The Butterfield Overland Mail

The Butterfield Overland Mail

“Remember boys, nothing on God’s green earth must stop the U.S. mail!”

                                     - John Butterfield’s instructions to his drivers, September 16, 1858

In 1858 John Butterfield won a government contract of $600,000 a year to carry mail from St Louis to San Francisco twice a week.  The contract called for the trip over the nearly 2,800 mile trail to be made within 25 days, and although mail was the first priority of the stage, passengers were also allowed to accompany the coaches, with the original cost of an east to west ticket being $200.  The whole trip was a rather rushed affair, as the stops at stations along the way were usually no longer than ten minutes – the only exceptions being when they stopped for meals and sleep.

There were three Butterfield station stops located in the Albany and Abilene area.  The first of these includes the Clear Fork Station, which is located on the east bank of the Clear Fork of the Brazos River.  The well used by passengers is the only original structure still standing, and can be found today on the old Stribling place, which is now a part of Lambshead Ranch.

From the Clear Fork stop, the stage traveled southwest another 23 miles to Smith’s Station, which rested on the east bank of a nearby creek.  At the time of the stage’s first run, this station was little more than a grouping of tents and a corral for the stock, but eventually a stone structure was built to provide more comfort.  The creek itself got its name after the Butterfield stopped running and all that remained standing was the limestone chimney – and thus the stream became known as Chimney Creek.

The next stop was another 12 miles down the trail at Fort Phantom Hill.  The Fort had been abandoned by the military in 1854 and most of the wood and thatch structures had been destroyed by fire.  However, at least three stone buildings remained standing and these Butterfield made ready use of.  Waterman Lily Ormsby Jr., a reporter from the New York Herald who traveled the Overland Mail as the only passenger on the stage’s first through trip, said that “Altogether, Phantom Hill is the cheapest and best new station on the route.”

Molly Sauder, Archivist & Librarian

I Should Have Been a Detective

I Should Have Been a Detective

In 1982, the OJAC acquired a print by Joan Miró—yet another generous gift from Bill Bomar and just one more example of this collector’s keen eye. Until recently though, this work was listed as untitled and undated.

 In 1995, CBS Sunday Morning aired a story on the OJAC and Miro’s print was included in the segment. Shortly after, the museum received a letter from an individual in Pittsburgh, PA inquiring about the print, as he had purchased the same image in Venice, Italy in 1980. Since our work was undated and untitled, we had little information to offer him. Yet, as it turns out, it was he who offered us information by including a copy of the bill of sale. 

The Italian text seemed of little use 26 years ago. But with the help of the internet’s free translation services, much could be gleaned from this simple document. The work remains Untitled, but we now know it was an original print created for a limited-edition book titled L’issue dérobée (possibly Hidden Exit or The Stolen Escape) by the French poet and art critic Jacques Dupin. Dupin and Miró were also close friends. The book was published by Galerie Maeght in Paris in 1974. Originally identified as an etching, the work was actually created using drypoint and aquatint with embossing on paper. The full sheets, with deckle edges at left and right, were loose (as issued). 

As a footnote, our print has “H.C.” written in pencil in the lower left corner, which stands for hors commerce. Hors commerce means “out of trade” and is similar to an artist’s proof (often noted as “A.P.”). An H.C. is given as a gift to the artist for allowing the publisher to print their images. Twenty hors commerce copies were printed of Dupin’s book.

Finally, after cross-referencing this information with other sites and collections, I was able to find images of the same print with the same historical background to confirm the accuracy of my sleuthing skills. 

Case closed.

Amy Kelly, Registrar

Untitled, from book: L'Issue dérobée (The Stolen Escape) by Jacques Dupin (Paris: Maeght Éditeur, 1974), 1974. JOAN MIRÓ. Drypoint and aquatint with embossing on paper. 1982.023

Diwali: The Festival of Lights!

Diwali: The Festival of Lights!

