"Dwellings of the Sponge Fishermen" (caption translation). This lithograph of Nuevitas bay in Cuba shows black men, women, children besides thatched roof houses which were suspended on poles over water. In the foreground, there is a boat with fishermen using large nets. Frédéric Mialhe (1810-c. 1861), also Federico Mialhe, was a French landscape painter and draughtsman. He went to Cuba on by invitation of the Real Sociedad Patriótica. He designed three sets of lithographs from 1838 to 1854. The publisher, Bernardo May, claimed ownership of this image and sold them under his own name. For a discussion on the image see Emilio Cueto, Mialhe's Colonial Cuba (Miami: The Historical Association of Southern Florida, 1994), p. 115.

"The Street Vendor" (caption translation). This lithograph shows a man on a horse selling fruits, vegetables and fowl from the top of his horse to a black woman; more black people in the background sitting on barrels. Frédéric Mialhe (1810-c. 1861), also Federico Mialhe, was a French landscape painter and draughtsman. He went to Cuba on by invitation of the Real Sociedad Patriótica. He designed three sets of lithographs from 1838 to 1854. The publisher, Bernardo May, claimed ownership of this image and sold them under his own name. For a discussion on the image see Emilio Cueto, Mialhe's Colonial Cuba (Miami: The Historical Association of Southern Florida, 1994), p. 99.

"The Baker and Fodder Seller" (caption translation). This lithograph depicts a baker and his slave, the mozo, carrying a basket marked “panadero” (baker). On the right, the fodder seller, Malojero, was with his slave. Maloja is a Cuban word, often used to describe fodder from maize, but it can also refer to fodder from grasses. Frédéric Mialhe (1810-c.1861), also Federico Mialhe, was a French landscape painter and draughtsman. He went to Cuba on by invitation of the Real Sociedad Patriótica. He designed three sets of lithographs from 1838 to 1854. The publisher, Bernardo May, claimed ownership of this image and sold them under his own name. Samuel Hazard visited Cuba around 1866. He reproduced this image into a b/w illustration in his book and describes the mozo as someone "who accompanies his master, the baker ['panadero'] through the streets, to dispose of his supply; or, if he has a regular set of customers, goes alone from place to place, carrying his load of bread. . . on his [head]; the bags hanging from his arms are made of plaited palm leaf and are filled with rolls. . . many of them are the imported slaves of Africa, who have bought their freedom, while others, again, belong to owners who let them their time, allowing them to pursue any vocation they choose, only requiring them to pay so much per day out of their earnings" (p. 173). For a discussion on the image see Emilio Cueto, Mialhe's Colonial Cuba (Miami: The Historical Association of Southern Florida, 1994), p. 97-99.

Caption,

Captioned

The below caption likely reflects the lyrics of a song, "O carry me back, O carry me back, to old Virginia Shore, home Spun, and humani [hominy] block, & corn, this very valuable grain in Virginia and much is raised." On the left, a female was spinning a wheel. A sheep was in the lower left hand corner, and in the center, a man with a large yellow (straw?) hat holding a long-handled hoe and a banner on which is written "Protect and Encourage domestic & native industry." The man on right is pounding corn in a mortar, the hominy block, a common method of pounding grains in West Africa.

Oil painting, titled Bum Boat in Carlisle Bay, shows boat being rowed by a man (on right) and woman; boat is loaded with fruits and vegetables, and a monkey is sitting on the gunnel. The bumboat, a term used in England for this kind of vessel, was employed to bring provisions and commodities for sale to larger ships in port or offshore. These boats were common in Barbados during the slave and post-emancipation periods. Edwin Stocqueler (also known as Edwin Siddon) was born in India in 1829 of British parents. He lived and painted in Australia from about 1850 to the early 1860s, was in South Africa from 1866 to 1870, and after 1872 he was based in Britain; he died in London in 1895. Although there is presently no direct evidence that he ever visited Barbados or the West Indies, the unusual subject of this painting probably indicates that he visited the area, perhaps during his residence in Britain. In any event, the painting , which is undated, clearly was made in post-emancipation times. The painting currently hangs in Ilaro Court and was bought at auction by the Prime Minister's office in the 1990s (Thanks to Peter Gill and Mimi Colligan for biographical information on Stocqueler; and to Alissandra Cummins for additional information; see also Design and Art Australia online)

Detail from map showing several slaves assisting a map surveyor; also sugar mills and houses.

