Free Blacks in Baltimore, circa late 1850s, by Thomas Waterman Wood

Thomas_Waterman_Wood_-_Market_Woman_-_Google_Art_Project copy
Detail from “Market Woman” by Thomas Waterman Wood, circa 1858; go here to see a full image of the painting.
From the book Freedom’s Port: The African American Community of Baltimore, 1790-1860, by Christopher Philips: “Wood’s 1858 oil painting ‘Market Woman’ portray(s) a free black street vendor in Baltimore. Many African American women were vendors, or ‘hucksters,’ in the antebellum years.”
Image Source: From Wikimedia Commons via the Google Art Project

Thomas-Waterman-Wood-xx-Moses,-The-Baltimore-News-Vendor Dupe
Detail from “Moses, The Baltimore News Vendor” by Thomas Waterman Wood, circa 1858; go here to see a full image of the painting.
From the Art Project of the Google Cultural Institute/de Young Museum: “This painting depicts the freed slave Moses Small, who was a well-known Baltimore newspaper vendor. Dressed in elegant but worn attire, Moses holds a stack of Baltimore Patriot newspapers in his left arm as he tips his hat to greet the next customer. (For some whites,) Moses may have symbolized the virtues of capitalism, which provided economic opportunities for many Americans. However, the selling of newspapers was one of a limited number of jobs available to free blacks in the pre–Civil War era.
Image Source: Artclon.com

Maryland in the late 1850s was, to use a phrase made popular by Abraham Lincoln, half slave and half free: 51% of the state’s African Americans were enslaved, while 49% were free. This post is about the artist Thomas Waterman Wood whose paintings gave vibrancy and dignity to African Americans in the part of the state that was half-free.

But first, some background: prior to the Civil War, Maryland had a split personality. Free labor and slave labor were prominent in different parts of the state. In the southern part of the state that bordered Virginia, slavery had a large presence. In the northern part of the state that was adjacent to Pennsylvania, it was mostly a free labor society.

In the late 1850s, the Maryland municipalities with the largest enslaved and free black populations, respectively, were Prince George’s County and Baltimore City. Perhaps fittingly, these two places were a mere 25 miles away from each other. Prince George’s County (PG County), which borders Washington, DC (DC was created from land that PG County donated) had the state’s largest enslaved population, with around 12,500 people held in bondage. The county has changed much over the years. Today PG County has one of the highest, if not the highest, per capita incomes of any majority-black county in the United States.

Time has not been as kind to the city of Baltimore. In 1860, it had almost 25,700 free blacks; this was the largest free black population of any city North or South. The city had a number of prominent social and civic institutions for African Americans, and industrial and shipping businesses would enjoy a boom there. But black and white middle-class flight in the second half of the 20th century has taken its toll on the city, whose urban dysfunction was cataloged in the HBO series The Wire. Recently, the city erupted into violence after a black man died while in police custody.

But in an earlier time, Thomas Waterman Wood found beautiful things in black Baltimore. A resident of the city in the late 1850s, the Vermont-born Wood became a prominent 19th century artist, known for his figure and portrait work. Several of his paintings from his stay in Baltimore stand out for their dignified treatment of the African-Americans who lived there. Recollect that, this was a time when African Americans were seen as degraded and even subhuman. Caricatured images of people of African descent were not uncommon in American art. But Wood’s art was not like that at all.

Two of his pictures are displayed above. The first picture, a portrait of a female street vendor, is delightful. The woman in the picture is smartly and vibrantly dressed. She poses for the picture with an air of confidence and a smile. Perhaps she is simply self-assured, or maybe she is flattered to be painted by this white artist. Her posture is straight and comfortable; she seems to feel good in her own skin. Is this picture merely portraiture, or a political statement? Regardless, a viewer with sensitivity to such things might say that for her, freedom is becoming.

The second picture features a newspaper vendor and former slave named Moses Small. His attire is “elegant but worn.” He gracefully doffs his hat for the artist, a gesture he made to his many street customers. The former slave has an air of dignity about him. Perhaps he is not getting rich from his work, but he is is own man, and making an honest living. From his place on the streets of Baltimore, he could no doubt see the changes in the society around him, changes which gave liberties and opportunities, such as they were, to free man and women like himself. In several years, the American Civil War would come, and even more dramatic and substantial change would come to the streets of his hometown, and in America at large. I wonder if Moses Small was there when his city erupted into a riot in 1861, as residents attacked Union soldiers from the North who were on their way south to protect the District of Columbia and fight the Confederates.

