THE TIMES
From Morgan’s Desk
by C. Morgan Grefe, Ph.D., Executive Director
Sometimes there are stories that stick with you. Maybe it’s the person involved or the place, but for whatever reason, the tale resonates. For me, such was the case with the story of Rowland G. Hazard and a free man of color named Rufus Kinsman.
It was nearly fifteen years ago, watching Carla Ricci’s documentary, Carolina, that I learned how these men’s lives intersected In this version of the story, we hear about Hazard, who was in New Orleans on behalf of his textile mill, seeking to purchase cotton. Ricci notes that this was a morally fraught endeavor as Hazard and his family, involved in the slave trade in earlier generations, had since become opposed to enslavement. Yet, there he was, purchasing cotton grown on plantations worked by the hands of countless enslaved men, women, and children. While there in 1841, he received a letter from a man named Rufus Kinsman, who hailed from Connecticut, but as of December of 1840, found himself wrongfully imprisoned as a fugitive slave in New Orleans.
Ricci goes on to unfold the story about which many of the details have been lost, perhaps because the men engaged were purposefully concealing their involvement. What we know is that Kinsman was imploring prominent men from the North to intercede in his case. We don’t know what Hazard did or who he contacted, but we do know that Kinsman was released and that Hazard saved Kinsman’s letter and the newspaper account of his release for the rest of his life, and they ultimately found their way to the Rhode Island Historical Society
It wasn’t until this past year that I learned more about this case when the team at The Historic New Orleans Collection (THNOC) asked to borrow Kinsman’s letter from us for an exhibition. Not long after that request, I
CHAIR
Roberta E Gosselin
VICE CHAIR
Winifred E Brownell, Ph D
TREASURER
Mark F. Harriman
SECRETARY
Peter J Miniati, CFP, JD
Michael L Baker, Jr CPA
Charlotte Carrington-Farmer, Ph D
Frank J. Faltus, MD
Joseph T. Galindo, Jr. JD
Denise P. Gallo, Ph.D.
Michael Gerhardt
Lori J. Lousararian, Esq.
Frank Mauran IV
Jeanette E. Riley, Ph.D.
Alicia J. Samolis, JD
Robert H. Sloan, Jr.
Luther W. Spoehr, Ph.D.
Lane Talbot Sparkman
Stanley Weiss
Paul R Williams
EX OFFICIO
Erin Stevenson
EXECUTIVE DIRECTOR
C. Morgan Grefe, Ph.D.
Charmyne Goodfellow, Deputy Executive Director for Finance & Administration
Richard J Ring, Deputy Executive Director for Collections & Interpretation
Sarah Jane Carr, Director of Advancement & Public Engagement
Anne Conway, Director of the Museum of Work & Culture
On this issue’s cover: Map of the Seat of War in Virginia, Maryland, &c. (New York, 1862) Copy owned by Elisha Hunt Rhodes (18421917), RHiX174918A.
The introductory panel of Captive State: Louisiana and the Making of Mass Incarceration at The Historic New Orleans Collection
told me a bit about their new exhibition, Captive State, in which the letter would be featured, and introduced me to the project’s curator, Eric Seiferth.
Eric shared with me the fascinating story of their exhibit and the seven years they had spent in development. Since then, he also told me the role Kinsman’s story played in their exhibition:
For our narrative, the Kinsman story helps illustrate the role the police jails played in New Orleans between 1805 and the Civil War. These were sites of extra judicial detainment meant to police the lives and movement of enslaved people, however they often also imprisoned free people of color, such as Kinsman, who often ended up detained for months (or years) at a time, forced to labor on chain gangs 6 days a week and without a clear path or process to release. The specific targeting of enslaved people, and free people of color, during an era that also saw a dramatic increase in incarceration rates in the city marks a clear moment of mass incarceration in New Orleans that parallels much of
what we see in the late 20th century when Black Louisianans continue to be overrepresented in prisons and jails. Kinsman’s letter is a unique document, a rare example of personal testimony from within a police jail, that gives the visitor a window into the personal experience of someone incarcerated there at that time. It’s an incredible document and we ’ re very proud to be able to display it in Captive State
Even though I have spent many years working to understand the history of incarceration in the U S , the particulars of what was happening in the Deep South in this time are always startling and deserving of far more attention for both academic and general audiences. THNOC’s exhibition is a powerful and deeply important intervention in sharing this story with the public.
The exhibition was up through February 16, but in case you weren’t able to visit, here’s a bit more about how Kinsman found himself incarcerated in Louisiana as a fugitive slave, despite the fact that he had been born into freedom in Connecticut.
