Once, two individuals who did not know each other prior to the ceremony, realized they lived in the same apartment building during their conversation. I wonder, in the mind of a teenager inwhat exactly would the mode of transport have been?!? We used the electronic records of the Sandy Spring Friends Meeting graveyard. Bookmarks: Save and quickly access sections most relevant ppans your project. Woox email is safe, as we store wood fired oven plans pdf viewer according to international data protection rules.

The thimble shall be sized in accordance with Section Single-wall metal piping shall comply with Section A venting system of a single-wall metal pipe shall be sized in accordance with one of the following methods and the appliance manufacturer's instructions: For a draft hood -equipped appliance , in accordance with Section For a venting system for a single appliance with a draft hood , the areas of the connector and the pipe each shall not be less than the area of the appliance flue collar or draft hood outlet, whichever is smaller.

The vent area shall not exceed seven times the draft hood outlet area. Other approved engineering methods. Where a single-wall metal pipe is used and has a shape other than round, it shall have an effective area equal to the effective area of the round pipe for which it is substituted, and the internal dimension of the pipe shall be not less than 2 inches 51 mm.

The vent cap or a roof assembly shall have a venting capacity not less than that of the pipe to which it is attached. Portions of single-wall metal pipe shall be supported for the design and weight of the material employed. Single-wall metal pipe shall comply with the marking provisions of Section A mechanical draft venting system shall terminate not less than 3 feet mm above a forced air inlet located within 10 feet mm. Exceptions: This provision shall not apply to the combustion-air intake of a direct-vent appliance.

This provision shall not apply to the separation of the integral outdoor-air inlet and flue gas discharge of listed outdoor appliances. A mechanical draft venting system of other than direct-vent type shall terminate not less than 4 feet mm below, 4 feet mm horizontally from, or 1 foot mm above a door, operable window, or gravity air inlet into a building.

The bottom of the vent terminal shall be located not less than 12 inches mm above finished ground level. The bottom of the vent terminal and the air intake shall be located not less than 12 inches mm above finished ground level. Through-the-wall vents for Category II and Category IV appliances and noncategorized condensing appliances shall not terminate over public walkways or over an area where condensate or vapor is capable of creating a nuisance or hazard that is detrimental to the operation of regulators, relief valves, or other equipment.

Where local experience indicates that condensate is a problem with Category I and Category III appliances , this provision shall apply. Drains for condensate shall be installed in accordance with the appliance and the vent manufacturer's installation instructions.

Where vents, including those for direct-vent appliances or combustion air intake pipes, penetrate outside walls of buildings, the annular spaces around such penetrations shall be permanently sealed using approved materials to prevent entry of combustion products into the building. Vent terminals that terminate through an outside wall of a building and discharge flue gases perpendicular to the adjacent wall shall be located not less than 10 feet mm horizontally from an operable opening in an adjacent building.

Exception: This shall not apply to vent terminals that are 2 feet mm or more above or 25 feet mm or more below operable openings. Provision shall be made to collect and dispose of condensate from venting systems serving Category II and Category IV appliances and none categorized condensing appliances in accordance with Section Where local experience indicates that condensation is a problem, provision shall be made to drain off and dispose of condensate from venting systems serving Category I and Category III appliances in accordance with Section A vent connector shall be used to connect an appliance to a gas vent, chimney , or single-wall metal pipe, except where the gas vent, chimney , or single-wall metal pipe is directly connected to the appliance.

A vent connector shall be made of noncombustible, corrosion resistant material capable of withstanding the vent gas temperature produced by the appliance and of a thickness to withstand physical damage. Where the vent connector used for an appliance having a draft hood or a Category I appliance is located in or passes through an unconditioned area, attic or crawl space , that portion of the vent connector shall be listed Type B, Type L, or listed vent material having equivalent insulation qualities.

Vent connectors for residential-type appliances shall comply with the following: Vent connectors for listed appliances having draft hoods , appliances having draft hoods and equipped with listed conversion burners , and Category I appliances that are not installed in attics, crawl spaces , or other unconditioned areas shall be one of the following: Type B or Type L vent material.

Galvanized sheet steel not less than 0. Aluminum or alloy or equivalent sheet not less than 0. Stainless steel sheet not less than 0.

Smooth interior wall metal pipe having resistance to heat and corrosion equal to or exceeding that of Section A listed vent connector. Vent connectors shall not be covered with insulation. Exception: Listed insulated vent connectors shall be installed in accordance with the manufacturer's installation instructions. A vent connector for a non-residential low-heat appliance shall be a factory-built chimney section or steel pipe having resistance to heat and corrosion equivalent to the galvanized pipe specified in Table Factory-built chimney sections shall be installed in accordance with the chimney manufacturer's installation instructions.

Vent connectors for medium-heat appliances , and commercial and industrial incinerators , shall be constructed of factory-built, medium-heat chimney sections or steel of a thickness not less than that specified in Table Factory-built chimney sections, where employed, shall be installed in accordance with the chimney manufacturer's installation instructions.

A vent connector for appliances with a single draft hood or for a Category I fan-assisted combustion system appliance shall be sized and installed in accordance with Section For a single appliance having more than one draft hood outlet or flue collar, the manifold shall be constructed according to the instructions of the appliance manufacturer. Where there are no instructions, the manifold shall be designed and constructed in accordance with approved engineering practices.

As an alternate method, the effective area of the manifold shall equal the combined area of the flue collars or draft hood outlets and the vent connectors shall have not less than 1 foot mm rise. Where two or more appliances are connected to a common vent or chimney , each vent connector shall be sized in accordance with Section Where two or more appliances are vented through a common vent connector or vent manifold, the common vent connector or vent manifold shall be located at the highest level consistent with available headroom and clearance to combustible material and shall be sized in accordance with Section Where the size of a vent connector is increased to overcome installation limitations and obtain connector capacity equal to the appliance input, the size increase shall be made at the appliance draft hood outlet.

Where two or more openings are provided into one chimney flue or vent, either the openings shall be at different levels, or the connectors shall be attached to the vertical portion of the chimney or vent at an angle of 45 degrees 0.

Where two or more vent connectors enter a common vent, chimney flue, or single-wall metal pipe, the smaller connector shall enter at the highest level consistent with the available headroom or clearance to combustible material. Vent connectors serving Category I appliances shall not be connected to a portion of a mechanical draft system operating under positive static pressure, such as those serving Category III or Category IV appliances.

Minimum clearances from vent connectors to combustible material shall comply with Table Exception: The clearance between a vent connector and combustible material shall be permitted to be reduced where the combustible material is protected as specified for vent connectors in Table Joints between sections of connector piping and connections to flue collars or draft hood outlets shall be fastened in accordance with one of the following methods: By sheet metal screws.

Vent connectors of listed vent material shall be assembled and connected to flue collars or draft hood outlets in accordance with the manufacturer's installation instructions.

Other approved means. Exception: Vent connectors attached to a mechanical draft system installed in accordance with the appliance and draft system manufacturer's installation instructions. The length of vent connectors shall comply with Section The maximum horizontal length of a single-wall connector shall be 75 percent of the height of the chimney or vent except for engineered systems.

The maximum horizontal length of a Type B double-wall connector shall be percent of the height of the chimney or vent, except for engineered systems. The maximum length of an individual connector for a chimney or vent system serving multiple appliances , from the appliance outlet to the junction with the common vent or another connector, shall be percent of the height of the chimney or vent.

A vent connector shall be supported for the design and weight of the material employed to maintain clearances and prevent physical damage and separation of joints. Where entering a flue in a masonry or metal chimney , the vent connector shall be installed above the extreme bottom to avoid stoppage.

