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Figure100

Citation

Unknown Photographer. “Abraham, Slave Master.” circa late 1850s. Cowans Auctions, Inc., Cincinnati, OH Collection. Mirror of Race, 11 Feb. 2021, mirrorofrace.bc.edu/items/show/277. Accessed 21 Nov. 2024.

Title

Abraham, Slave Master

Subject

Abraham, Slave Master

Creator

Unknown Photographer

Date

circa late 1850s

Type

Studio Portrait, Occupational

Identifier

Figure100

Rights Holder

Cowans Auctions, Inc., Cincinnati, OH Collection

Original Format

Ambrotype

Physical Dimensions

Sixth Plate (2.75 x 3.25 inches)

Factual Commentary

In the case, behind the image, is an original period inscription in pencil: "Abraham, Slave Master." There is no more information about this person, apart from the details of the image itself.

We can date the image, based on the type of photographic process (ambrotype) as well as the clothing style, to the late 1850s, possibly a bit earlier or later.

In his hand, Abraham holds a long-handled, braided leather whip. This detail, combined with the title "Slave Master," probably indicates that this is an occupational portrait and that he was a slave overseer rather a slave owner. If he were the propertied owner of slaves, he would probably not be identified simply as "Abraham."

The overseer was charged with the day-to-day supervision and discipline of the slaves (hence the symbolism of the whip) on larger properties where the owner both needed and could afford to employ others to manage the workforce.

Interpretive Commentary

There is a strange irony to the "Slave Master" in this photograph being named "Abraham" at just about the time that another Abraham, Abraham Lincoln, was being elected to the Presidency of the United States, the Abraham whose Emancipation Proclamation of January 1, 1863 would soon bring an end to the careers of all slave overseers.

The irony is compounded by the resonance of the name with the Abraham whom three religions - Judaism, Christianity, and Islam - consider the origin of their monotheistic faiths, religions which, at their best, see that faith as a foundation for freedom.

What makes this photograph so powerfully terrible is the coiled brutality that looms behind it, past the stillness of the image: in the tightly clenched hand that grips the whip, in the icy stare of what must have been bright blue eyes, given how light they are in this black white photograph. This is an occupational image, one in which the person portrayed chose to sit with a tool of the trade that most fully symbolized and embodied his identity and profession, and so it is fair to conclude that Abraham took genuine pride in his ability to wield this whip effectively in the everyday duties of his work. It is worth asking, how far have we truly come from a world in which such brutality and dehumanization could be a matter of professional pride?

For a slideshow of images that explore the violence, both explicit and implied, in this period of American history, see here.

Alternative Title

Collection

Mirror of Race