Wood produced several other humane, dignified, and non-stereotypical paintings of 19th century African Americans; these are available for viewing with a quick search on Google (or other search engine). Not too many artists were doing such work at the time, and this makes us savor his work all the more.

Going beyond the Confederate Flag Controversy: Missing Monuments – The Unfinished Work of Commemorating the African American Experience in the Civil War

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Many people are concerned about the presence of this…
Image: Confederate Battle Flag
Image Source: Wikipedia Commons.

African-American_Civil_War_Memorial
…but many more should be concerned about the relative absence of this.
Image: African American Civil War Memorial, Washington, DC
Image Source: Wikipedia Commons.

The Civil War Sesquicentennial–the multi-year commemoration of the 150th anniversary of the Civil War–is just about over. There are already discussions about commemorating the Reconstruction Era, which followed the war. For example, the National Park Service is considering the development of sites that will memorialize Reconstruction Era events.

But recent controversies over the Confederate Battle Flag (see here and here and here, for example) suggest that the job of properly commemorating the war in our public and private spaces is not yet done.

I understand how and why the Confederate Battle Flag (CBF) is such a lightening rod for debate and dispute. But my own concern is not with the presence of the CBF on public or other spaces. I am concerned about the relative absence of memorials, monuments and other objects that reflect the roles and experiences of African Americans during the American Civil War. This is something that we Americans need to talk about, and hopefully, address with collective action.

There are easily hundreds of, if not over a thousand, statues, monuments and other objects that commemorate the Civil War. Overwhelmingly, these objects feature white soldiers, sailors, and civilians. The Civil War era presence of African Americans on the “commemorative landscape,” as many call it, is inadequate, if not woefully so.

This situation is a result of our history. Nine out of ten Civil War era African Americans lived in the Union and Confederate slave states, which were considered “the South.” After the Reconstruction Era, which saw many advances toward racial equality, the South devolved into a state of racial supremacy for whites, and racial subjugation for African Americans. Political, financial, and social conditions inhibited or even prevented African Americans from creating memorials that fairly depicted their wartime experience. The result was a commemorative landscape in which Civil War era black folks were out of sight and out of mind. Someone raised in the South prior to this century could look at the commemorative landscape of the era and easily (and wrongly) conclude that black people were a negligible and inconsequential part of the war.

Things have gotten better. For example, since the 1989 movie Glory, over a dozen or more monuments to black Civil War soldiers have been installed. (A review of monuments to African American Civil War soldiers is here.) But much more needs to be done. In way too many places, children of all backgrounds are growing up in a commemorative environment where the back presence in the Civil War in under-represented, or even unrepresented. We have the power to fix that.

The following are just are a few suggestions for new memorials that depict various aspects of the Civil War history of African Americans. The list is not meant to be comprehensive, but it’s a good place to start. If anyone has their own suggestions to offer, feel free to note them in the comments section below. I hope this becomes part of a conversation about creating a commemorative landscape that fully and truly reflects the richness and diversity of the Civil War experience.

So, here we go:

1) No state is more significant in the history of African American soldiery during Civil War than Louisiana. Louisiana provided more African American soldiers to the Union than any other state. Three of the first five black Union regiments were formed in the state. And finally, Louisiana probably produced the most black army officers of any state. A portion of these soldiers were free black Creoles, while others were former slaves. Many enlisted in the Louisiana Native Guards regiments that were organized in New Orleans.


Officers of Company C of the 1st Louisiana Native Guard at Fort Macomb, Louisiana, per Wikipedia
Image Source: Harpers Weekly, February 28, 1863, via Wikipedia

Yet, there is no monument or memorial to black soldiers in the city of New Orleans. Per my research, there is only one monument to black soldiers in the entire state — at Donaldsonville, Louisiana (which is between New Orleans and Baton Rouge).

This is an oversight that borders on being shameful. I hate to use such strong language. But it is past due that New Orleans and other places in the state recognize the pivotal role these soldiers played during the Civil War.