Where a thimble or slip joint is used to facilitate removal of the connector, the connector shall be attached to or inserted into the thimble or slip joint to prevent the connector from falling out. Means shall be employed to prevent the connector from entering so far as to restrict the space between its end and the opposite wall of the chimney flue. The entire length of a vent connector shall be readily accessible for inspection, cleaning, and replacement.

A vent connector shall not be connected to a chimney flue serving a fireplace unless the fireplace flue opening is permanently sealed. A vent connector shall not pass through a ceiling, floor, or fire-resistance-rated wall. A single-wall metal pipe connector shall not pass through an interior wall.

Exception: Vent connectors made of listed Type B or Type L vent material and serving listed appliances with draft hoods and other appliances listed for use with Type B gas vents that pass through walls or partitions constructed of combustible material shall be installed with not less than the listed clearance to combustible material.

Vent connectors for medium-heat appliances shall not pass through walls or partitions constructed of combustible material. Vented appliances shall be installed with draft hoods. A draft hood supplied with or forming a part of listed vented appliances shall be installed without alteration, exactly as furnished and specified by the appliance manufacturer.

Where a draft hood is required with a conversion burner , it shall be of a listed or approved type. Where a draft control device is part of the appliance or is supplied by the appliance manufacturer, it shall be installed in accordance with the manufacturer's instructions. In the absence of manufacturer's instructions, the device shall be attached to the flue collar of the appliance or as near to the appliance as practical. Appliances requiring controlled chimney draft shall be permitted to be equipped with listed double-acting barometric draft regulators installed and adjusted in accordance with the manufacturer's installation instructions.

Draft hoods and barometric draft regulators shall be installed in the same room or enclosure as the appliance in such a manner as to prevent a difference in pressure between the hood or regulator and the combustion air supply. Draft hoods and draft regulators shall be installed in the position for which they were designed with reference to the horizontal and vertical planes and shall be located so that the relief opening is not obstructed by a part of the appliance or adjacent construction.

The appliance and its draft hood shall be located so that the relief opening is accessible for checking vent operation.

A draft hood shall be located so that its relief opening is not less than 6 inches mm from a surface except that of the appliance it serves and the venting system to which the draft hood is connected. Where a greater or lesser clearance is indicated on the appliance label, the clearance shall not be less than that specified on the label.

Such clearances shall not be reduced. A manually operated damper shall not be placed in an appliance vent connector. Fixed baffles shall not be classified as manually operated dampers. Devices that retard the flow of vent gases shall not be installed in a vent connector, chimney , or vent. The following shall not be considered as obstructions: Draft regulators and safety controls specifically listed for installation in venting systems and installed in accordance with the manufacturer's installation instructions.

Approved draft regulators and safety controls designed and installed in accordance with approved engineering methods.

Listed heat reclaimers and automatically operated vent dampers installed in accordance with the manufacturer's installation instructions. Vent dampers serving listed appliances installed in accordance with Section Approved economizers, heat reclaimers, and recuperators installed in venting systems of appliances not required to be equipped with draft hoods , provided the appliance manufacturer's installation instructions cover the installation of such a device in the venting system and performance in accordance with Section An automatically operated vent damper shall be of a listed type.

Automatically operated vent dampers for oil-fired appliances shall comply with UL The automatic damper control shall comply with UL Table The installation of vents serving listed appliances with vent dampers shall be in accordance with the appliance manufacturer's installation instructions or in accordance with the following: The maximum capacity of the vent system shall be determined using the NAT Max column.

The minimum capacity shall be determined as though the appliance were a fan-assisted appliance , using the FAN Min column to determine the minimum capacity of the vent system. Where the corresponding "FAN Min" is "NA", the vent configuration shall not be permitted and an alternative venting configuration shall be utilized. Where the vent size determined from the tables is smaller than the appliance draft hood outlet or flue collar, the use of the smaller size shall be permitted provided that the installation is in accordance with the following requirements: The total vent height H is not less than 10 feet mm.

Vents for appliance draft hood outlets or flue collars 12 inches mm in diameter or smaller are not reduced more than one table size. Vents for appliance draft hood outlets or flue collars exceeding 12 inches mm in diameter are not reduced more than two table sizes. The maximum capacity listed in the tables for a fan-assisted appliance is reduced by 10 percent 0.

The draft hood outlet exceeds 4 inches mm in diameter. A 3 inch 76 mm diameter vent shall not be connected to a 4 inch mm diameter draft hood outlet. This provision shall not apply to fan-assisted appliances. Single- appliance venting configurations with zero lateral lengths in Table Single- appliance venting with lateral lengths, include two 90 degree 1. For each additional elbow up to and including 45 degrees 0. For each additional elbow greater than 45 degrees 0.

Where multiple offsets occur in a vent, the total lateral length of offsets combined shall not exceed that specified in Table Temperatures shown for areas such as mountainous regions and large urban centers may not be accurate. Notes: 1 See Figure Zero lateral L shall apply to a straight vertical vent attached to a top outlet draft hood or flue collar.

Sea level input ratings shall be used where determining maximum capacity for high-altitude installation. Actual input derated for altitude shall be used for determining minimum capacity for high-altitude installation.

Listed corrugated metallic chimney liner systems in masonry chimneys shall be sized by using Table Corrugated metallic liner systems installed with bends or offsets shall have their maximum capacity further reduced in accordance with Section The 20 percent reduction for corrugated metallic chimney liner systems includes an allowance for one long radius 90 degree 1. Connections between chimney liners and listed double-wall connectors shall be made with listed adapters designed for such purpose.

Where the vertical vent has a larger diameter than the vent connector, the vertical vent diameter shall be used to determine the minimum vent capacity, and the connector diameter shall be used to determine the maximum vent capacity. The flow area of the vertical vent shall not exceed seven times the flow area of the listed appliance categorized vent area, flue collar area, or draft hood outlet area unless designed in accordance with approved engineering methods.

Draft hood conversion accessories for use with masonry chimneys venting listed Category I fan-assisted appliances shall be listed and installed in accordance with the listed accessory manufacturer's installation instructions. A Type B vent or listed chimney lining system passing through an unused masonry chimney flue shall not be considered to be exposed to the outdoors.

Where vents extend outdoors above the roof more than 5 feet mm higher than required by Table A Type B vent passing through an unventilated enclosure or chase insulated to a value of not less than R-8 shall not be considered to be exposed to the outdoors. The appliance is draft hood -equipped. The input rating is less than the maximum capacity given in Table For a space-heating appliance , the input rating exceeds the minimum capacity given by Table Flue lining system for residential and low heat appliance shall be in accordance with Section Chimney lining shall be listed in accordance with UL Corrugated vent connectors shall not be smaller than the listed appliance categorized vent diameter, flue collar diameter, or draft hood outlet diameter.

Vent connectors shall not be upsized more than two sizes exceeding the listed appliance categorized vent diameter, flue collar diameter, or draft hood outlet diameter. In a single run of vent or vent connector, more than one diameter and type shall be permitted to be used, provided that the sizes and types are permitted by the tables. Interpolation shall be permitted in calculating capacities for vent dimensions that fall between table entries.

Extrapolation beyond the table entries shall not be permitted. For vent heights lower than 6 feet mm and exceeding vent heights shown in the tables, engineering methods shall be used to calculate vent capacities. Where the actual height Diy Wood Fired Oven Plans of a vent falls between entries in the height column of the applicable table in Table The installation of vents serving listed appliances with vent dampers shall be in accordance with the appliance manufacturer's installation instructions or in accordance with the following: The maximum capacity of the vent connector shall be determined using the NAT Max column.

