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As part of his scholarship, Railton created a digital humanities project titled \"Uncle Tom's Cabin \u0026amp; American Culture,\" a multi-media archive exploring the cultural phenomena of \"Uncle Tom's Cabin\" published in 1852. 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He came to Virginia from Columbia University, where he earned his B.A., M.A., and Ph.D. Professor Railton has published numerous articles on American literature and has written two books, including Fenimore Cooper: A Study of His Imagination. He has also appeared on PBS's Newshour with Jim Lehrer as an expert on Mark Twain. Dr. Railton has also created two award-winning Web-based electronic archives, intended to explore the uses of electronic technology for teaching and studying American literature: Mark Twain in His Times (http://etext.lib.virginia.edu/railton) and Uncle Tom's Cabin \u0026amp; American Culture (http://jefferson.village.virginia.edu/utc), which won Gettysburg College's prestigious Lincoln Prize, awarded for the finest scholarship on Lincoln and the Civil War era.\u003c/p\u003e\n","\u003cp\u003eSource:\nThe Great Course website. Accessed 4/10/2023\nhttps://www.thegreatcourses.com/professors/stephen-railton\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Dr. Stephen Railton is Professor of English at the University of Virginia. He came to Virginia from Columbia University, where he earned his B.A., M.A., and Ph.D. Professor Railton has published numerous articles on American literature and has written two books, including Fenimore Cooper: A Study of His Imagination. He has also appeared on PBS's Newshour with Jim Lehrer as an expert on Mark Twain. Dr. Railton has also created two award-winning Web-based electronic archives, intended to explore the uses of electronic technology for teaching and studying American literature: Mark Twain in His Times (http://etext.lib.virginia.edu/railton) and Uncle Tom's Cabin \u0026 American Culture (http://jefferson.village.virginia.edu/utc), which won Gettysburg College's prestigious Lincoln Prize, awarded for the finest scholarship on Lincoln and the Civil War era.","Source:\nThe Great Course website. Accessed 4/10/2023\nhttps://www.thegreatcourses.com/professors/stephen-railton"],"odd_html_tesm":["\u003cp\u003eContent warning: contains racial imagery typical for the time that contemporary viewers may find offensive.This material contains racist imagery of Black people. This note aims to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials.\u003c/p\u003e"],"odd_heading_ssm":["General"],"odd_tesim":["Content warning: contains racial imagery typical for the time that contemporary viewers may find offensive.This material contains racist imagery of Black people. This note aims to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials."],"prefercite_html_tesm":["\u003cp\u003eMSS 16759, Steven Railton collection of Uncle Tom's Cabin ephemera, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e"],"prefercite_tesim":["MSS 16759, Steven Railton collection of Uncle Tom's Cabin ephemera, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"relatedmaterial_html_tesm":["\u003cp\u003eBroadside a1852 a. U54.Collection of Uncle Tom's cabin miscellaneous theater tickets, advertisements and images.\u003c/p\u003e\n","\u003cp\u003eThere is also an Uncle Tom's Jigsaw puzzle in PS2954.U6|bU46 1852.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Broadside a1852 a. U54.Collection of Uncle Tom's cabin miscellaneous theater tickets, advertisements and images.","There is also an Uncle Tom's Jigsaw puzzle in PS2954.U6|bU46 1852."],"scopecontent_html_tesm":["\u003cp\u003eThis material contains racist imagery of Black people. This note aims to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials. \u003c/p\u003e\n","\u003cp\u003eThis collection contains materials related to Harriet Beecher Stowe's novel \"Uncle Tom's Cabin\" predominately created between the late nineteenth and mid-twentieth century and collected and curated by Stephen Railton. Railton is a University of Virginia English professor whose work predominantly focuses on American literature. As part of his scholarship, Railton created a digital humanities project titled \"Uncle Tom's Cabin \u0026amp; American Culture,\" a multi-media archive exploring the cultural phenomena of \"Uncle Tom's Cabin\" published in 1852. The project website explores the precursors of the book, the book itself, its responses, and its popularity within the post-Civil War United States following the institution of Jim Crow Laws, particularly in the American South. \u003c/p\u003e\n","\u003cp\u003e\nThe materials collected by Railton include sheet music, newspaper clippings, adaptions and abridgments of the book, playbills, postcards, glass slides, stereograph photographs of scenes and characters from the book, tickets, a photograph of actors in blackface, paper doll cutouts, advertisements for performances of Uncle Tom's Cabin, advertisements using characters from the book, a makeup up guide for actors with extensive instructions for blackface and minstrel makeup, a children's play set composed of various fold-out paper buildings recreating the setting of Uncle Tom's Cabin, needlecraft patterns, vinyl records, wax cylinders, open reels, grooved discs, and films based on Uncle Tom's Cabin. \u003c/p\u003e\n","\u003cp\u003eRacist caricatures and stereotypical depictions of Black people are commonplace throughout this collection of ephemera. The reach of Uncle Tom's Cabin extended into the arenas of advertising, children's toys, literature, play productions, and household objects. \u003c/p\u003e\n","\u003cp\u003eIn addition to these materials is a folder of correspondence between Railton and other institutions to secure rights and permissions for the use of other institutions' materials for the website. \u003c/p\u003e","\u003cp\u003eBoston Globe contains cut-out paper dolls\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description","Scope and Contents"],"scopecontent_tesim":["This material contains racist imagery of Black people. This