Diwali, known as “the festival of lights”, is celebrated every year during autumn in the northern hemisphere. It is an official holiday in many countries around the world - celebrated by around 15 % of the Earth's population!!  This holiday spiritually signifies the victory of light over darkness, good over evil, knowledge over ignorance, and hope over despair.

As a symbol for this victory, millions of lights in many forms cover homes, neighborhoods, and city streets. The preparation and festivities can last up to five days and celebrates everything bright and beautiful. Families spend time together eating special foods and reveling in what is good in life. For many, Diwali is also a time for renewal. Some of the annual traditions include cleaning, and renovating homes as well as buying new clothes to signify hope and putting your best foot forward in the year to come.

At the OJAC, our Diwali celebrations have already begun.

Over 3,500 students in surrounding area K-12 schools received a visit from one of our Art-to-Go Instructors during the month of October, exploring the Festival of Lights and guide them in creating Thali Plates, Ganesha Puppets, Kolam Stencils and Akash Kandil Lanterns!

Students and families visiting the museum virtually via our Distance Learning program enjoyed a children's book about the traditional Diwali decoration called Rangoli by Anuradha Ananth. Participants created their very own sand rangoli ornament.

Local families are invited to drop by our outdoor Activity Trunk and take home a FREE craft kit to create a festive Diya lamp!

Last but not least, the OJAC will be hosting our own Diwali Family Festival on Saturday, Nov. 6th!

YOU are invited! All ages are welcome to this FREE event- so bring the whole crew!

Experience traditional foods, games with prizes, music, artwork, and much more!

Erin Whitmore, Director of Education

What's In a Name?

What's In a Name?

I’ve touched on this subject in a past blog but thought a deeper dive is in order.

The subject is “names,” or more specifically, nomenclature in the art world relevant to an art museum vs. a gallery. It can be confusing when it comes to the function and purpose of an art museum vs. a commercial art gallery.

Honestly, the confusion may be self-inflicted due to the fact that most museums call their interior spaces galleries as well as the fact that some museums actually call themselves Galleries. (Example: National Portrait Gallery, Whitechapel Gallery, etc.)

In the simplest of terms, art museums (which may also utilize names like “centers” and “collections”) provide audiences the opportunity to view and experience works of art along with interpretation and associated educational programs. They are normally operated by non-profits, private foundations, or federal or local government agencies. The art that museums display can come from their own collection, or be borrowed from artists, collectors, other museums, and commercial galleries. The work that they exhibit is not for sale through the hosting museum. This is where the art gallery comes into play.

Commercial art galleries are for-profit businesses that often represent artists and promote and sell their artwork. Most galleries “represent” a number of artists providing exhibits for their work on a regular basis at the gallery, a market to sell the work to clients and collectors, and generate opportunities for inclusion in collections and exhibitions at art museums. They take a commission from the sale for their efforts and expenses. That commission is normally around 50%. (Many artists are not represented by a gallery and must, or elect to, promote their work on their own.) 

Still confused? When you go into any venue that shows art, just enjoy it. If you really like something you see and want to know more, how you could purchase it or something else by an artist…just ask. Museum staff will happily send you in the right direction. 

 

Patrick Kelly

Executive Director & Curator of Exhibitions

Junior Historians in Albany

Junior Historians in Albany

The Old Timer magazine began in 1975 as an extracurricular activity for Albany High School students. The idea for the magazine was created by Barney Nelson and later sponsored by Albany High School teacher, Winifred Waller. The Old Timer – named after a character from the Fort Griffin Fandangle – documented Shackelford County history, people, and places. It was an immediate success within the local community and new editions were published annually for the next ten years.

Nearly every aspect of the Old Timer’s publication was organized by a staff of high school students. Operating on a shoestring budget, they managed the research, interviews, and photography for their articles.

In an effort to include more students, the Old Timer Staff decided to affiliate itself with the Texas Junior Historian organization. In 1978, they became Chapter 14 – which was the number of Albany’s previously inactive chapter. The students began submitting articles to the Junior Historian Writing Contest where the top six articles were published in Texas Historian, which was a state wide publication.