Kinsman, like hundreds of men and women of color every year, was being imprisoned in a New Orleans jail, incarcerated for supposedly being a fugitive slave–even when he, like most of the others, carried with him documents stating his status as free According to John Bardes, a PhD Candidate at Tulane, Louisiana was not alone in finding ways to imprison these free sailors, “Beginning with South Carolina in 1822, southern states passed draconian laws, called Negro Seamen Acts, which mandated the incarceration of all free black sailors while their ships were docked in port. By the 1840s, according to one contemporary estimate, Charleston, Savannah, and Mobile each jailed more than two hundred free black sailors each year.”
Louisiana’s approach was a bit different in that they held the sailors as fugitive slaves, and in 1842, states Bardes, “the Louisiana Legislature restructured state procedures for incarcerating free black sailors with the passage of ‘An Act more effectually to prevent free persons of color from entering into this state’ This new law acknowledged that free black sailors were free, requiring their incarceration in Orleans Parish Prison not municipal slave prisons while their ships were docked in port. The new law also prohibited all free
Letter to Jacob Barker from Rufus Kinsman
blacks born out-of-state from residing in Louisiana, unless they had moved to Louisiana before 1825 and had formally registered their residency. Non-native free blacks who did not meet these residency requirements, and who failed to emigrate, were to be sentenced to hard labor in the state penitentiary for five years. Any formerly incarcerated illegal resident who still failed to emigrate, or who subsequently reentered Louisiana, was to receive a life sentence.”
These specifics of Kinsman’s story were new to me. I knew the big picture about how states found loopholes and created their own laws, but the extent to which this happened and how it was manifested in New Orleans was particularly horrifying Visitor’s to Captive State will learn what happened to Kinsman, including the fact that he left New Orleans and headed to England, a piece of the story that we didn’t learn in our Rhode Island story
It’s not surprising that this story has stayed with me for a decade and a half. It is an outrageous story of the miscarriage of justice for one man, but indicative of so many other horrors. It shows the interconnectedness of Northern industry and enslavement in the Cotton South, and so much more. The drama inherent in the story is both individual and systemic.
And yet it is also something more, it is the story of how this one act of writing a letter has meant that nearly 180 years after the fact, the people of New Orleans and Rhode Island are connecting yet again over the fate of this man: Rufus Kinsman When he wrote to Hazard, he was grasping for any way out of the horror in which he found himself, but we have no way of knowing if he thought about his legacy
I don’t know what happened to him personally. Did he survive the journey to England? Did he marry? Have children? I would love to know, if only so I could tell them that through his actions, he did more than gain his rightful freedom, in fact he continues to teach people about the plight of wrongful imprisonment, racism, and injustice. His words mean that his fight continues to inspire us and connect us to others over time and space and to remind us that individual actions matter greatly.
The Rufus Kinsman letter displayed at The Historic New Orleans Collection. The object interpretation reads:
On December 24, 1840, Rufus Kinsman, a free Black sailor on shore leave in New Orleans, was set to return home to Boston when police suddenly arrested him under the charge that he was a fugitive slave The police ignored Kinsman’s identity papers proving his status as a free man and locked him in a police jail For 13 months, Kinsman was whipped and forced to labor on a city chain gang
Kinsman managed to smuggle letters to a lawyer working to help release men like himself mistakenly imprisoned as fugitive slaves A full seven months after this letter, the police released Kinsman into the custody of a ship captain headed towards Liverpool.
Want to learn more?
View clips or read more about the Carla Ricci documentary Carolina
Read John Barde’s article “Sailing While Black”
Education Department
EnCompass, our digital history textbook, is in the process of some exciting updates! In response to the adoption of the State’s new social studies standards by the Rhode Island Department of Education, Encompass is being revised to increase accessibility for the fourth-grade curriculum, which will focus on Rhode Island history. In addition, new modules will soon be added on Jewish history in Rhode Island, Providence’s Chinatown, and the history of natural disasters. Look for these in 2025!
Museum of Work & Culture
The Museum of Work & Culture is offering a new program called Museum on the Road, which brings the museum tour experience to classrooms and senior living facilities Visits feature a museum educator leading participants on an interactive presentation using a mix of photos, videos, and object-based learning with artifacts brought from the Museum. Presentations at senior living facilities are one hour, while classroom visits can range from 45 to 60 minutes. Presentation options include the Immigration Tour, which explores the history of
immigration in Rhode Island with a focus on push and pull factors and the “Labor History Tour,” which shares the history and effects of the labor movement and labor unions in the Blackstone Valley. To learn more about this program contact MoWC Family & Youth Education Coordinator Rachael Guadagni.