The minimum capacity shall be determined as if the appliance were a fan-assisted appliance , as follows: The minimum capacity of the vent connector shall be determined using the FAN Min column.

Where the vent configuration is NA, the vent configuration shall not be permitted and an alternative venting configuration shall be utilized. TABLE The vent connector shall be routed to the vent utilizing the shortest possible route. Connectors with longer horizontal lengths than those listed in Table For example, the length listed for a 4 inch l02 mm connector shall not exceed 6 feet mm. With a connector length exceeding 6 feet mm but not exceeding 12 feet mm , the maximum capacity shall be reduced by 10 percent 0.

With a connector length exceeding 12 feet mm but not exceeding 18 feet mm , the maximum capacity shall be reduced by 20 percent 0. For a connector serving a fan-assisted appliance , the minimum capacity FAN Min of the connector shall be determined by referring to the corresponding single appliance table. For Type B double-wall connectors, Table For single-wall connectors, Table The height H and lateral L shall be measured according to the procedures for a single- appliance vent, as though the other appliances were not present.

Where the vent connectors are combined prior to entering the vertical portion of the common vent to form a common vent manifold, the size of the common vent manifold and the common vent shall be determined by applying a 10 percent reduction 0. Where the common vertical vent is offset, the maximum capacity of the common vent shall be reduced in accordance with Section For each elbow up to and Woodworking Free Plans Pdf Viewer including 45 degrees 0.

For each elbow exceeding 45 degrees 0. The cross-sectional area of the common vent shall be equal to or exceed the cross-sectional area of the largest connector. Tee and wye fittings connected to a common gas vent shall be considered as part of the common gas vent and constructed of materials consistent with that of the common gas vent. At the point where tee or wye fittings connect to a common gas vent, the opening size of the fitting shall be equal to the size of the common vent.

Such fittings shall not be prohibited Wood Fired Oven Plans Pdf 01 from having reduced size openings at the point of connection of appliance gas vent connectors. The connector rise R for each appliance connector shall be measured from the draft hood outlet or flue collar to the centerline where the vent gas streams come together.

For multiple appliances located on one floor, the total height H shall be measured from the highest draft hood outlet or flue collar up to the level of the outlet of the common vent.

For multistory installations, the total height H for each segment of the system shall be the vertical distance between the highest draft hood outlet or flue collar entering that segment and the centerline of the next higher interconnection tee. The size of the lowest connector and of the vertical vent leading to the lowest interconnection of a multistory system shall be in accordance with Table Where used in multistory systems, vertical common vents shall be Type B double-wall and shall be installed with a listed vent cap.

Offsets in multistory common vent systems shall be limited to a single offset in each system, and systems with an offset shall comply with the following: The offset angle shall not exceed 45 degrees 0.

For the segment of the common vertical vent containing the offset, the common vent capacity listed in the common venting tables shall be reduced by 20 percent 0. A multistory common vent shall not be reduced in size above the offset.

Where two or more appliances are connected to a vertical vent or chimney , the flow area of the largest section of vertical vent or chimney shall not exceed seven times the smallest listed appliance categorized vent areas, flue collar area, or draft hood outlet area unless designed in accordance with approved engineering methods.

For appliances with more than one input rate, the minimum vent connector capacity FAN Min determined from the tables shall be less than the lowest appliance input rating, and the maximum vent connector capacity FAN Max or NAT Max determined from the tables shall exceed the highest appliance input rating. Listed, corrugated metallic chimney liner systems in masonry chimneys shall be sized by using Table Not less than one appliance is draft hood -equipped.

The combined appliance input rating is less than the maximum capacity given by Table The input rating of each space-heating appliance exceeds the minimum input rating given by Table The vent connector sizing is in accordance with Table Vent connectors shall not be increased more than two sizes exceeding the listed appliance categorized vent diameter, flue collar diameter, or draft hood outlet diameter.

Vent connectors for draft hood -equipped appliances shall not be smaller than the draft hood outlet diameter. Where vent connector sizes determined from the tables for fan-assisted appliances are smaller than the flue collar diameter, the use of the smaller sizes shall be permitted provided that the installation is in accordance with the following conditions: Vent connectors for fan-assisted appliance flue collars 12 inches mm in diameter or smaller are not reduced by more than one table size [e.

The fan-assisted appliance is common vented with a draft hood -equipped appliance. The vent connector has a smooth interior wall. Combinations of pipe sizes, single-wall metal pipe, and double-wall metal pipe shall be allowed within a connector run or within the common vent, provided the appropriate tables permit the desired sizes and types of pipe, where they were used for the entire length of the subject connector or vent.

Where single-wall and Type B double-wall metal pipes are used for vent connectors within the same venting system , the common vent shall be sized in accordance with Table Where a table permits more than one diameter of pipe to be used for a connector or vent, all the permitted sizes shall be permitted to be used.

P Bookmark. UpCodes Premium. Listed Category I appliance. Type B gas vent Section Listed appliance equipped with draft hood. Chimney Section The winning entry, written by Huldah Janney, is timeless and inspires us to act selflessly, especially during these trying times.

You can also read the other entries that were submitted to the Committee by reading the previous pages. Stabler, Volume 1. James Pleasants Stabler, the first Postmaster of Sandy Spring and part-owner of the Sandy Spring Store, had recently suffered through the death of his wife Elizabeth Gilpin and 3 children when he decided to take a Trans-Atlantic journey in He kept a meticulous journal s of his adventure.

Packet Ships were similar to the airlines of today, in that they kept regular schedules between major cities. Reading his detailed diary will teach you about the risks and hardships undertaken by the crews and passengers of the packet ship vessels that sailed the oceans between continents. In addition, we learn what life was like on board the ship for Stabler and his fellow passengers and what they did to while away the many days spent at sea.

Miscellanea found in a ledger of Caleb Edward Iddings, Advertisement, found in When I came across this gem hidden inside one of Dr. Who knew creosote could be medicinal! Letter: John H. Latrobe to Edward Stabler, These three letters from John H. Latrobe to Edward Stabler were written between March 16 th and April 4 th , in which designs for a stamp for the State of Maryland are discussed. That these two gentlemen collaborated on such a task is somewhat unremarkable; after all, Stabler was a seal maker and Latrobe an engineer.

What captures my interest is that both men were true polymaths: Stabler was also a farmer, the postmaster of Sandy Spring, and the head of the Mutual Fire Insurance Company; Latrobe was also a patent lawyer, an inventor the Latrobe stove , and founding member of the Maryland Historical Association and the American Bar Association. Diary of Caleb E. Iddings, This particular diary is a bittersweet testament to marital devotion. Caleb Edward Iddings was a lifelong diarist faithfully recording his daily experiences throughout his entire adult life.

In the year of his death, he continued to write daily until mid-February, after which his wife Harriet begins to sporadically add notes of Dr. Following his passing on June 4, , Harriet picks up the pen and begins a daily chronicle in same book, continuing ritual for many years afterward.

That said, in browsing the scrapbook of a young Deborah Willson nee Iddings from the same period I found, nestled among her most treasured memories and mementos, two gum wrappers! Journals, Tales of the Dismal Campers, There are several volumes spanning a few years that chronicle the journey of these ladies. There are quirky tales, notes, songs, and more included in their writings. Sketchbook: Sarah T. Wood, This little sketchbook contains small pencil drawings down around the Sandy Spring area.