Between 1975 and 1981, eight editions of the Old Timer were published, with many of its stories going on to be featured in Texas Historian and another magazine called Big Country: Places, Events, and People. The students of Chapter 14 also submitted yearly articles to statewide contests, receiving multiple awards for their work.

Although local history articles continued to appear in other Texas publications, as the years passed many high school students became busier and busier with other extra curricular activities and jobs outside of the classroom. Interest in the magazine, with its extra time requirements, began to wane and the Old Timer magazine was discontinued in 1986.

To discover more about the creation and history of the Old Timer, check out this SPOKEN oral history video featuring former Albany High School teacher Winifred Waller!

Molly Sauder, Archivist/ Librarian

Nightfall at the Fort

Nightfall at the Fort

One of my favorite works in the OJAC’s permanent collection depicts the ruins of Fort Griffin, located just north of Albany Texas. 

In August and September of 1908, Bock and fellow artist Frank Reaugh went on a “sketching trip” from Dallas to West Texas, traveling by covered wagon. During this time, they stopped to explore and document the ruins of the military Fort, abandoned some three decades before. 

 

The artists captured a variety of views of the fort and its barren surroundings that fall, and this oil painting was the result of their sketched impressions. I often wonder what their impressions were of the climate, landscape, and artifacts they encountered. The work depicts a structure at sunset or early dark- which we know was a favorite time of day for both artists. 

 

Nocturnal was exhibited at the Art institute of Chicago the year following their excursion.  The ruins reflected in the work still stand at Fort Griffin today- and thousands visit the site each year. 

After viewing this rare painting at the OJAC this fall I highly recommend you make the 15 minute drive and explore both the history and mystery of its inspiration. 

Susan Montgomery, Membership & Development Coordinator

Nocturnal (Ruins of Old Fort Griffin), c. 1908. CHARLES PETER BOCK. Oil on canvas. 2017.011

Nocturnal (Ruins of Old Fort Griffin), c. 1908. CHARLES PETER BOCK. Oil on canvas. 2017.011

Burmese Pali Manuscripts

Burmese Pali Manuscripts

One of my favorite artifacts in the OJAC permanent collection is this Burmese Pali Manuscript.

I’m sure you’re familiar with the term but just to review, a manuscript is usually a very old document that has been written by hand. 

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This manuscipt was was created in the country of Myanmar. Now, Myanmar is very old country but it was not always referred to by its current name.

It was formerly known as Burma- which is a name that many of you may remember. (A little note to any of our readers in Texas- this country is similar in scale to our state!)

Myanmar is located in Southwest Asia, sharing a border with China and Thailand. It’s a lush and vibrant place, known for its fishing and agriculture, as well as its beautiful architecture. 

Now let’s explore a little history behind Pali Manuscripts. Pali are the oldest surviving Buddhist texts in the Pali language-  a language so old that very few people even speak it anymore! These manuscripts are scripture--  handwritten long ago to describe both historical events and religious beliefs. They were a way to preserve and pass-down Buddhist traditions. 

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And these ancient texts were not published in the form of a bound book, but written instead on loose leaf pages. Basically, very thin slices of palm or bamboo that were etched into with a wood or metal stylus. After the text was etched, a charcoal wash was applied to its surface to make the text more visible. The leaf pages were stacked on one another, separated by thin sticks- and the scripture was then covered in cloth and kept in a box.

However, even though they were carefully conserved this way over the centuries, the climate of Myanmar is not conducive to the survival of manuscripts in general. It’s a fairly humid environment that isn’t the best for the conservation of paper. Most paper objects don’t survive more than a few centuries there. 

In fact, except for one fragment from the eighth or ninth century that was found in Nepal- there aren’t many Pali Manuscripts still in existence in ANY country that were created before the 1700’s.