2) When the Civil War began, president Abraham Lincoln and the US Congress made it clear: the Union had no intent of disturbing the institution of slavery where it stood. Why? At the least, they hoped to maintain the loyalty of the slave states that had not seceded and joined the Confederacy. At best, they hoped that the Confederate states, secure in the promise that slavery was safe, would return to the Union, thereby avoiding a war. (Note that, Lincoln was adamant that slavery would not spread to the western territories – a policy stance that the secessionists found unacceptable.)

But the slaves had their own agenda. They saw the war as an opportunity for freedom. On May 23, 1861 – just weeks after the war began at Fort Sumter, South Carolina – Frank Baker, James Townsend and Sheppard Mallory fled bondage and sought asylum at a Union occupied fort outside of Hampton, Virginia, named Fort Monroe.

The fort’s commander, General Benjamin Franklin Butler, had no duty to return the slaves; in fact, by Union policy, he should have returned them to their master. But he reasoned that because the slaves were property being used by Confederate insurrectionists, it was within his rights to confiscate that property and use it for the Union’s purposes. This was the beginning of the Union’s contraband policy.


Union General Benjamin Butler receives runaway slaves Frank Baker, James Townsend and Sheppard Mallory at Fort Monroe, Virginia, May 1861
Image Source: From The Daily Press, Newport News, Virginia

The contraband policy, which gave bondsmen asylum from slavery in return for their providing labor to the Union, eventually morphed into the Emancipation Proclamation. But the Proclamation might never have happened if not for the three brave men who took the risk of liberating themselves and seeking aid and comfort with their master’s enemy. We need a monument outside of Fort Monroe, which still stands, to commemorate their actions and those of Gen. Benjamin Butler. Continue reading

May 20, 2015: Celebrating Emancipation Day in Florida

Emancipation-Day Florida 2015
From the 2015 Emancipation Day Celebration in Tallahassee: Tallahassee resident Brian Bibeau (center) portrays Brigadier General Edward McCook and presents a dramatic recitation of the Emancipation Proclamation from the front steps of the historic Knott House Museum. He is joined by the Leon Rifles 2nd Florida Volunteer Infantry Regiment Co. D, Captain Chris Ellrich Commanding, and the 2nd Infantry Regiment U.S. Colored Troops Reenactment Unit & Living History Association, led by Sgt. Major (Ret.) Jarvis Rosier.
Image Source: Museum of Florida History, via CapitalSoup.com

May 20, 2015, marked the 150th anniversary of the reading of the Emancipation Proclamation in Tallahassee, the capital of Florida. That date is observed as Emancipation Day in the state; thus, Florida Emancipation Day is the equivalent of Juneteenth in Texas. Activities were held throughout the state to commemorate the event, including a reenactment of the Proclamation reading in Tallahassee.

Here’s the history behind the Day: on May 10, 1865, Union soldiers under the command of Brigadier General Edward McCook entered Tallahassee. This was weeks after April 1865, when Confederate General Robert E. Lee surrendered his forces in Virginia, and Confederate General Joseph E. Johnston surrendered his forces in North Carolina. Successive waves of Confederate surrenders followed throughout the South. McCook and his men came to Tallahassee from Macon, Georgia, to facilitate the end of hostilities in the state and begin Union control. On May 20th, General McCook announced the Emancipation Proclamation in the city. Freedom in Florida was now “official.”

Of course May 20, 1865, was not the first time that slaves in Florida had heard of the Emancipation Proclamation or gained freedom as a result of the war. Union forces made forays into Florida throughout the Civil War. The state was not strategically important enough for the Union to conduct many operations there. But Union troops did, for example enter Jacksonville during the war, and that city changed handed hands several times throughout the conflict. Some of the Union forces consisted of men from the US Colored Troops (USCT). In NE Florida for sure there was an awareness of the Emancipation Proclamation, and slaves seesawed from slavery to freedom and back more than once as the Union and Confederacy took turns at controlling Jacksonville.


Emancipated slaves wait in front of the Provost Marshal’s office in Jacksonville about 1864. 