As an artist myself, I know how personal, yet interesting artist sketchbooks can be. They show little outlines or written ideas, in unfinished yet often still beautiful ways.

Though not as vibrant to view as the actual seal would be, the impression shows the amount of detail and intricacy included in this seal. It looks a bit like a coin. This seal was designed and manufactured by Edward Stabler of Sandy Spring, which makes it an interesting work of art as well. Birthday book: Mary Ellicott Gilpin, ca This piece is a book to help keep track of birthdays. I really like this because it shows the pre-digital era before we could access birthdays with a couple of quick clicks.

I personally write the birthdays of my family and close friends in my day planner as a way to remember them each year, so this book reminds me of that practice. Scrapbook: Mary Bentley Thomas, In , the Suffrage Caravan traveled through Maryland.

This page from her scrapbook details the visit. Club Minutes: The Neighbors. In , The Neighbors founded celebrated their th Meeting at the Cedars.

The following pages, documented in a booklet, detail a history of the Club and its members, along with humorous snippets from its many meetings, along with a tribute to long-time member Dr. Jacob Bird. If you want to understand the rural and agricultural history of the Sandy Spring Community, look no further than the Enterprise Farmers Club Minutes. If you love history, then you will enjoy reading about a local Sandy Spring hero—Jack Bentley.

His letters and there are many tell of his travels and experiences during WWI. If you want to read primary documents, then the letters from Jack Bentley to his mother will keep your interest, to say the least.

Within the pages of his various letters, you capture a glimpse into the life of a WWI soldier. This letter is a fascinating first-hand account written by Jack Bentley to his mother describing German planes opening fire on his unit, dated September 18, This primary document is one of many in the Bentley collection.

John Caleb Bentley Copybook, Ellen Stabler was born in and lived until The diary entry I chose was written in when Ellen was 26 years old. On this page, she writes that her mother and father went to Dr.

After the meeting, Debbie dined at the home in Auburn. All of this in — no cars! Store Ledger, Maybe that is why I am so drawn to the incredible collection of Store Ledgers in our archives and all the stories they can tell. On April 15, , Whitson Canby purchased just over 16 yards of fabric from Sandy Spring Store; a large amount indeed.

What was happening in the Canby household at the time that warranted so much fabric? A wedding? Furnishings for a new home addition?

Simply the time of year for sewing? Was this exchange of goods a long-standing arrangement or one-time occurrence? Were both parties in agreement or was there negotiation? How much of the economy of the early Sandy Spring neighborhood was based on barter systems like this? All these questions and this is just one page! Travel Diary: Deborah Stabler, Summer, At the age of 60yrs, Deborah Stabler undertook an arduous, several-week overland journey to Clearfield, Pennsylvania in the summer of She kept a diary that not only recorded the various Quaker Meetings they visited along the way but also vividly detailed the journey and landscapes they passed through.

At the bottom of this specific page, she talks about fording a river and you can sense long-standing anxiety about doing so. That said, her coping mechanism is all too familiar!

Having grown up in Canada just km 68 miles from Niagara Falls, I was tickled to read about all the familiar sights and sounds as would anyone who has visited this area. From the letter, you can sense that Sarah is delighted to be a new bride, having an absolutely wonderful time, and shows off a very sweet sense of humor.

Club minutes, A member had been appointed the task of trying the gadget and reporting back to the group at the following meeting, eventually giving a favorable review. I find it wonderful that The Home Interest Club organized their own consumer critiques a century before the days of Amazon reviews!

In fact, it can still be purchased today! Poster: From the Scrapbook of Mary Magruder, This poster for a recital at the Sandy Spring Lyceum offers it its own visual performance with as many as a dozen different fonts! The rise of advertising in the 19th century stimulated a demand for typography that really caught the eye and packed a punch. The promoters of this production certainly got the memo using variety to full advantage in communicating a whimsy to match the spirit of the event.

Late 19th century innovations in the printing industry made low-cost reproduction accessible to a wider population and I have to wonder whether this specific poster was produced locally or in the city. Given how many Sandy Springers were active in the suffrage movement, the recent centennial of the ratification of the 19 th amendment had me digging curiously through the archives for a personal impression of this victory.

Why did she not vote? Did she have strong feelings about it or was merely ambivalent? Never has an entry in the archives made me desperate to converse with its author to learn more! Diary: Dr. Caleb Edward Iddings, January , In the diary entries for these five days, Dr.

Iddings speaks of late nights caring for his youngest child Edward four years of age at the time through a bout of croup. His obvious tenderness toward his son is very touching and he tugged at my heartstrings when, on the fourth day when Edward was most sick, Dr. Iddings was riddled with concern and seemingly at a loss as to what else to do so he went to the Ashton Store and bought his son a toy elephant bank.

Richard Brooke Copybook, Have you ever wondered if the education years ago was more rigorous than the education today? Or how about reduction? This copybook belonged to Richard Brooke in I was amazed that a thirteen-year-old was able to complete these complex exercises. The beautiful handwriting throughout was enough to regret leaving Richard Brooke behind, as I had to move on to the next project.

Autograph Album- Jessie B. I like this item because it is a bit like a school yearbook, where one could have their friends sign their names and leave a little message.

Also, the variety of signatures and handwriting styles are very interesting to look at. The farmhouse and structures no longer exist but my house was built on part of the Belmont tract, less than yards from where she lived!

Josanne Francis is a steel pan musician, educator, and arts administrator based in metropolitan Washington, DC. Francis was born in Trinidad and Tobago in As a child, Francis became fascinated with the steel pan. During middle school, Francis joined an important Trinidadian steel band, the Starlift Steel Orchestra, and worked closely with Ray Holman — a legendary musician, composer, and arranger in the calypso tradition.

The experience inspired Francis to turn her passion for music into a career. In , Francis began working in Maryland as Artistic Director at the Cultural Academy for Excellence CAFE — a non-profit arts organization that uses the performing arts as a vehicle for learning, leadership, and academic achievement among youth. When she is not teaching, Francis is an in-demand performer. Francis is also the co-creator of Parallel Intersections — a duo with Chinese dulcimer yanguin player, Chao Tian.

Through her performing and teaching, Francis has also become an experienced non-profit administrator. As she moves into the future, Francis will continue to share her gifts as an educator, performer, and administrator with others in the Mid-Atlantic, while looking back to her Caribbean roots for inspiration.

Click here to virtually view this exhibit. As they learned more about one another, they decided to create a work of art that focused on areas of deep intersection. The resulting work, composed of paint, fiber, metal, glass, ceramic, and wood, is a declaration of the beauty contained within the two religions and the intermingling of shared values and beliefs. She has held a variety of engaging positions, from a freelance writer and calligrapher in Kenya to a government executive in Washington, DC.

Currently, she serves as a Teaching Artist with Arts for the Aging , an organization that engages older adults through participation in multi-disciplinary arts. Mostly, she devotes her time to strengthening her drawing and painting skills. She has a BFA in painting and printmaking and is particularly interested in experimenting with the use of natural dyes. Robin Ziek began working with clay in college as an apprentice with a Danish potter. After a long career in history and architecture, she is very glad to come back to clay.

Her work involves a combination of wheel and hand-built techniques. Pamela Reid is a teaching artist and co-owner of Blue Thistle Pottery. Jean Fletcher was an economics professor at Gettysburg College from and is now a professor emerita. One summer, on a whim, she took a ceramics class and found her true passion. Karen Blynn has been a practicing potter for a long time — while in school, while raising a family, and now after retiring from NASA.

