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Diagram of a slave ship, in Robert Walsh's
Notices of Brazil in 1828 and 1829
, Boston and New York, 1831.
Philip Simmons hammering at his anvil in his workshop, Philip Simmons Collection, courtesy of the Avery Research Center.
Photograph of Philip Simmons hammering at his anvil in his workshop.
Philip Simmons's office at 30 1/2 Blake Street, image by Bradley Blankemeyer, Charleston, South Carolina, November 2013.
Philip Simmons and a group of children in front of his workshop, ca. 1995, Philip Simmons Collection,courtesy of the Avery Research Center.
Photograph of Philip Simmons in front of his workshop with a large group of children.
Letter from Ralph Rinzler to Philip Simmons in appreciation of his participation in the 1982 Festival of American Folklife, November 1982, Philip Simmons Collection, courtesy of the Avery Research Center.
Letter from Ralph Rinzler to Philip Simmons in appreciation of his participation in the 1982 Festival of American Folklife.
"New York, From Governors Island," painting by Henry I. Megarey, 1825, courtesy of the Metropolitan Museum of Art, New York City, New York.
Photograph of Philip Simmons hands holding hammer and scrolled piece of iron, ca. 1995, Philip Simmons Collection,courtesy of the Avery Research Center.
Photograph of Philip Simmons hands holding hammer and scrolled piece of iron.
J.M.W. Turner's "The Slave Ship," depicts slavers throwing overboard the dead and dying. Oil on Canvas. 1840. Original located at the Museum of Fine Arts, Boston.
Detail of gate at the Christopher Gadsden house, 329 East Bay Street, Charleston, South Carolina, 1993, photograph by Claire Y. Greene, Philip Simmons Collection, courtesy of the Avery Research Center.
Photograph of detail of gate at the Christopher Gadsden house, 329 East Bay Street.
Peter Simmons, Charleston, South Carolina, ca. 1920, printed in John Michael Vlach,
Charleston Blacksmith: The Work of Philip Simmons
, revised edition (1992), courtesy of Philip Simmons Foundation.
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