Frederick Douglass: He knew why the caged bird sang

From YouTube: This is a clip from the film 12 Years a Slave. The slaves sing “Roll Jordan Roll” during a funeral for one of their own.

Frederick Douglass, as I like to say, was the most eminently quotable man of his generation. This 19th century abolitionist, writer, publisher, orator, community activist, civil servant, and former slave, was perhaps the spokesman for the African American community during his lifetime.

In his memoir My Bondage and My Freedom – which was part of the slave narrative literary genre – Douglass spoke about the meaning of song to enslaved African Americans. Songs had many purposes. They were utilitarian: they helped overseers keep track of slaves working in the fields. They were flattering: they praised the slave master in a way that might curry his or her favor. And they were healing: they helped purge the soul of the pain that bondage brought to the body.

Douglass warned, don’t mistake the slaves’ songs as a sign of their contentment: “Sorrow and desolation have their songs, as well as joy and peace. Slaves sing more to make themselves happy, than to express their happiness.”

These are Douglass’ thoughts on the meaning and value of song to the enslaved, from My Bondage and My Freedom:

Slaves are generally expected to sing as well as to work. A silent slave is not liked by masters or overseers. “Make a noise,” “make a noise,” and “bear a hand,” are the words usually addressed to the slaves when there is silence amongst them. This may account for the almost constant singing heard in the southern states. There was, generally, more or less singing among the teamsters, as it was one means of letting the overseer know where they were, and that they were moving on with the work.

But, on allowance day, those who visited the great house farm were peculiarly excited and noisy. While on their way, they would make the dense old woods, for miles around, reverberate with their wild notes. These were not always merry because they were wild. On the contrary, they were mostly of a plaintive cast, and told a tale of grief and sorrow. In the most boisterous outbursts of rapturous sentiment, there was ever a tinge of deep melancholy.

In all the songs of the slaves, there was ever some expression in praise of the great house farm; something which would flatter the pride of the owner, and, possibly, draw a favorable glance from him.

I am going away to the great house farm,
O yea! O yea! O yea!
My old master is a good old master,
O yea! O yea! O yea!

This they would sing, with other words of their own improvising—jargon to others, but full of meaning to themselves. I have sometimes thought, that the mere hearing of those songs would do more to impress truly spiritual-minded men and women with the soul-crushing and death-dealing character of slavery, than the reading of whole volumes of its mere physical cruelties. They speak to the heart and to the soul of the thoughtful. I cannot better express my sense of them now, than ten years ago, when, in sketching my life, I thus spoke of this feature of my plantation experience:

I did not, when a slave, understand the deep meanings of those rude, and apparently incoherent songs. I was myself within the circle, so that I neither saw or heard as those without might see and hear. They told a tale which was then altogether beyond my feeble comprehension; they were tones, loud, long and deep, breathing the prayer and complaint of souls boiling over with the bitterest anguish. Every tone was a testimony against slavery, and a prayer to God for deliverance from chains. The hearing of those wild notes always depressed my spirits, and filled my heart with ineffable sadness. The mere recurrence, even now, afflicts my spirit, and while I am writing these lines, my tears are falling.

To those songs I trace my first glimmering conceptions of the dehumanizing character of slavery. I can never get rid of that conception. Those songs still follow me, to deepen my hatred of slavery, and quicken my sympathies for my brethren in bonds.

The remark is not unfrequently made, that slaves are the most contended and happy laborers in the world. They dance and sing, and make all manner of joyful noises—so they do; but it is a great mistake to suppose them happy because they sing. The songs of the slave represent the sorrows, rather than the joys, of his heart; and he is relieved by them, only as an aching heart is relieved by its tears. Such is the constitution of the human mind, that, when pressed to extremes, it often avails itself of the most opposite methods… The singing of a man cast away on a desolate island, might be as appropriately considered an evidence of his contentment and happiness, as the singing of a slave. Sorrow and desolation have their songs, as well as joy and peace. Slaves sing more to make themselves happy, than to express their happiness.

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Studio portrait of African American man with walrus mustache

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Studio portrait of African American man with walrus mustache; circa late 19th century/early 20th century; probably in Natchez, Mississippi
Image Source: Photograph courtesy Louisiana State University Libraries, Thomas H. and Joan W. Gandy Photograph Collection, Item Number 37780413106a; see details below

This fine portrait of an African American male, perhaps named Alex Mazique, is from the Thomas H. and Joan W. Gandy Photograph Collection, a set of photographs in the Special Collections of the Louisiana State University Libraries.

The Gandy Collection contains photos from the Gurney and Norman studios, and features images from the Natchez, Mississippi area where the studios were located. As noted at the LSU web page describing the collection,

Brothers Henry and M. J. Gurney established a daguerreotype studio in Natchez in 1851 and began recording the lives of their fellow citizens using the latest in photographic technology. The Civil War brought economic disaster and social upheaval to the region, but Natchez quickly recovered.