Karen resides in Silver Spring, MD after living and playing in various cities and pottery studios across the country. Her work blends representational and abstract styles. She was a resident artist at Washington Artworks in Rockville and is currently a resident artist at Gallery in Rockville.

Her work is influenced by nature and the fleeting miracles that enrich us all, expanding the common ground where we all celebrate life. Studio Hours: Tuesday-Thursday, 11 am-2 pm. Click here to contact Eun Ju or call Susana M. Garten, a vitreous enamels, metals, and mixed media artist, lives and works in the greater Olney area and maintains a studio at Sandy Spring Museum. She exhibits her work locally and all across the United States and in Canada.

Learn more about how to build a strong coalition in the fight for racial justice. Local activists and leaders share their insight on building a stronger community. Do you know what the Police Advisory Commission is? Learn about how the commission and other programs are creating opportunities for citizen-led change within our local police department. Rashawn Ray. Education is a legal right — not a privilege — yet it is one of the most pervasive systems of keeping people trapped in generational poverty.

What does meaningful educational reform look like? How do we keep the current system from perpetuating systematic racism in education? Panelists : Professor Natalie Thomas, Dr. Daman Harris, Dr. Joshua Starr. Anton Black, an Eastern Shore teenager, died in police custody nearly two years ago. Black was one of 31 people to die in Maryland in an officer-involved incident in Learn how to advocate for effective change in our community.

Constant experiences of racism lead to lasting trauma. Racial trauma can result from major experiencing of discrimination or be the result of many microaggressions over time. How do you recover from this race-based stress? What role does art play as a platform to heal trauma? Panelists : Karah Palmer, M. Coffee ceremony convener, storyteller, and entrepreneur, owner of Blessed Coffee.

Tebabu Assefa is an Ethiopian-born coffee ceremony convener, storyteller, and entrepreneur living in Takoma Park, Maryland. With his wife, Sara Mussie, Assefa organizes and leads Ethiopian coffee ceremonies for social engagement and community-building throughout Maryland and Washington, DC. Growing up in Addis Ababa, Ethiopia in the s, Assefa participated in coffee ceremonies as a child.

Later in life, Assefa learned more about the coffee ceremony from participating in the ceremony throughout Ethiopia. Coffee would take on new meanings for Assefa when he left Ethiopia and eventually settled in the United States in the s.

Deciding that he wanted to be a storyteller and filmmaker, Assefa enrolled at the University of Minnesota for a degree in communications. His goal was to portray the cultural vitality of the Ethiopian community of greater Washington, DC. But, living in the United States was not an easy transition for Assefa. He struggled with the individualism of North American society, particularly because of his upbringing in Africa.

He explains:. By nature [individuals] have social elements. I am because we are; because we are, therefore I am. For Assefa, the solution to sharing the story of Ethiopian communities and addressing a lack of mbutu in the United States was coffee. First, coffee is loved by both Americans and Ethiopians. Third, Assefa understands the coffee ceremony as a chance to slow down and to socialize with others.

He says:. In [Ethiopia], people on a daily basis, take time. Dreams are translated, businesses are discussed, social news is [shared]. So the sense of I and we are very profound for the community. And people have to do that collective ritual, collective dancing, to really value who they are to one another.

In bringing the coffee ceremony to the United States, Assefa meets his goal of telling the story of Ethiopia and giving those in America an opportunity to experience the benefits of socializing together.

During coffee ceremonies, Assefa narrates the ritual and discusses its significance, while his wife, Sara Mussie, is busy roasting, brewing, and pouring the coffee into small cups for drinkers. Since he began working with coffee ceremonies, Assefa has led the gathering at several important events.

An estimated 10, people take part in the event. Assefa has also seen strong connections made among participants in the coffee ceremony. Once, two individuals who did not know each other prior to the ceremony, realized they lived in the same apartment building during their conversation.

Other times, Assefa sees people from various countries find common experiences, even though they have grown up on different continents. For Assefa, the coffee ceremony is an opportunity to move beyond national identities and toward shared humanity.

The flag, or the culture, that we carry of the village. What happened, what did you think of? Assefa is using coffee and its accompanying ceremony to offer tebabu through caffeinated conversation.

Zentangle is an American method for drawing, which not only promotes concentration and creativity but at the same time increases personal well-being. Follow along with this Henna Zentangle tutorial by Charming Henna. Give a Mandala a try at home with Charming Henna. Learn about pollination, honey, workers, drones and the queen.

Sylvia Karman is a Maryland writer who loves to hike, especially in the Adirondack mountains where she, her husband, and their German Shepherd mix return every spring for five months of north woods forest bathing. She has just completed her first novel and is already busy with the next one. Her poems have recently appeared in Delmarva Review and Blueline.

Inspired by Malcolm: A Passion for Shino remembers and honors the memory of Malcolm Davis, a man who influenced and inspired so many to listen and believe their inner hearts. But the spirit of ministering never left him. After perfecting a carbon-trapping Shino glaze, he took the unusual step of publishing the formula for public use. Recognized for his artistry and passion, Davis traveled widely teaching others about pottery.

This became his new ministry. A new, free educational resource from Tinkergarten providing free DIY activity plans, advice, and a virtual community to help the whole family continue to get outside and learn during this challenging time.

Click here to learn more and sign up. Fortune Tellers Materials needed: — Paper — Marker. What are germs and what is the best way to protect yourself from them? Why is hand washing important? How does your body fight germs and infections? Explore how germs affect people and how to protect yourself. Germs Part 1. Germs Part 2. In class, all music and chants are performed live by Halau musicians. Oli hula chants ; hula olapa and hula kui ancient hula ; hula auana free-flowing modern hula in the traditional style ; Hawaiian arts and crafts, history, language, and music ukulele and ancient hula implements classes are offered to perpetuate all aspects of Hawaiian culture and to educate the local community about Hawaii and its people.

Their primary goal is to keep Hawaiian heritage alive by celebrating the traditions of our native Hawaii. B eijing Opera , or Chinese Opera, or Peking Opera is a form of traditional Chinese theatre which combines music, vocal performance, mime, dance and acrobatics. It arose in the late 18th century and became fully developed and recognized by the midth century. Beijing opera features four main types of performers. They utilize the skills of speech, song, dance, and combat in movements that are symbolic and suggestive, rather than realistic.

Above all else, the skill of performers is evaluated according to the beauty of their movements. The ensemble is accompanied by the Hyetones playing traditional Armenian folk music. Cultura Plenera is a non-profit organization dedicated to community building in Maryland, Washington, D.

Both Bomba y Plena are central to life in Puerto Rican communities inside and outside of the island. Below are some examples, along with lyrics and chords. White Freightliner Blues. The Parting Glass. Nine Pound Hammer. At the turn of the 20th century, the black population living in Sandy Spring far exceeded the white population.

Both free and enslaved blacks have been living in Sandy Spring since the s but there is little written history on the people and the self-sufficient, segregated black communities that were built. In summer the Museum was awarded a grant from the Maryland Heritage Areas Authority to document the homes and businesses of all free blacks living in the Sandy Spring area between the late s and the midth century.

Click here to learn more about this project and explore the communities of Davis Corner and Ebenezer Church. Sara Caporaletti is a visual artist born and raised in a small suburb of Montgomery County, Maryland. Her work explores various autobiographical elements related to Catholic religious practices and beliefs through a variety of media.

She has participated in various residency programs and has had her work included in group exhibitions at various galleries around the DMV area. Sara has been a part time staff member of the Sandy Spring Museum working with exhibits and the archive digitization project over the past three years.