Equestrian traffic and carts, including carter driving an ox team loaded with hogsheads of sugar being taken to harbor. ( The image was published in J. Holm, The Corvette Heimdals mission to the West Indian Islands 1861 and 1862 [Copenhagen, 1863]); thanks to Leif Svalesen and George Tyson for this information).

Enlargement of section of illustration of Trafalgar Square, Bridgetown, showing wagon loaded with hogsheads of sugar or rum.

Pencil and ink watercolor; caption, preparations for the enjoyment of a fine Sunday among the blacks of Norfolk.

This image shows women, some with pipes in their mouths, removing fish heads on a pier. Harper's Weekly: A Journal of Civilization was an American political magazine based in New York City and published by Harper & Brothers from 1857 until 1916. It featured foreign and domestic news, fiction, essays on many subjects and humor, alongside illustrations. It covered the American Civil War extensively, including many illustrations of events from the war.

This illustration shows men hauling in the nets from shore, while women with baskets observe the scene at a fishery near Chowan county. This scene took place at an annual fishing festival at Albermarle Sound beach in North Carolina. Harper's Weekly: A Journal of Civilization was an American political magazine based in New York City and published by Harper & Brothers from 1857 until 1916. It featured foreign and domestic news, fiction, essays on many subjects and humor, alongside illustrations. It covered the American Civil War extensively, including many illustrations of events from the war.

This scene illustrates the fisheries of Albermarle and Pimlico sounds in North Carolina, which were known to employ a considerable number of emancipated people from neighboring counties. The huge seines could measure up to two miles in length. Harper's Weekly: A Journal of Civilization was an American political magazine based in New York City and published by Harper & Brothers from 1857 until 1916. It featured foreign and domestic news, fiction, essays on many subjects and humor, alongside illustrations. It covered the American Civil War extensively, including many illustrations of events from the war.

Caption: porteurs d'eau (water carriers), an urban scene showing water carriers filling their casks from a well. For an analysis of Rugendas' drawings, as these were informed by his anti-slavery views, see Robert W. Slenes, African Abrahams, Lucretias and Men of Sorrows: Allegory and Allusion in the Brazilian Anti-slavery Lithographs (1827-1835) of Johann Moritz Rugendas (Slavery & Abolition, vol. 23 [2002], pp. 147-168).

Caption, timber for shingles to cover houses, Montgomery county; scene shows two black men sawing a tree tree trunk and a white man splitting logs.

Caption, Negres scieurs de long (black sawyers of planks). See image reference vista11 for a description of sawing wood. The engravings in this book were taken from drawings made by Debret during his residence in Brazil from 1816 to 1831. For watercolors by Debret of scenes in Brazil, some of which were incorporated into his Voyage Pittoresque, see Jean Baptiste Debret, Viagem Pitoresca e Historica ao Brasil (Editora Itatiaia Limitada, Editora da Universidade de Sao Paulo, 1989; a reprint of the 1954 Paris edition, edited by R. De Castro Maya).

An urban scene, depicting slaves moving a loaded cart through the streets. The engravings in this book were taken from drawings made by Debret during his residence in Brazil from 1816 to 1831. For watercolors by Debret of scenes in Brazil, some of which were incorporated into his Voyage Pittoresque, see Jean Baptiste Debret, Viagem Pitoresca e Historica ao Brasil (Editora Itatiaia Limitada, Editora da Universidade de Sao Paulo, 1989; a reprint of the 1954 Paris edition, edited by R. De Castro Maya).