Ours was likely created in the late 1700’s to early 1800’s. Let’s take a closer look at this beautiful artifact. This manuscript is like a long, skinny book made of bamboo paper with a hard cover that’s covered in gold, jewels, glass and stones. When you open it, its 240 pages fold out like an accordion. The pages are all folded and connect to one another like a fan. 

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Just like a book cover, the cover on the manuscript protects the pages from being torn or getting wet or marked on. And isn’t the cover fantastic? It’s intricate, ornate design indicates how precious it’s content are. When this manuscript is on exhibit in our galleries, the glass and jewels sparkle with light and movement of visitors.

It really is an eye-catcher and always a tour favorite! I recommend you experience it in person when you next visit the Old Jail Art Center.


Payton Cole, Campus Outreach Instructor

The Importance of Documenting Memories

The Importance of Documenting Memories

At the end of her life, Sallie Reynolds Matthews transcribed her memories of life on the Texas frontier. She only ever intended for these stories to be passed down to her children, but over time they would become a published, invaluable primary source used by decades of historians.

The book, Interwoven: A Pioneer Chronicle, has seen four editions since its debut in 1936. As Robert Nail wrote in his introduction to the 1958 edition, “When you read her account of the day her family moved into a mysterious, abandoned ranch house on the very edge of the unconquered prairie and see, as her small girl eyes saw, the broken window glass littering the floor, the fang marks left by a wild animal on the door, you sense quite keenly what it must have been like . . . “

As a Texas history educator for the Old Jail Art Center, Interwoven has been an invaluable resource in the development of curriculum and programs that educate on frontier-life. Recently, while researching and planning a Summer Camp for Grades K-6, I used Sallie’s book as the lens for our exploration and activities. We learned about the process of loading your household into a covered wagon, the food games and music enjoyed on a frontier fort, what it was like to attend a one-room school building, and the experience of a diverse community including immigrant pioneers and the Tonkawa.

I honestly find it amazing that Sallie enabled me to recreate experiences of her childhood for the children of her community over 150 years later.

This book is a perfect example of the benefit and importance of documentation. As a historian, I recommend you not only purchase and enjoy a copy of Sallie’s stories, but consider recording those of your own for future generations.

Jewellee Kuenstler, THCP Coordinator

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An American Tragedy

An American Tragedy

In his early twenties, Ralph Blakelock (1847-1919) dropped out of medical school to travel alone through the American West, wandering far from American settlements and spending time among indigenous peoples. Largely self-taught as an artist, Blakelock began painting landscapes and scenes based on the sketches he made while traveling.

In art, Blakelock was a genius; yet, in business dealings he proved a failure and often sold his paintings for far less than their worth. After repeated failed business transactions, he suffered his first mental breakdown in 1891. His depression manifested in schizophrenic delusions in which he believed himself immensely wealthy. In 1899, Blakelock suffered his final breakdown and spent almost the entire remaining twenty years of his life in mental institutions.

Almost as soon as he was admitted into the psychiatric hospital, his works began to receive recognition. Within a few years the paintings he had once sold for next to nothing were resold for thousands of dollars. However, hospital staff were unaware of his fame as an artist and regarded his belief that his paintings were in major museums as one more sign of his illness. 

In 1916, one of Blakelock's landscapes sold at auction for $20,000, setting a record for a painting by a living American artist. This impressive price captured the imagination of Sadie Filbert, who had reinvented herself as the socially prominent Beatrice Van Rensselaer Adams so that she could swindle the wealthy by persuading them to donate to charitable causes that would, in fact, benefit herself. Adams founded the Blakelock Fund, which was supposed to support the impoverished artist and his family. 

When a young reporter for the New York Tribune interviewed Blakelock in the asylum, he found him to be articulate. The reporter explained to the asylum director who Blakelock was, and managed to arrange to take him and the director to Manhattan, where a major gallery retrospective of his work was being held. Blakelock was amazed by the changes in the city in the two decades since he had last seen it, and thrilled to see the recognition his work had received—all of which made for a fantastic news story. These events led to Blakelock's release from the asylum, in the "care" of Sadie Filbert, alias Beatrice Van Rensselaer Adams, who, tragically, would continue to exploit him for the rest of his life.