Stay active at home with No Excuse Moms. Help with the next phase of the Archive Digitization Project by transcribing pages at home. Click here for the written instructions. Our friends at DanceInTime share some steps to learn Salsa at home. This video explains the basic step, side rocks, right turn, and the cross body lead.

These moves are enough to get through a full Salsa song. Join them live on Facebook every Friday night at 9pm for a virtual class! Missing the world of sports? Take a virtual tour of Action and Reaction by Mark Goldman. This sports photography exhibit was featured at the museum January 9 — March 1, Action and Reaction by Mark Goldman centered on the two most important parts of sports photojournalism: action and reaction.

An accomplished photographer Mark utilizes his skills in photography, to reveal the in depth knowledge of sports it takes to photograph picture-perfect moments in such a fast-paced, competitive environment. He demonstrates his knowledge of a variety of sports by being one step ahead of the game action by carefully selecting proper placement, studying each sport, and watching the important interactions between players and coaches.

The exhibit drew parallels and displayed the equal level of importance between action and reaction to convey the complete story of the game.

Fata, who is a trained educator, says that her major source of strength comes from the support of her husband James and her children. She decided to pursue her interest in the arts, full-time, as a toy maker, designer and an author of children books. She created the FAs Marketplace to help other small artisans start their dream businesses too. In its first year over sixty businesses have passed through the Marketplace, from pop-up-shops to those with long-term arrangements.

FAs Marketplace is housed in a formerly abandoned building. So letting people know we are here in the community and getting the word out is pivotal to our survival in the space.

The marketplace is getting ready to celebrate its one-year anniversary on April 17, , but got the news that they have to relocate because of increased rent. The anniversary events would have started off with a fundraiser to get a commercial kitchen that would have been used by food vendors and artisans who create skincare products. The kitchen would have also been a place where different cooking classes would have been held, all this now has to be put on the back burner because of the recent news.

When asked what success of the FAs Marketplace would look like, Fata says that each individual artist, musician, crafts person could reach their own personal goal through being at the Marketplace. That would be the ultimate success. FAsmarketplace is surely a place that is contributing significantly to the fostering of folk life in Montgomery County.

I you know of a place that they can relocate, please contact us. You may also contact the Marketplace directly at:. Please email the library. This allows time to determine if there are materials that will answer your question. The non-lending library is available when the Museum is open, as long as there is not a private event occurring. However, the archives are not open when the Collections Manager is not on site.

If you prefer to come in person, it is best to make an appointment by email. Charges vary depending on the intended use. Please email the library for information about image reproduction. This exhibit featured the work of students enrolled in doll making classes at Montgomery College taught by Wendelin Daniels.

Her students explore mixed media art and the human form through the design and creation of original art dolls. The dolls show a wide range of personae — from portrait dolls of historical figures to fantasy dolls, and everything in between. Adorned with their own distinctive costumes, accessories, and props, each doll conveys a unique individual personality and story.

But it all begins with an idea — a vision of who the artist wants to create. Students refine their original concepts through brainstorming and research. They develop drawings of the character they have in mind, which includes sketches of the face and proportional drawings of the body and then delve into sculpting, painting, and assembling the doll.

Careful editing takes place throughout the process to ensure the clear communication of ideas. Students often utilize found objects in implementing their design as they undergo creative problem-solving and repurposing of existing materials.

In the end, students are rewarded and delighted with seeing their vision brought to life. The success of this project depends upon community participation. If you would like to learn more about getting involved, please contact us. Jim Dugan is well-known as the past-kiln manager at Baltimore Clayworks, where he worked with the wood, gas, and soda kilns.

He has taught classes on firing with Shino glazes. Kevin Crowe is a potter and teacher with a focus on wood-fired stoneware. He provides short term residencies at his Tye River Pottery in Virginia and teaches workshops nationwide, including a course in throwing large forms at Hood College in Frederick, MD.

Pots are fired in an anagama Wood fired kiln. Firings are seven days and produce around 2, pots. My work ranges from 4 inch tea bowls to 36 inch jars. They are objects for the rituals of daily life…making a quiet difference. John Jessiman has worked with ceramics for over 60 years, including as a graduate teaching assistant for Val Cushing at Alfred College of Ceramics.

His work has been included in over International and National exhibitions. In , he established the Cub Creek Foundation in Virginia to provide opportunities for intensive practice in ceramics through residencies and workshops.

In my own work and in my teaching, I have stressed the distinction between influence and imitation. I have always tried to take the many influences and distill them into a unique and personal statement. There, he developed and continues to grow the ceramics and 3D design program in the Department of Fine Arts, including the establishment of a ceramics minor in The ceramics program at Marymount focuses on developing skills in traditional production and sculptural techniques, exploring new methods associated with product design and industrial manufacturing techniques, and building community relationships.

Joe retains a serious commitment to producing high quality ceramic vessels and functional pottery, and has exclusively focused on experimenting with Shino glazes for more than a decade.

He participates in exhibitions and craft shows on regional and national levels, leads workshops focusing on his research of carbon trap Shino glazes and firing techniques, and enjoys building constructive relationships throughout the artist community.

This interaction between atmosphere and material is unpredictable, and provides endless investigation in colliding randomness with structure, challenging my ideas of control.

She has been making and showing ceramics for more than 45 years. Loren explores the physical and historical characteristics of ceramics to communicate subtle visual, tactile, and emotive experiences of the natural world. She incorporates local flora, such as leaves, directly as tools for drawing, to create forms, textures, and patterns that evoke her Mid-Atlantic home. Loren reduces the use of harmful chemicals by working with local clay and an energy-efficient wood-fueled kiln.

Her palette uses readily — available i ron o xide which reacts with the atmosphere in the kiln to create surfaces that are integrated into her forms.

The atmosphere in the kiln consists of free — floating ash, flame movement through the kiln, unburned gases from the combustion of wood, and o xygen.

The amount of available o xygen in the kiln at different stages in the firing affects the i ron o xide and creates different colors and textures on the surfaces of her work. She is committed to minimizing her environmental footprint while still achieving her artistic goals.

Every item on display for sale is unique and individually crafted by an artist who puts their heart and soul into making something special for everyone on your gift list. An exhibit of creative people at work captured in action by professional photographer Larry Marc Levine. Levine is interested in watching people create different forms of art and finds it as fascinating as the creative process itself.

For this exhibit, he interviewed and photographed a variety of talented individuals from different backgrounds with experience in different areas including a glass blower, a Native American pow wow dancer, painters, fabric artists, a Chinese zither player, a violin maker, and many others. Most of these creative spirits are from the local Montgomery County area. Levine believes that respect for the individual and appreciation for diversity of people, of ideas, of processes are all important aspects of his photography.

Courtesy: Maryland Humanities. Each year, Sandy Spring Museum and the Olney Art Association work together to offer visitors new views of the surrounding area. An opening reception was held Thursday, August 8.

Students have been working since October on these pieces and are thrilled to have the community view their work. For most students this is their first formal exhibition. Each class, kindergarten through eighth grade, created a collaborative artwork that focuses on subjects such as reflections of themselves, their community, the world around them, religion, spirituality, and personal values.

Upper School students, fifth through eighth grade, were selected as solo artists and designed large-scale drawings and paintings that concentrate on personal experiences and ideals that they value as important.

Their artwork consists of many different media including colored pencil, pastel, acrylic paint, and graphite. People come in all colors, from very light skin to very dark skin and all shades in between. This exhibit will display a collection of paintings celebrating our differences and similarities and the many ways in which we complement each other.