As noted here, the 2nd Infantry Regiment, USCT, did time in Florida. The source notes:

The 2nd U.S.C.T. was attached to the District of Key West, Florida, Department of of the Gulf, in February, 1864, and saw duty in New Orleans and Ships Island, Mississippi. In May the unit also participated in an attack on Confederate fortifications at Tampa, resulting in the destruction of the Confederate positions. The 2nd participated in several operation along Florida’s west coast between July 1st and 31st, 1864; including raids from Fort Myers to Bayport, and from Cedar Key to St. Andrew’s Bay. During the St. Andrew’s Bay expedition the 2nd skirmished with Confederate troops on the 18th of July.

There is a monument to the 2nd USCI in Fort Myers, FL, which is south of Tampa/St Petersburg:

My guess is that many slaves in west-central Florida – and admittedly, the huge part of the slave population resided in the northern part of the state – would have been aware of the Proclamation from Union soldiers.

Emancipation-Day FL  2nd USCT Reenactor speaks to school children
From the 2015 Emancipation Day Celebration in Tallahassee: a member of the 2nd Infantry Regiment U.S. Colored Troops Reenactment Unit speaks to a group of school children.
Image Source: Museum of Florida History, via CapitalSoup.com
Continue reading

The Blackville Gallery, late 1890s


Image Description: 1897 Picture of the Blackville Gallery. Elegant hand colored wood engraving titled,”The Blackville gallery,” from Leslie’s Weekly. Shows scene of a rehearsal of the Blackville Choir. 11 x 16in. $150
Source: Image and Description from Prints Old & Rare, an art seller. The description includes the price of the print.

These are several of the “Blackville Gallery” photographs by Knaffl & Bro. studios of Knoxville, Tennessee, that in appeared in Leslie’s Weekly in the late 1890s.

Per Wikipedia, Leslie’s Weekly, born as Frank Leslie’s Illustrated Newspaper, was “an American illustrated literary and news magazine founded in 1852 and published until 1922. It was one of several magazines started by publisher and illustrator Frank Leslie… Throughout its decades of existence, the weekly provided illustrations and reports – first with wood engravings and Daguerreotype, later with more advanced forms of photography – of wars from John Brown’s raid at Harpers Ferry and the Civil War until the Spanish-American War and the First World War.”

In 1897/98, the magazine featured a set of photographs called the “Blackville Gallery” series. The photos show contemporary African Americans, presumably from Knoxville, engaged in various aspects aspects of domestic life, such as attending church or weighing a young child to check its growth. Some might say the photos are caricature-ish, and close to being minstrelsy. But as I look at the pictures, I am struck by the energy and enthusiasm that these amateur models (and these are staged images) bring to the photo shoots. They seem to be having fun with it. It’s as if they are comfortable with poking fun at themselves, and don’t see every attempt at humor at their expense to necessarily be degrading or insulting. Or so it seems to me.

The photographs were produced by Knaffl & Bro. of Knoxville, Tennessee. Wikipedia talks about Joseph Knaffl (October 9, 1861 – March 23, 1938) here.

These images are (or were) being sold as prints at the “Prints Old & Rare,” site. I have included the description of the images at the site, as well as their selling price, to give an idea of the current value of these pictures.


Image Description:1897 Photogravure featured in Leslie’s Weekly titled, “The Blackville Gallery, — No. III.” Caption reads, “The Blackville Cotillon, — “Mr. Johnsing, Turn Me Luse!” Image shows a small jazz ensemble playing for some dancers as a man claps to the rhythm of the music. The sign above his head reads, “Welcum.” Copyright by Knaffl & Bro., Knoxville, Tennessee. 22 x 16 in. $300
Source: Image and Description from Prints Old & Rare, an art seller. The description includes the price of the print.


Image Description: 1898 Photogravure by Knaffl & Bro., Knoxville, Tenn. featured in Leslie’s Weekly titled, “Weighing the Christmas Baby in Blackville.” Authentic portrait of a family at home trying to weigh a baby with their makeshift scale. A woman at left pours some water from an old kettle which was heated in the stovepipe as a child has a bite to eat at center. 22 x 16 in. $300
Source: Image and Description from Prints Old & Rare, an art seller. The description includes the price of the print.
Continue reading

How will you observe National Freedom Day?

Considering the arc of American memory, why is it no surprise that few people have heard of National Freedom Day – a day observing the end of slavery in the United States?