Amy Kelly, Registrar

Landscape with Indians, c. 1860s. RALPH BLAKELOCK. Oil on panel. Gift of Susan P. Wilson and Sarah Johnston in Memory of Suzanne Burns and Warren Payne. 1999.003

Landscape with Indians, c. 1860s. RALPH BLAKELOCK. Oil on panel. Gift of Susan P. Wilson and Sarah Johnston in Memory of Suzanne Burns and Warren Payne. 1999.003

School Days in Shackelford County

School Days in Shackelford County

As the seasons slowly turn from summer to fall, families across the country anticipate the return of school days! The photograph collection at the Robert E. Nail, Jr. Archives contains a variety of photos of students, teachers, sports, organizations and more from the late 1800s through the present day.

The current Archives fall exhibition School Days has an assortment of photographs, yearbooks, and other school related memorabilia on display. Below are some additional images which have been digitized for the website!

Józef Bakos

Józef Bakos

Visit the OJAC this fall exhibition season to view Santa Fe Scene, by one of “Los Cinco Pintores,” artist Józef Bakos.  

Bakos was an American painter of Polish descent. He was perhaps best known as a teacher, but he exhibited widely in major American museums, helping to increase national recognition and respect for New Mexico painting.

Santa Fe Scene, c. 1936. JOZEF BAKOS. Oil on canvas. 1991.003

Santa Fe Scene, c. 1936. JOZEF BAKOS. Oil on canvas. 1991.003

Bakos’s early painting style was really emotional and influenced by Van Gogh and the painting of the Expressionists. His later style moved towards cubism and abstraction. And this work from the OJAC collection bridges that shift and reflects both beautifully, don’t you think?

Bakos was born in Buffalo, New York in 1891. He studied art at the Albright Art Institute in Buffalo, New York, and then moved to work at the University of Colorado, Boulder.

In 1920, while the University was closed due to a flu epidemic, Bakos visited a childhood friend and artist who was living in Santa Fe. During his stay there, Bakos and his friend exhibited some work together there at the Museum of Fine Arts. It was then that the artist then decided to relocate to the city permanently.  

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Not long after his move, Bakos formed an artists' group called "Los Cinco Pintores" (the five painters.) This was Santa Fe's first Modernist art group- and they produced works that depicted uniquely American subjects such as the New Mexico landscape, local adobe architecture and Native American ceremonial dances.

The Pintores dissolved after only five years of working and exhibiting together, but Bakos remained in Santa Fe as much as possible -teaching and working odd jobs to support his painting and other personal hobbies such as home brewing, carpentry and furniture making.  

Though it wasn’t his hometown, Santa Fe was the home of his heart, and he would live and create there until his passing in 1977.

Hannah Rankin, Campus Outreach Instructor

Back to School Gifting

Back to School Gifting

HOORAY! The new school-year is finally here.

Looking for a gift for a special teacher? Show your appreciation by gifting them an OJAC Membership Bundle!

This special package keeps on giving throughout the year with one individual membership, plus an OJAC tote, t-shirt, magnetic clip, and notecard set!

Click below to purchase this creative gift of gratitude.

Tatum Green, Visitor Services Associate

Always Hard to Say Goodbye

Always Hard to Say Goodbye

In 2016, when I came to OJAC, I was a new teacher and had minimal experience with museum work. On my first day here I toured students through the galleries and I helped put on a Hanami Family Festival within my first week. I can tell you pace never slows here at OJAC.