Caption, Le Chirugien Negre (the black surgeon), shown at work in an urban setting. The engravings in this book were taken from drawings made by Debret during his residence in Brazil from 1816 to 1831. For watercolors by Debret of scenes in Brazil, some of which were incorporated into his Voyage Pittoresque, see Jean Baptiste Debret, Viagem Pitoresca e Historica ao Brasil (Editora Itatiaia Limitada, Editora da Universidade de Sao Paulo, 1989; a reprint of the 1954 Paris edition, edited by R. De Castro Maya).

Caption, Boutique de Cordoniere, shows white shoemaker with black assistants/apprentices. A nursing mother shown on the left, while the shoemaker is beating a slave with a palmatoria, a wooden paddle with holes in it (James Sweet, Recreating Africa: Culture, Kinship, and Religion in the African Portuguese World, 1441-1770 [University of North Carolina Press, 2003], p. 212). The engravings in this book were taken from drawings made by Debret during his residence in Brazil from 1816 to 1831. For watercolors by Debret of scenes in Brazil, some of which were incorporated into his Voyage Pittoresque, see Jean Baptiste Debret, Viagem Pitoresca e Historica ao Brasil (Editora Itatiaia Limitada, Editora da Universidade de Sao Paulo, 1989; a reprint of the 1954 Paris edition, edited by R. De Castro Maya).

Caption, Les Barbiers Ambulants, shows two barbers cutting hair and shaving customers in a port town. The engravings in this book were taken from drawings made by Debret during his residence in Brazil from 1816 to 1831. For watercolors by Debret of scenes in Brazil, some of which were incorporated into his Voyage Pittoresque, see Jean Baptiste Debret, Viagem Pitoresca e Historica ao Brasil (Editora Itatiaia Limitada, Editora da Universidade de Sao Paulo, 1989; a reprint of the 1954 Paris edition, edited by R. De Castro Maya).

A Belgian visitor to Suriname around 1831 describes this boat as follows: Rich colonists/inhabitants and planters use a Tent- Boat, which is so luxuriously ornamented and decorated that they often cost up to 1500 Dutch florins. They serve to go from one plantation to another or to come to the city. These trips would be difficult to make by land, and besides all the plantations are situated on the banks of rivers. The Tent-Boat is driven by six to eight Blacks, who are excellent paddlers; a Black is also at the helm (Pierre Jacques Benoit, Voyage a Surinam [Bruxelles, 1839], p. 30, our translation). See also image JCB_04050-3. This and other engravings are found in the autobiographical narrative of Stedman, a young Dutchman who joined a military force against rebellions of the enslaved in the Dutch colony. The engravings are based on Stedmanís own drawings and were done by professional engravers. For the definitive modern edition of the original 1790 Stedman manuscript, which includes this and other illustrations see Richard and Sally Price, eds. Narrative of a five years expedition against the revolted Negroes of Surinam (Baltimore: Johns Hopkins University Press, 1988).

Caption, préparation de la racine de mendiocca [mandioca] (preparing the cassava/manioc root), men and women scraping, washing, boiling, etc. this staple food. For an analysis of Rugendas' drawings, as these were informed by his anti-slavery views, see Robert W. Slenes, African Abrahams, Lucretias and Men of Sorrows: Allegory and Allusion in the Brazilian Anti-slavery Lithographs (1827-1835) of Johann Moritz Rugendas (Slavery & Abolition, vol. 23 [2002], pp. 147-168).

Scene near Itagolomi mountain. For an analysis of Rugendas' drawings, as these were informed by his anti-slavery views, see Robert W. Slenes, African Abrahams, Lucretias and Men of Sorrows: Allegory and Allusion in the Brazilian Anti-slavery Lithographs (1827-1835) of Johann Moritz Rugendas (Slavery & Abolition, vol. 23 [2002], pp. 147-168).

Caption, Matelots. A riverside scene showing canoes (with sails) and boatmen apparently soliciting customers on shore; some potential customers are women carrying goods and children. For an analysis of Rugendas' drawings, as these were informed by his anti-slavery views, see Robert W. Slenes, African Abrahams, Lucretias and Men of Sorrows: Allegory and Allusion in the Brazilian Anti-slavery Lithographs (1827-1835) of Johann Moritz Rugendas (Slavery & Abolition, vol. 23 [2002], pp. 147-168).