Greene draws inspiration from a number of art historical periods including cubism and futurism. Artists Martha Spak and Suzanne Brennan Firstenberg explored the interwoven quality of our Sandy Spring community through both two- and three-dimensional interpretation, inviting visitors to join them in creation of the art.

The exhibit included abstract expressionist oil and acrylic paintings, colorful film panels, life-scale figurative sculptures, and photos from the local community. Additionally, community members and guests joined in with the artists in finishing a mural depicting Sandy Spring faces and places, forming the unifying center of this exhibit.

Visitors were invited to add to the mural, in both color and content, to join in the dialogue of the communal form itself. This visual dialogue invited visitors to explore the artist that resides in each of us and illustrate their unique place in the Sandy Spring Community.

An exhibit of art by students from the Barnesville School of Arts and Sciences, which explores and takes inspiration from the local history of the Sandy Spring community. Students were taught guidelines for object handling and were able to study pieces chosen specifically for this exercise.

Students were asked to select objects that interested them most to sketch, and then wrote detailed descriptive paragraphs about them. These objects were the inspiration for artwork students created for the exhibit that will be on display at the museum through February 3. In , the Quakers built their meetinghouse in Sandy Spring village.

A six-mile radius from the Sandy Spring Meeting House defined that rural community, as this was the farthest members of the Meeting could travel to and from the meetinghouse by horse or carriage in one day, arriving home before sunset.

Today, we can travel farther than six miles in one day and still be home by sunset, but the foundation of a rural community still lies within that day trip. Wind your way through the exhibit and experience this rural way of life and community. On display will be art in ceramics, glass, enamel, stone, wool, oil paint, watercolor, pastel, and much more. This exhibit featured the traditions of various cultural groups.

It explored El Salvadorean dance, Cambodian foodways, Indian dance, Vietnamese folk stories, and Nigerian wedding traditions. The photographs of artist, Bruce McNeil, in this exhibit documented the flow of water from the eponymous Sandy Spring to the tributaries that lead to the Anacostia. This exhibit featured handmade books filled with personal stories of migration.

This exhibit featured Islamic calligraphy, geometric paintings, and architectural photography by local residents, artists, and father-daughter team Ahmed and Ayah Belal.

With Pen and Camera explored both the geometry and lyricism of Islamic calligraphy and architecture through the eyes of two Egyptian-American artists. This exhibit displayed a collection of multi-media sculptural works exploring issues of nature, race and artistic identity. Roberts, a native of the island of Trinidad, seeked to show the contributions and challenges of those of African and Caribbean descent to the artistic community.

Roberts also expressed his concern for the environment and his appreciation of wildlife by creating pieces representing all corners of the animal kingdom, from the deep sea octopus to the wild horses of Assateague. This exhibit was on display in Summer This was an exhibit of oil and water color paintings that referenced the spirit of Sandy Spring and its history. Her work addressed the ways one occupies space and the ways one assigns color and graphics to various objects.

Her favorite objects were documented visually and organized and regrouped by color and pattern in the community. She enabled viewers to see the items in the collection in a new light and imagine what life was like in past times. This special exhibit highlighted an art form that dates back to the 14 th century.

More than 50 textiles were flown in from Korea. Sandy Spring Museum is the only location in the United States where this work was exhibited. The Art of Stewardship Project is a private foundation established by the Mort Family to encourage stewardship of the earth and environmental awareness through the arts. A grass roots effort, The Art of Stewardship Project assists arts communities by organizing and providing forums for interaction and dialogue offering resources and opportunities to artists in their role as Stewards of our Earth.

Up to 20 sculptures were on view in this outdoor exhibit juried by Cecilia Wichmann. ARTINA Introspective asks the visitor to explore through sculpture our conscious thoughts, feelings, psychological processes, or other human acts of self-reflection as they relate to the landscape.

An audience immersive experience, this performance by members of Sinclair Dance explored the experiential concept of being free while living in the shadows of societal constraints and social constructions.

Conflicts around the globe and the current political climate have put an acute focus on the plight of refugees. Six refugee artists from different areas of the world, including Iraq, Ethiopia, and Somalia, shared paintings and drawings that express the stories of their personal journeys.

Memories, dreams, and the history of their respective homelands were depicted, as well as the transitions and changes arising from their new lives in the USA. Listen to NPR coverage of the exhibit. More than forty sculptures in wood, bronze and stone representing the body of work by artist and retired Senator Karen S. The turban has been the most powerful and obvious symbolism of the identity of a Sikh.

The Sikh Project is a celebration of that identity. Historically, the turban was worn by royalty and the rich in South Asia. The turban, as an article of faith in Sikhism, is a public declaration of sovereignty and equality of all people. Sikhs have been a vital part of the American fabric for over years.

The 38 new portraits captured by London photographers Amit and Naroop embody the beauty and diversity of the community and recognize the challenges and triumphs of what it means to be Sikh in America. This exhibit was made possible through a partnership with The Sikh Coalition. It seems that most people know that the Quakers freed their slaves about 50 years prior to the Civil War but I wanted to learn more about how the lives of Quakers and African Americans intersected in the years after the War.

One of the most interesting documents I found in the archives was a receipt from a land purchase. It was a transaction between two women — one white and one black. You will not see a literal interpretation of local history but you will see gestures that evoke certain images.

My hope is that the experience of watching the dancers will make people want to engage in conversation. One section of the dance piece was performed by students in the conservatory teen program at the Sandy Spring Studio of Ballet Arts. This memorial exhibit, curated by Nina Cordaro, was a tribute to her cousin Christina Koutsoukos.

Christina was a budding young photographer when she was killed in an automobile accident at the age of Her dreams and creative vision live on through her photos, which were on exhibit, alongside works of art by some of her talented friends.

On several dates, photos were sold to raise money for a charity in Haiti that Christina supported. On exhibit November 30 — January 7, Holger served as an assistant. While only several of Mr. Indeed the artist had that in mind when he created the first of his Blue Earth series. In the spirit of the Annals Of Sandy Spring , in which travelers from our area in the old days returned from foreign lands with tales of their adventures, this photography recaptured that experience with a few pictures and stories from Europe, Asia, Australia, and North America Africa and South America coming soon?

During his residency at the museum, Mr. Original prints by the students as well as collages by Mr. Harris that combine student work with his own were on exhibit. This exhibit was funded by a grant from the Institute of Museum and Library Services.

This exhibit by members of the Maryland Society of Portrait Painters featured works inspired by the people and places of Sandy Spring, past and present. Artists connected with the community of Sandy Spring using photos of contemporary local residents and images from the Sandy Spring Museum archives.

An exhibit of new photo-collages by Gail Rebhan that are an unsentimental look at the cultural history of various locations in the Sandy Spring, Maryland area. Rebhan examined changes in land use as a result of shifting societal values, desires, government actions, and market forces and blending archival and contemporary photographs, along with historical newspaper articles, maps, advertisements, ephemera, and text into one final image for each site.

Using layers of various opacities, she conveyed a sense that the past never goes away and continues to influence the present. Click here for a review of the exhibit. This project was funded by a grant from the Institute of Museum and Library Services. A community-curated exhibit that brought together a collection of historic and contemporary images of the Friends Meeting House, as we celebrated the th anniversary of the construction of the Meeting House.

This place of worship has captured the attention of artists, from professionals to amateurs. Images in this show included painting, photographs and models made by community members. This beautiful building has been enjoyed for its simple beauty and we honor it for its part in the life of our community. ARTINA created awareness among visitors of the need to reconnect with the land and preserve nature for future generations.