Erin and I have worked tirelessly and seen exponential growth in the education programs during the last five years. We’ve said goodbye to some events and traditions as they outlived their time and introduced new ones that at times even surprised the two of us. When I joined the Art-to-Go program we were serving something around 2,250 students each month and now that number is closer to 3,800. I’ve driven countless miles from Abilene to Albany, to Cisco, to Throckmorton, Roscoe, Rule, and beyond. I’ve interviewed, trained, and said goodbye to nearly 20 high school interns; Driven Junior Docents on more than 8 field trips to San Angelo, Fort Worth, and Dallas art museums; I’ve written many lesson plans for over a dozen Teacher Workshops and prepared thousands of craft supply baggies for students kindergarten through 12th grade across West Texas.

This week I officially said goodbye to OJAC and started teaching full time at Texas Leadership Charter Academy in Abilene. It’s been a long time coming and yet somehow feels very sudden. I will no longer be commuting back and forth to Albany and I’m excited to be back in the classroom full time, working with the same students everyday. I’ve always been passionate about art and encouraging and empowering the artist in others. I love investing in the lives of my students and having a front row seat to watch them grown and mature into good people.

But 5 and a half years is a long time and I’ve grown accustomed to certain rhythms and seeing certain faces 40-50 hours a week while at OJAC and I will definitely feel their absence. Change is always bittersweet. I’ve made many wonderful memories during my time here and there is so much I will miss terribly!

I look forward to monthly visits from OJAC in my classroom and am thrilled to be able to share Art-to-Go with my new students as it is such an incredible resource! Just as I told my fellow coworkers - OJAC, it’s not ‘goodbye’, but ‘see you later!’

Molly Merck, Education Programs Coordinator

A Buffalo Hunter's Camping List

A Buffalo Hunter's Camping List

Recently, I filmed an OJAC tiny-tour about Buffalo Hunters.

(Check it out on the museum Vimeo channel: https://vimeo.com/user32466522)

Fort Griffin was a supply stop for Buffalo Hunter Companies before they embarked on their two-three week hunting trip following the buffalo herds. So, what supplies did these hunters purchase? Luckily for us, the answer was found in F.E. Conrad’s ledger book. Conrad operated a mercantile store located in the town of Fort Griffin.

F.E. Conrad

 

The hunting party would normally include a shooter and a few skinners, so supplies were needed for four to five men. During one trip in 1877, Dick Cromwell and Briggs Company made the following purchases at Conrad’s Mercantile before beginning their buffalo hunt:

·      400 lb flour

·      25 lb coffee

·      10 lb tobacco

·      2 lb soda

·      1 container of lard

·      11 bushels of oats

·      150 lb lead

·      1 keg powder

·      200 .45 caliber shells

·      2 boxes Winchester cartridges

·      2 boxes primers

·      50 .50 caliber shells

·      12 skinning knives

·      2 boxes ax heads

·      1 steel

·      1 file

·      1 pair of long johns

·      1 pair of overalls

·      1 overshirt

·      1 blanket

 

Could you even imagine buying 400 pounds of flour? My mind instantly goes to items that did not make the list. Such as bacon, which was a staple for hunting groups and cattle drives. Did they plan to eat buffalo meat which would always be fresh from their kills?

 

Isn’t it ironic that something like this mercantile journal, which was mundane paperwork for Conrad, becomes a wealth of information for historians in the 21st century!

Jewellee Kuenstler, THCP Coordinator

Buffalo Hunter’s Camp

Buffalo Hunter’s Camp

Rule of Thumb

Rule of Thumb

At the age of 16, Doris Porter (Caesar) was dividing her time between mornings at the proper Spence School for girls and afternoons in the bohemian atmosphere of the Art Students League in New York City. It was there that she participated in liberated discussions of art and politics energized by the Ash Can movement, best known for portrayals of daily life in the poorer neighborhoods of NYC. 

At the age of 21, Caesar married and put her career on hold to raise three children. Twelve years later, she slowly began to re-emerge as a sculptor. During this time, Caesar studied under Alexander Archipenko, the pioneering cubist who had recently arrived from Paris. In 1927, Caesar cast her first bronze sculpture and took it to Erhard Weyhe, a champion of emerging artists who ran a combined bookstore-art gallery in New York. This visit proved to be the beginning of a long relationship that resulted in a series of solo shows beginning in 1935. 