But yes, there is a National Freedom Day. It commemorates the date (February 1, 1865) that Abraham Lincoln signed a joint resolution of the US Congress which proposed the 13th amendment to the Constitution, to abolish slavery in the United States. The amendment was ratified by the required number of states in December 1865. National Freedom Day was proclaimed a national day of observance by President Harry Truman in January 1949:

Whereas, near the end of the tragic conflict between the Northern and Southern States, the Congress adopted a joint resolution proposing an amendment to the Constitution which would outlaw slavery in the United States and in every place subject to its jurisdiction; and

Whereas the resolution was signed by President Lincoln on February 1, 1865, and thereafter led to the adoption of the Thirteenth Amendment to the constitution; and

Whereas that Amendment is a corner stone in the foundation of our American traditions, and the signing of the resolution is a landmark in the Nation’s effort to fulfill the principles of freedom and justice proclaimed in the first ten amendments to the Constitution; and

Whereas, by a joint resolution approved June 30, 1948 (62 Stat. 1150), the Congress authorized the President to proclaim the first day of February of each year as National Freedom Day in commemoration of the signing of the resolution of February 1, 1865; and

Whereas the Government and people of the United States wholeheartedly support the Universal Declaration of Human Rights approved by the General Assembly of the United Nations on December 10, 1948, which declares that “recognition of the inherent dignity and of the equal and inalienable rights of all members of the human family is the foundation of freedom, justice and peace in the world”:

Now, Therefore, I, Harry S. Truman, President of the United States of America, do hereby designate February 1, 1949, and each succeeding February 1, as national Freedom Day; and I call upon the people of the United States to pause on that day in solemn contemplation of the glorious blessings of freedom which we humbly and thankfully enjoy.

Truman proclaims National Freedom Day copy
Image source: “A beacon to oppressed peoples everywhere”: Major Richard R. Wright Sr., National Freedom Day, and the Rhetoric of Freedom in the 1940s,” by Mitch Kachun. See also the Library of Congress’s America’s Story from America’s Library website.

National Freedom Day is one of many conflicting, and to some, conflicted celebrations of the end of slavery in the United States. Perhaps the most prominent day designated for commemorating emancipation and abolition is Juneteenth (June 19th), which is celebrated in Texas and several other states. But National Freedom Day is the first and only day that the federal government has established for a nationwide observance of slavery’s end. Continue reading

American Esoterica: The Negro Lawn Jockey, George Washington, Christmas, and the Underground Railroad

Negro Lawn Jockey
1935 Christmas card featuring a Lawn Jockey.
Photo Source: History Of the Lawn Jockey, at LawnJock.com

The website LawnJock.com advertisers itself as “The premiere site for hand-painted Lawn Jockey statues and accessories.Estate Quality. Real. Metal. Lawn Jockeys.” The site features a history of the lawn jockey, from which I am re-blogging the following excerpts; follow the link to get the full story:

We get many questions regarding the origins and rich history of the great American Lawn Jockey statue. Many are surprised to learn that the Lawn Jockey is actually an evolution of 3 related statues and was used primarily as a horse hitching post in the 1800’s. The Lawn Jockey makes history come alive with legends of tours of duty in the revolutionary war and civil war. Like a time machine, the cultural significance of this unique sculpture has touched many areas of society in important ways and is still evolving hundreds of years after the statue first appeared.

Above is a page from JW Fiske’s 1910 catalog. Note that there were other jockey versions other than the 3 main versions. Fiske’s “Chinaman” version can be seen in the Charleston, SC photo above(the jockey on the left). There were hundreds of iron foundrys making jockeys in the 19th century but the 3 biggest manufacturers that had catalogs and marked their products were JW Fiske and JL Mott of New York City, and Robert Wood and Company of Philadelphia.

The “big 3″ manufacturers all made the 2 jockey versions as shown below in the 1902 JL Mott catalog. The “caricature” jockey version was not cataloged or manufactured by the “big 3″.

Jockeys were mainly used for residential applications in the 1800’s, but also were used for trades as well. Although they eventually were most closely associated with motels and restaurants as a symbol of “welcome” in the 1900’s, their main location/purpose in the 1800’s were to identify tobacco shop storefronts. Historical documents from manufacturers show zinc statues were made for the trade/tobacco shop applications, while iron statues were made for residences.