In 1870, Henry Gurney hired a new employee, Henry Norman, and by 1876 Norman had opened his own studio, buying out Gurney’s studio to do so. Henry Norman became the best-known photographer in the region. When he died in 1913, his son Earl inherited the studio. Earl, like his father, became widely known for his photographic skills and left images spanning nearly 40 years.

The photograph was taken by the Norman Studios. This undated image was taken in the late 19th century or early 20th century.

The Demographics and Geography of Free Blacks before the Civil War: North & South, East & West


Map of Free States and Slave States, 1861. During the Antebellum Era, the term “slave states” was synonymous “the South,” and the term “free states” was synonymous “the North.” In the latest (2010) US Census, all the states which had slaves before the war are listed as part of the South except Missouri and New Jersey. New Jersey, which established a plan for gradual emancipation during the war, had 18 elderly slaves when the Civil War began.
Image Source: Wikipedia Commons.

In 1860, right before the start of the Civil War, more free African Americans lived in “the South” than in “the North.” Does that mean anything? Does that mean, for example, that life for an un-enslaved African American was better in the South than in the North? Some people look at the raw numbers and make that leap. In this post, I will take a detailed look at population numbers for free blacks before the war, to determine if they, by themselves, show that blacks were better off in any region.

First, it is correct that of the 488,000 or so free blacks in 1860, 262,000 (53.7%) lived in the slave states (the “South”) and 226,000 (46.3%) lived in the free states and the territories (the “North”). I did some additional research and number crunching based mostly (but not only) on the 1860 Census, to see if a more detailed look at the data offers any insights. (I’ve posted the stats at the bottom of this post.) I noted the following:

(1) This is the free black population for various groups of states:

State/Area      % of the Slave Pop    % of the Freeman Pop

Free States            0.0                   46.1
DC-MD-DE               2.3                   23.5
KY-MO                  8.6                    2.9
Upper South           30.6                   19.7
Lower South           58.5                    7.5

TOTAL                100.0%                  99.7%*
=========================================
Union                 10.9                   72.5
Confederacy           89.1                   27.2

Total                100.0%                  99.7%*

* Numbers off due to rounding and small number of freemen in territories.

Lower South = SC, FL, GA, AL, MS, LA, TX
Upper South = VA, AR, NC, TN

(2) While it’s true that the majority of free blacks lived in “the South,” the data is skewed by the large free black population in the Delaware, Maryland, and Washington, DC area. Almost one of four free blacks lived in this geographically small, contiguous area, while just 2.3% of US slaves resided in the area. That area is not representative of the South at all.

I find it much more useful to break-out the free black population by three separate regions, not two, viz.:

Free Black Population in the USA @ 1860, by Region
Northern (free) states: 46.1% of US free blacks
Border (slave) states: 26.4% of US free blacks
Deep South (Confederate/slave) states: 27.2% of US free blacks

The term “Border state” was commonly used to describe Delaware Kentucky, Maryland, and Missouri during the Civil War. The District of Columbia, which was created out of small portions of Maryland and Virginia, contained 11,131 free blacks and 3,185 enslaved blacks in 1860. The Virginia portions of the District were reverted back to that state in 1846.

(3) The real divide in the free black population is more about “East vs West” than “North vs South.” The majority of free people of African descent lived in the original 13 states and Washington, DC. Or put in another way, most free blacks lived on the East Coast.

In 1860, 370,000 free blacks — 75% of the nation’s free black population — lived in MA, NH, CN, RI, NJ, NY, PA, DE, MD, DC, VA, NC, SC, and GA.

(4) African Americans living west of the 13 Original States (and especially west and south of Ohio and Indiana)  were relatively scarce, especially in the Old SouthWest. To illustrate this point, consider that:
• OH and IN (two states in the Old Northwest; we now call it the Midwest) combined had 48,101 free blacks in 1860.
• The Old Southwest ~ AL, AR, FL, KY, LA, MO, MS, TN, and TX ~ combined had only 45,077 free blacks. Louisiana had 18,647 free blacks, who were inherited from the Louisiana Purchase. Outside of Louisiana, then, these states were a no-man’s land for free blacks, even as the Deep South states contained the majority of enslaved blacks.

(5) Of the 261,918 free blacks who lived in the slave states, 203,407 free blacks lived in just four states (Delaware, Maryland, Virginia, North Carolina) and the District of Columbia. That is, just under 78% of slave states’ free blacks lived in the Mid-Atlantic states.

(6) Less than 2% of the population in the free states was of African descent. And many African Americans were clustered in places in the northeast and Ohio. Demographically, the free states looked like modern day Idaho or Wyoming, which are also less than 2% African American. I would imagine that millions of whites living in the North went through entire lives and saw a real live African American just once or twice, if ever.

(7) Only 5% of the black population lived in the free states in 1860.

(8) In 1860, NJ had 18 persons listed as slaves, and there were 46 slaves in US territories (Nebraska had 15, Kansas had 2, and Utah had 29).

~ The following factoids refer demographics for the Union and the Confederacy, the two American Civil War antagonists ~ Continue reading

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

Battle_flag_of_the_Confederate_States_of_America.svg
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
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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.
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