How soon after the summer of 1862 did Northern photographers resume documenting the Fredericksburg area’s wartime scenes? Considering this general question led me down an unexpected path to a particular part of a particular month in 1863, and to a certain area of Stafford County. The story I found was one of different artistic media that had converged to record and popularize an iconic tableau of freedom but, ironically, left its date and location unidentified.
(In the current absence of known, outdoor photographs of the Confederate occupation of the area in May 1861-March 1862, a series of views of the Union occupation during the summer of 1862 holds distinction as the earliest-known photographic window onto local wartime landscapes. To my knowledge, no such images verifiably dated to December 1862 have been found.)
An oft-published image of the still-smoking ruins of the Phillips House in Stafford, which caught fire on February 14, 1863, marked an early post-battle resumption of local photography that, thanks to the drama of the blaze and consequent recording by various writers, is dateable to within a day or two:
Yet it’s hard to imagine that the lapse in photo-documentation of outdoor scenes in the Fredericksburg area continued through an event as attention-grabbing as the December 1862 battle. After the summer of 1862, did the camera lenses really remain uncapped until mid-February 1863?
Previously, I devoted a series of posts to another candidate for the distinction of earliest post-battle photograph of a local landscape: a stereograph depicting a flag-of-truce exchange, amid no less than 160 spectators, on the Fredericksburg riverfront. Although I would be delighted if this image turned out to document the post-battle truce crossings there on December 17-18, 1862, my current suspicion is that the actual date will prove to be sometime in February or March 1863, the date-range of other photographs of the riverfront and vicinity, and when truce-crossings also occurred.
In an article published in the journal Fredericksburg History and Biography, I considered a third photograph as the area’s earliest outdoor-view following the December battle. Let’s revisit that image in order to update research, and to take advantage of the opportunities for higher-resolution analysis of pictures afforded by this blog.
In its issue for January 31, 1863, Harper’s Weekly devoted an entire page to a woodcut-illustration (below left) of formerly enslaved people. The caption titled the woodcut “CONTRABANDS COMING INTO CAMP IN CONSEQUENCE OF THE PROCLAMATION.” Harper’s noted that the woodcut was based upon a sketch (below right) by special artist Alfred R. Waud, bearing his manuscript caption, “An arrival in Camp—under the Proclamation of Emancipation.” On a separate page in the same issue of Harper’s, Waud noted that the picture was intended to document the “beginning of the effect of the President’s Proclamation of Freedom”—the Emancipation Proclamation that Abraham Lincoln signed and issued on January 1, 1863:
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