note aims to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials. ","This collection contains materials related to Harriet Beecher Stowe's novel \"Uncle Tom's Cabin\" predominately created between the late nineteenth and mid-twentieth century and collected and curated by Stephen Railton. Railton is a University of Virginia English professor whose work predominantly focuses on American literature. As part of his scholarship, Railton created a digital humanities project titled \"Uncle Tom's Cabin \u0026 American Culture,\" a multi-media archive exploring the cultural phenomena of \"Uncle Tom's Cabin\" published in 1852. The project website explores the precursors of the book, the book itself, its responses, and its popularity within the post-Civil War United States following the institution of Jim Crow Laws, particularly in the American South. ","\nThe materials collected by Railton include sheet music, newspaper clippings, adaptions and abridgments of the book, playbills, postcards, glass slides, stereograph photographs of scenes and characters from the book, tickets, a photograph of actors in blackface, paper doll cutouts, advertisements for performances of Uncle Tom's Cabin, advertisements using characters from the book, a makeup up guide for actors with extensive instructions for blackface and minstrel makeup, a children's play set composed of various fold-out paper buildings recreating the setting of Uncle Tom's Cabin, needlecraft patterns, vinyl records, wax cylinders, open reels, grooved discs, and films based on Uncle Tom's Cabin. ","Racist caricatures and stereotypical depictions of Black people are commonplace throughout this collection of ephemera. The reach of Uncle Tom's Cabin extended into the arenas of advertising, children's toys, literature, play productions, and household objects. ","In addition to these materials is a folder of correspondence between Railton and other institutions to secure rights and permissions for the use of other institutions' materials for the website. ","Boston Globe contains cut-out paper dolls"],"names_ssim":["Albert and Shirley Small Special Collections Library","Railton,  Stephen, 1948-"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"names_coll_ssim":["Railton,  Stephen, 1948-"],"persname_ssim":["Railton,  Stephen, 1948-"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":19,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-20T23:51:01.702Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1484"}},{"id":"viu_repositories_3_resources_1552","type":"collection","attributes":{"title":"Two African American women tintype","creator":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1552#creator","type":"document_value","attributes":{"value":"Max Rambod","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1552#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures 2.5 X 3.5 \". \u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1552#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1552","ead_ssi":"viu_repositories_3_resources_1552","_root_":"viu_repositories_3_resources_1552","_nest_parent_":"viu_repositories_3_resources_1552","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1552.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/190887","title_filing_ssi":"Two African American women tintype","title_ssm":["Two African American women tintype"],"title_tesim":["Two African American women tintype"],"unitdate_ssm":["c. 1865-1900"],"unitdate_bulk_ssim":["c. 1865-1900"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16796","Archival Resource Key","/repositories/3/resources/1552"],"text":["MSS 16796","Archival Resource Key","/repositories/3/resources/1552","Two African American women tintype","African Americans","tintypes (prints)","The collection is open for research use.","\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)","\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)","\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)","Sources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change","\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/","Tintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.","Tintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image. ","This collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures  2.5 X 3.5 \". ","The tintype was invented in 1855, one decade before the emancipation of all enslaved African Americans across the United States. The medium of the photograph and the women's dress roughly dates this to the mid-to-late nineteenth century. ","Albert and Shirley Small Special Collections Library","Max Rambod","English"],"unitid_tesim":["MSS 16796","Archival Resource Key","/repositories/3/resources/1552"],"normalized_title_ssm":["Two African American women tintype"],"collection_title_tesim":["Two African American women tintype"],"collection_ssim":["Two African American women tintype"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["Max Rambod"],"creator_ssim":["Max Rambod"],"creator_corpname_ssim":["Max Rambod"],"creators_ssim":["Max Rambod"],"acqinfo_ssim":["This collection was purchased from Max Rambod, Inc. by the Small Special Collections Library at the University of Virginia Library on  01 March 2023."],"access_subjects_ssim":["African Americans","tintypes (prints)"],"access_subjects_ssm":["African Americans","tintypes (prints)"],"has_online_content_ssim":["false"],"extent_ssm":["0.03 Cubic Feet One letter-sized folder"],"extent_tesim":["0.03 Cubic Feet One letter-sized folder"],"genreform_ssim":["tintypes (prints)"],"date_range_isim":[1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"bioghist_html_tesm":["\u003cp\u003e\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)\u003c/p\u003e\n","\u003cp\u003e\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)\u003c/p\u003e\n","\u003cp\u003e\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)\u003c/p\u003e\n","\u003cp\u003eSources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change\u003c/p\u003e\n","\u003cp\u003e\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/\u003c/p\u003e\n","\u003cp\u003eTintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.