee what I have seen.
I cannot protect the children from what they are seeing and hearing.
When my father died They placed the American flag in Momma’s lap at his gravesite
Yet over and over again this country takes away the right for Black men to give their insight.
The USA needs Black men to defend this country, but what about the fight against bigotry.
It doesn’t matter whether or not some Black men are scholars and have PhDs.
It doesn’t matter if they become the President of the USA.
They are still maligned and scorned.
They are still denied the right to be reborn.
Oh Black Men of America!
When will you feel that life, liberty and happiness apply to you?
When will you truly be a part of the red, the white and the blue?

Mama Linda Goss
Copyright © 2020 by Linda Goss

 

Jeffrey Kent’s Black Lives Matter paintings on the front of the Peale

On June 7, 2020, Baltimore-based artist Jeffrey Kent, along with friends and family, installed his latest work on the front of the Peale building: two large Black Lives Matter banners. Jeffrey’s artwork is conceptual, informed by the historical and the personal, inextricably linked. His passionate investigation of issues related to the political and economic foundations of freedom and the role of responsible citizenship is the thread connecting all of Kent’s collections. We now find this same thread connecting different communities and peoples in this nation, all with the same call, simply: Black. Lives. Matter.

The artists Chris Wilson (left) and Jeffrey Kent (right) with one of Kent’s “Black Lives Matters” paintings at the Peale.
A white man holds a ladder for a black man who is installing a large "Black Lives Matter" painting on a boarded up window.
Titus Bicknell holds the ladder for the artist Jeffrey Kent as he installs one of his “Black Lives Matters” paintings at the Peale.

Artist’s Statement

> Listen to Jeffrey talk about his work in an interview by Noreen Smith

These paintings are originally painted to simply express the message, “Black Lives Matters.” After beginning the paintings, it became much more. Initially important was that I used materials that would withstand external exposure. Exterior paint in tar black applied to a painter’s drop cloth heavily enough to drench the fabric so that the black bled through to the back of the fabric provides the foundation of the artworks. The metaphor of a black foundation, as the United States was founded on the backs of enslaved and freed black labor and intellect, continues through to the starkly white letters almost floated on top of the black canvas, applied from the tube. The white letters float above and are supported by the black foundation: a reminder that anti-racism work impacts us all, and whose souls are at stake.

–Jeffrey Kent