It included installations that interpret historic land use. Juried by Ursula Achternkamp, artists include c. This project is funded by a grant from the Institute of Museum and Library Services.

For many years, Sandy Spring Museum and the Olney Art Association have worked together to offer visitors new views of the surrounding area. Photographer David Wonderling exposed both the beauty of nature and determined skill in this exhibit. Having photographed a variety of subjects, Wonderling felt these two were his most challenging projects.

Neither butterflies nor ballerinas hold still for long! The images of ballerinas featured in his exhibit were captured at the Studio of Ballet Arts in Sandy Spring and the butterflies at the Wings of Fancy exhibit at Brookside Gardens in Wheaton. The sculptures illustrated the duality of lightness and darkness, positive and negative.

The Inner Light is your connection to something greater than yourself. In order to find your Inner Light, you must also have an understanding of darkness. The Inner Light opens the unity of all human beings to our consciousness. Quakers believe that the potential for good exists in everyone and that your Inner Light can shine through darkness. Everyone has an Inner Light but one must be willing to seek it. Wellspring Visions was an exhibit of art works made by residents of Sandy Spring Friends House in a variety of media including paintings, prints, drawings, pastels, photography, ceramics and textiles.

Wellspring Artists was established at Friends House in for the purpose of inspiring and giving encouragement to those who create art and those who aspire to do so. Members are professional and avocational artists. The group maintains a small gallery space in Flower Alley of the Main Building. It is open to all residents whether or not they are currently practicing artists.

Friends House is a year old retirement community located in Sandy Spring, Maryland. This non-profit organization was established in by Quakers to provide affordable housing and fulfilling retirement experiences for seniors. The multicultural community is based on values that include equality, simplicity and peace. If you walk through the Sandy Spring Friends Meeting Graveyard and read the stones, you will notice certain trends in the information. Why the sudden increase in child deaths in the s, and why did they suddenly seem to stop?

We set out to solve this small mystery. We used the electronic records of the Sandy Spring Friends Meeting graveyard. There are records in total and 70 In the s, only 6 2.

In the s, 72 In the s until now, only one child has been buried in this graveyeard. We do not have good population figures for this period of time, so death rates of the general population cannot be Wood Fired Oven Plans Pdf Linux calculated for comparison.

We assume that the population was increasing steadily throughout the period of study. Child deaths were few and far between in the s, but then instances of them spiked and became more frequent in the s.

This pattern continued into the early s, but after , they suddenly drop off. This child death rate decline in the mid th century strongly suggests that improvements in prevention and care were major contributors, as these improvements in medicine were occurring at a rapid rate during that time.

To further this analysis about the causes of these deaths, we pulled more detailed information to scrutinize the child mortalities occurring between and We searched the Maryland State Archives for death certificates to determine the listed cause of death, but to no avail. The use of death certificates did begin in Maryland in the late 19 th century; but these records were not widely used in the early years after their introduction. However we did learn the causes of death for some of the children through these records.

Most of the rest were learned from other sources such as the Annals of Sandy Spring. Of the 14 who died during this period, 9 have a known cause of death. Of the nine with known causes, three, or one-third, were due to diphtheria. One third of a sample is quite a large amount when put into context, and beings as the diphtheria vaccine was starting to be circulated in 1 , around the same time the child deaths sharply declined, we inferred that the vaccine along with other advances in medical science was the cause for the sudden and drastic decrease in child mortality.

So the next time you feel like a stroll, take one through the Sandy Spring Graveyard. The gravestones have stories to tell. Brooke conveyed several acres adjacent to his home and tobacco plantation to the Society of Friends for a place to worship and bury their dead.

For the next 64 years, church members most likely met in a barn on the property or in private residences pending the construction of the Sandy Spring Meeting House. Two of the oldest paintings of the Meeting House were created by American impressionist painter Milton H.

Bancroft in the s. Educated in Massachusetts and Philadelphia, Bancroft exhibited in major U. One of his major commissions was a set of 10 murals for the Panama-Pacific Exposition in San Francisco.

In , Bancroft married Margaret C. Moore at the Norwood family home in Sandy Spring owned by her father. The couple met at Swarthmore College, a small Quaker school outside of Philadelphia, where Bancroft was teaching while Moore was a student. After they wed, the couple lived in Paris for several years.

Moore returned to Norwood while her husband supported the family by painting in Europe and in New York. He visited the Western Front where he documented wartime destruction in a series of drawings. He also created recruitment posters for the U.

Armed Forces. Moore inherited Norwood in , where Bancroft retired after the war and continued to paint until his death in Nesbitt and Mary Reading Miller. Hometown Habitat is a minute environmental, education documentary focused on showing how and why native plants are critical to the survival and vitality of local ecosystems.

Featured is entomologist, Doug Tallamy, whose research, books and lectures on the misuse of non-native plants in landscaping sound the alarm about habitat and species loss. Tallamy provides the narrative thread throughout Hometown Habitat. The message: each individual has the power to conserve resources, restore habitat for wildlife and bring beauty to their patch of earth.

Ponijao is the youngest of nine children and lives in a village in Namibia. Mari is the first child of a couple living in Tokyo. Aishol-pan, a year-old girl, trains to become the first female in 12 generations of her Kazakh family to become an eagle hunter and rises to the pinnacle of a tradition that has been handed down from father to son for centuries.

Want to take a tour of Sandy Spring without getting in your car? Here is a virtual tour that you can enjoy from your computer. You can also drive to each location and listen to the audio on your smart phone.

Spend a Sunday strolling through the city and land at one of the most prominent historic clubs: The Cosmos Club. The Cosmos Club, incorporated in Washington, D. Members come from a wide variety of professions; a common theme is a relation with scholarship, creative genius, or intellectual distinction.

The Club offers an impressive array of intellectual and cultural programs for every member interest. Explore the opulent and historic building and appointments as guests of the club for an individualized tour led by docent Susan Fifer Canby. For up to 4 people. Schedule this prize for a mutually convenient Sunday in October, November or December. And then…. Enjoy the grandeur of seeing a show or an original program at The Kennedy Center. The John F. Kennedy Memorial Center for the Performing Arts, and commonly referred to as the Kennedy Center is a performing arts center located on the Potomac River , adjacent to the Watergate complex in Washington, D.

The Center, which opened September 8, , is a multi-dimensional facility, and as memorial to John F. Kennedy and a cultural center, it produces a wide array of performances encompassing the genres of theater, dance, ballet, and orchestral, chamber, jazz , popular, and folk music , offers multi-media performances for adults and children, and is a nexus of arts education. Challenge yourself with 4 individual performance sessions with trainer Todd Wilson of HolisticA Fitness.

Coach Wilson specifically incorporates a three-tier approach to training: combining cross-fit type strength and conditioning with a personalized nutrition program bolstered by mindfulness training and practice.

To solidify your commitment to your bodily health, use this one month voucher to Anytime Fitness to support the techniques and training program designed for you by Coach Wilson. It features a large beautiful wooden deck and screened dining porch. The entire perimeter displays views of the southeast, facing toward Quonnie Pond and the Atlantic Ocean.

It is in the tiny gem of a town called Weekapaug. There are two bedrooms and two baths on the second floor connected with an outdoor balcony. Additionally, there are two bedrooms, two baths, a den, a laundry room, and a simple kitchenette on the ground floor. There is a beach box at Fenway Beach that guests can utilize. In total, this house has four individual bedrooms, upstairs and downstairs kitchens, a family room, four bathrooms, and an elevator.

All of the views are fantastic! Available to the winner any months except July and August.

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