Caesar’s development was very much affected by Weyhe, who was an enthusiast of German expressionist art. Early on, Caesar intuitively turned away from modeled classical forms and developed a personal style characterized by expressionist distortion. She purposefully exaggerated the sinewy forms of the female figure and left evidence of her unsmoothed thumb marks as a textural element in the finished bronzes. 

Caesar enjoyed a successful and prolific career. Most notably, 40 of her sculptures were exhibited in a four-person show titled Four American Expressionists at the Whitney Museum of American Art in 1959.

Amy Kelly

Kneeling Woman, c. 1955. DORIS CAESAR. Bronze. 1992.105

Kneeling Woman, c. 1955. DORIS CAESAR. Bronze. 1992.105

National Lighthouse Day

National Lighthouse Day

Fog Bell, n.d. STOW WENGENROTH. Lithograph on paper. 1985.028

Fog Bell, n.d. STOW WENGENROTH. Lithograph on paper. 1985.028

A favorite piece of mine in the OJAC’s permanent collection is Fog Bell by artist Stow Wengenroth.  

This beautiful lithograph depicts a fog bell in the foreground, and a stately lighthouse in the foggy distance. 

Lighthouses are beacons- or guides. The light of their lanterns and sound of their bells alerts ships at sea that the coast is near. They stand as symbols of hope and security. 

This coming Sunday, August 7th- is National Lighthouse Day. And to celebrate, I have some fun facts for you!

Did you know?

  • The oldest existing lighthouse in the world is in Spain, and dates from ca. 20 B.C. It is called the Tower of Hercules, and is still functional! (see image in banner above)

  • Nearly as old, a Roman lighthouse from 40 A.D. is located on the Cliffs of Dover in the UK

  • The first lighthouse in the United States was constructed in Boston, MA on Little Brewster Island in 1716. 

  • The United States has more lighthouses than any other country!

Speaking of guides, if you would like to explore this and other wonderful works in our permanent collection, I recommend our online collection kiosk!

Visit the Collections page of our website for the link, and discover over 2,300 works of art created throughout the world, from antiquity to present.

Susan Montgomery, Membership Coordinator

Reynolds Presbyterian Academy and Orphanage

Reynolds Presbyterian Academy and Orphanage

In the late 1890s the school facilities in the Shackelford county area were very meager. In response to the need, a group of local ranchmen, including G.T. Reynolds, W.D. Reynolds, and Judge J.A. Matthews, came together in order to find a way to bring adequate education to their children. It was decided that an academy should be constructed, so an architect was hired, with work beginning soon after.

The brick school building was built in Albany on the hill overlooking the town, near where the water tower stands now. Work was completed in January 1899, and that semester the Reynolds Presbyterian Academy, which was named for Mr. B.D. Reynolds, was opened. The building had three stories, including a basement; and in addition to classrooms the building also contained space for a chapel, library, music room, art room, office space, and several recitation rooms.

In 1907 the academy officially became a college, with courses such as English, Mathematics, Physics, Latin, German, History, and Music available to all students. Unfortunately, after only a few years the college was forced to discontinue due to the low number of students attending.

The main school building and dormitory remained vacant until 1916, when the elders of the Presbyterian Church decided to use the structures for a new orphan’s home. The name was only slightly changed, and the home became known as the Reynolds Presbyterian Orphanage. The first occupants were three sisters from Baird whose mother had died the night before. Within three years the number of children living in the home had increased to 120.

The Orphanage was moved to Dallas in 1923 where it remained under the same name until 1960, when it again relocated, this time to Waxahachie, where it was renamed the United Presbyterian Homes. Of the buildings that remained in Albany, three wooden structures were sold and moved from the property, while the main brick building was torn down and the rock and brick sold.