\u003c/p\u003e\n","\u003cp\u003eTintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)","\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)","\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)","Sources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change","\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/","Tintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.","Tintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image. "],"prefercite_html_tesm":["\u003cp\u003eMSS 16796, Two African American women tintype, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e"],"prefercite_tesim":["MSS 16796, Two African American women tintype, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures  2.5 X 3.5 \". \u003c/p\u003e\n","\u003cp\u003eThe tintype was invented in 1855, one decade before the emancipation of all enslaved African Americans across the United States. The medium of the photograph and the women's dress roughly dates this to the mid-to-late nineteenth century. \u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures  2.5 X 3.5 \". ","The tintype was invented in 1855, one decade before the emancipation of all enslaved African Americans across the United States. The medium of the photograph and the women's dress roughly dates this to the mid-to-late nineteenth century. "],"names_coll_ssim":["Max Rambod"],"names_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"corpname_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-20T23:54:43.019Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_1552","ead_ssi":"viu_repositories_3_resources_1552","_root_":"viu_repositories_3_resources_1552","_nest_parent_":"viu_repositories_3_resources_1552","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1552.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/190887","title_filing_ssi":"Two African American women tintype","title_ssm":["Two African American women tintype"],"title_tesim":["Two African American women tintype"],"unitdate_ssm":["c. 1865-1900"],"unitdate_bulk_ssim":["c. 1865-1900"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16796","Archival Resource Key","/repositories/3/resources/1552"],"text":["MSS 16796","Archival Resource Key","/repositories/3/resources/1552","Two African American women tintype","African Americans","tintypes (prints)","The collection is open for research use.","\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)","\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)","\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)","Sources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change","\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/","Tintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.","Tintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image. ","This collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures  2.5 X 3.5 \". ","The tintype was invented in 1855, one decade before the emancipation of all enslaved African Americans across the United States. The medium of the photograph and the women's dress roughly dates this to the mid-to-late nineteenth century. ","Albert and Shirley Small Special Collections Library","Max Rambod","English"],"unitid_tesim":["MSS 16796","Archival Resource Key","/repositories/3/resources/1552"],"normalized_title_ssm":["Two African American women tintype"],"collection_title_tesim":["Two African American women tintype"],"collection_ssim":["Two African American women tintype"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["Max Rambod"],"creator_ssim":["Max Rambod"],"creator_corpname_ssim":["Max Rambod"],"creators_ssim":["Max Rambod"],"acqinfo_ssim":["This collection was purchased from Max Rambod, Inc. by the Small Special Collections Library at the University of Virginia Library on  01 March 2023."],"access_subjects_ssim":["African Americans","tintypes (prints)"],"access_subjects_ssm":["African Americans","tintypes (prints)"],"has_online_content_ssim":["false"],"extent_ssm":["0.03 Cubic Feet One letter-sized folder"],"extent_tesim":["0.03 Cubic Feet One letter-sized folder"],"genreform_ssim":["tintypes (prints)"],"date_range_isim":[1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"bioghist_html_tesm":["\u003cp\u003e\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)\u003c/p\u003e\n","\u003cp\u003e\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)\u003c/p\u003e\n","\u003cp\u003e\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)\u003c/p\u003e\n","\u003cp\u003eSources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change\u003c/p\u003e\n","\u003cp\u003e\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/\u003c/p\u003e\n","\u003cp\u003eTintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.\u003c/p\u003e\n","\u003cp\u003eTintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)","\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)","\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)","Sources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change","\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/","Tintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.","Tintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image. "],"prefercite_html_tesm":["\u003cp\u003eMSS 16796, Two African American women tintype, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e"],"prefercite_tesim":["MSS 16796, Two African American women tintype, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures  2.5 X 3.5 \". \u003c/p\u003e\n","\u003cp\u003eThe tintype was invented in 1855, one decade before the emancipation of all enslaved African Americans across the United States. The medium of the photograph and the women's dress roughly dates this to the mid-to-late nineteenth century. \u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures  2.5 X 3.5 \". ","The tintype was invented in 1855, one decade before the emancipation of all enslaved African Americans across the United States. The medium of the photograph and the women's dress roughly dates this to the mid-to-late nineteenth century. 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