Hospitality – Horseracing – History

“Welcome home”, “horseracing”, and “history” are the 3 primary themes of all lawn jockey statues, reflecting charming memories of a bygone era. Many other themes are represented in this uniquely American statue, some of which are described here and on other pages on this website: patriotism, George Washington, the American revolution, slave participation in the revolutionary war, Greek influences in American art and architecture, the Statue of Liberty, Christmas, the Underground Railroad, Black Americana, ironwork and the industrial revolution, 19th century American iron toys, forgotten black jockeys of the 1800’s, the Kentucky Derby, southern hospitality, the American centennial, and the American Red Cross.

Now let’s fast forward to 1776, on the eve of the American revolution, where the Lawn Jockey legend began. Beginning as oral tradition, in the 1960’s and 70’s the source material for this legend was eventually published in book and theater play form by Washington DC insurance agent Earl Koger(see play cover below) and in news articles by Washington Post reporter Chester Hampton. CLICK HERE to read Chester Hampton’s newspaper article on September 27, 1970.

At 3am on December 26, 1776 George Washington’s colonial army in Pennsylvania crossed the Delaware river and attacked the British at Trenton, New Jersey. Legend has it Washington’s groomsman, a 12-year-old slave boy named Jocko Graves, stayed on the Pennsylvania shore taking care of Washington’s horses, holding up a lantern to mark the location. In 1776, a “groomsman” referred to “a man or boy in charge of feeding, conditioning, and stabling of horses.”


Famous painting of Washington’s “Christmas Day” crossing of the Delaware

Recorded history documents two colonial army deaths in the Battle of Trenton, which was a significant victory for the colonials. Both soldiers froze to death on the river crossing, not killed in combat.

But legend tells of one more casualty… Jocko, who was found frozen to death on the Pennsylvania shore while still holding the lantern when Washington returned at noon on December 26, 1776. Legend has it that upon Washington’s return to his Mount Vernon, Virginia home, he was so inspired by Jocko’s heroism, he commissioned a cast iron statue of Jocko holding a lantern and called it the “Faithful Groomsman”. The “welcome/coming home” theme of these statues started here, and with an ironic double meaning: “coming home” being also used as a metaphor for “dying and going to heaven” from Christian theology. The last name “Graves” associated with the statue also offers a cryptic allusion to a cemetery grave – was the original statue a grave marker for Jocko? Taking into account that very few slaves had last names in colonial America, the grave marker explanation seems plausible.

Jockeys and Christmas

Although Christmas was not an elaborate celebration at the time, the “Christmas” theme of the Jockey also started here… making Jockey statues with lanterns the first “Christmas Lights”. Even today, more Jockeys are sold at Christmas than at any other time. Continue reading

More Photos from the New Market Heights Reenactment on Civilwartalk.com

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United States Colored Troops (USCT) reenactor/living historian Marcellus Williams of Washington, DC at the commemoration of the Battle of New Market Heights. All photos by Neil Hamilton.

As mentioned in a previous post, the 150th anniversary of the US Civil War’s Battle of New Market Heights was commemorated during the weekend of September 27, 2014 in Henrico County, Virginia. The commemoration included a number of events, the highlight being a staging of the battle by a large group of Confederate and Union soldier reenactors.

The web forum Civilwartalk.com has a discussion thread which contains a bunch of wonderful photographs from the reenactment events. The photographs appear starting on page three of the discussion thread. A handful of the pictures are displayed below.

I do have a request. If you can identify any of the people or units in the pictures, it would be greatly appreciated. For the photos here, you can leave a comment below. For the photos on Civilwartalk.com, you can join the forum (membership is free) and make a post with your information. Having these details will enhance the record of the event. Thanks!

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USCT in camp, preparing for the day’s events.

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USCT and Confederate reenactors after their staging of the Battle of New Market Heights. The USCT soldier at the far right, holding a sword with a Confdederate soldier, is Bill Radcliffe. Radcliffe was the model for the monument to United States Colored Troops National Monument in the Nashville National Cemetery.

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More reenactors/living historians who were at the event. From left to right, they are Mia Marie McKay, Wisteria Perry and Yulanda Burgess. Perry works at the Mariners’ Museum in Newport News, VA. Burgess’ history specialty is the American Missionary Association.

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Another scene from the commemoration events.