Molly Sauder, Archivist & Librarian

Faces of (west) Texas

Faces of (west) Texas

This summer, don’t miss our current special exhibit of photography by Michael O’Brien.

In the summers of 2002-2003, the Austin-based artist photographed portraits of the local cast and crew of the Fort Griffin Fandangle, an outdoor musical tradition in Albany, Texas since June 1938.

Visit to view the faces of this tradition, then explore more of OBriens portraits through The Face of Texas, available now through the OJAC giftshop.

Purchase your copy today!

[10% discount for Museum members]

Tatum Calhoun, Administrative Assistant and Visitor Services Coordinator

Seen any Good Westerns Recently?

Seen any Good Westerns Recently?

I often attempt to connect art to an event, place, subject, etc. that we universally experience when creating my OJAC blogs. For this blog iteration, I considered writing about the OJAC’s current exhibit Borrowed Trouble featuring the work of artist Linda Blackburn whose paintings incorporate appropriated imagery from Western movie stills. (When you come see the exhibit, pick up a gallery guide and find out why!) As one idea led to another, I thought, “how about talking about the Western genre in film/television as well.” When asked to provide an image for the blog, I came across one that depicts the filming of The Searchers, wonderfully directed by John Ford in 1956. If you have not seen this movie, you must, if you want to be considered a movie fan or even a true Texan in my opinion. 

As I went deeper down the rabbit hole of discovery, I realized that The Searchers storyline is connected to another exhibit currently on view this summer—Michael O’Brien’s Prairieland Portraits. I considered writing the blog telling readers the connections. But I’ve elected to provide the answer in my next blog. Until then, the first person (non-staff) who can provide the connections between one of Linda Blackburn’s paintings, The Searchers, and the subject of one of Michael O’Brien’s photographs, will win a copy of Michael O’Brien’s fantastic book The Face of Texas from the OJAC gift shop. This is a “Six Degrees of Kevin Bacon” game. If you’re not sure what this is, look it up. 

This is going to take some thinking. Drop off your guess, or let me know in person—I’ll be waiting! 

 

Patrick Kelly, Director & Curator of Exhibitions

Searchers (1956).jpg

A Summer Internship @ OJAC!

A Summer Internship @ OJAC!

Art has influenced nearly every part of my life, from my mom’s first museum job in a small West Texas town, to my time as an OJAC Jr. Docent, and my decision to major in Art History. When I started my search for a summer job my mind immediately went to the OJAC - I was thrilled to discover the museum offered an undergraduate internship. Despite growing up with the Old Jail, nothing could have prepared me for the wonderful experience of working behind the scenes with the talented and dedicated museum staff.

On my first day of the internship, I learned I would be curating my own mini exhibition with the archive department. It took a minute or two for this information to sink in – I couldn’t believe there would be an entire case for me to research and design. The hours working in the archives flew by as I chose my topic and searched through the files for photos, documents, and letters.

Although I wasn’t quite sure what to expect next, I assumed my time with the education department would be similar to my work as a Jr. Docent; I was surprised to discover I would have a wide range of tasks, including artist research for social media posts and the chance to film my own OJAC tiny-tour! But perhaps the most rewarding of these jobs was reorganizing an entire drawer of lesson plans.

One of my favorite parts of the internship was how hands-on I was with the museum collection, especially as I worked with the registrar department. Cleaning and waxing the outdoor sculptures, documenting exhibits, and helping with the installation of new shows were just a few of the projects I completed. I was struck by the detail that went into the care of the museum collection and the immense amount of planning put into each exhibit on the part of the registrar.

During my time as the Museum Studies intern I experienced an entirely different side of the OJAC. I had the chance to spend time with the museum’s permanent collection as well as the work of guest artists, and throughout the internship I noticed the staff’s passion for their work and their dedication to serving the Albany community. I’ve learned so much these past few weeks and I will always remember my time working at the OJAC.

Mary Ellis Ferguson, Museum Studies Intern