John Brown House Museum
With reinterpretation at the John Brown House Museum in progress, the JBHM team has updated the museum’s educational programs with a new focus on Rhode Island’s role in the growing global world of the 1700s and 1800s. Using our new exhibits, students will engage with the themes of trade, enslavement, and the resources available to all Rhode Islanders. Students will have the opportunity to explore the state’s lasting material culture, to think more critically about our shared pasts, and to connect our history to our current lives
Clockwise from top left: Students on a walking tour at John Brown House Museum; RI History Day awardwinning students at Spring Forward; RI History Day 2024 at CCRI; Rhode Island students at National History Day in Maryland; Students on a walking tour at the Museum of Work & Culture
OneRing at a Time
In the Spring of 2023, the City of Woonsocket cleared a section of Cass Park to make way for a new football field. Joe Nadeau, then a reporter at The Woonsocket Call, was on site while City workers cleared away vegetation and several old oak trees.
Joe didn’t miss a beat and came to see me at the Museum to share the idea of preserving a crosssection of a tree. Referred to as a tree cookie, he suggested it could be used as an illustration of the history of the City of Woonsocket I loved the idea and immediately called Woonsocket’s Director of Public Works who agreed to send a truck containing three large stumps to the Museum.
The work to create the Museum’s latest installation began, led by the father-son team of Chuck Bessette, the Museum’s Head of Maintenance, and Jared Bessette, a Social Studies major at Rhode Island College. Chuck set about researching the best way to cure and preserve the tree cookie, while Jared researched the events that took place during the tree’s life.
Jared’s first task was to estimate the age of the tree by counting its rings He learned that each light ring represents a season of growth, like spring and summer, and each dark ring shows a season of hardening, like fall and winter Using this method, Jared dated the tree’s sprouting to 1875 during the presidency of Ulysses S. Grant.
Certainly, many important events took place during this tree’s life, but the Museum team decided to highlight 15 major historical happenings -natural, industrial, and politicalselected from Jared’s research.
While the tree cookie was aging in the proper environment, Chuck proceeded to design an interactive station where the tree cookie would be permanently displayed With his ingenuity and talent, Chuck was able to wire small lights through the tree cookie, positioning one light for each event on its proper ring
Each time a visitor pushes a button on the exhibit panel, a light goes on showing when the event took place within the tree’s life, and an AI voice will give visitors additional information on each event.
"Working on this project with my son was a great opportunity to combine his love for history and my love for design and fabrication,” says Chuck. “Both of us were born and raised in Woonsocket, so it was exciting to be able to honor our city's past and showcase it in a unique way through the life of this oak tree "
Visitors to the Museum can now view and experience this beautiful new addition located within our Flowing through Time exhibit, on the
Chuck Bessette installs the tree cookie at the MoWC
Recent Acquisitions at the Robinson Research Center
TwoElishasin theAmericanCivilWar
By: Richard Ring Deputy Executive Director of Collections & Interpretation
The bulk of new material that the RIHS accepts into the collections every year are gifts, but very occasionally we are also able to purchase items from the open market. We are offered all manner of material, from furniture and portraits to diaries, letters, and business ledgers Generally, the reason behind our acceptance is to build on existing strengths and after more than 200 years of collecting, we have many, many strengths. One of these strengths is the documentation of Rhode Islanders who served in the Civil War, and we are delighted to report the gift and purchase of materials related to two of these soldiers both named Elisha.
During the years of the war (1861–65), Captain Elisha Dyer (1811-1890) was in his 50s, while Elisha Hunt Rhodes (1842–1917) was in his 20s. Dyer had served during the Dorr Rebellion (1842) as Adjutant General and later as the 24th Governor of the state (1857–59). His son (also Elisha!) had been disabled in service, so the father took his place Meanwhile, Rhodes was working as a harness maker when he enlisted in 1861 as a private in the Second Regiment of volunteer infantry. He was promoted quickly to regimental adjutant, captain, and finally colonel, serving at Bull Run, Antietam, Fredericksburg, and Gettysburg, among other battles.
The first group of documents includes an enrollment book for Company B of the 10th Rhode Island Volunteer Infantry Regiment, commanded by Captain Dyer. This company was composed of about 125 students from Brown University and Providence High School. There is also an alphabetical register of enlisted and daily guard reports for the company during their posting in defense of Washington DC in 1862 These were donated by Mr and Mrs William H Dyer Jones and will join the Civil War Military Papers (Mss 673)
The second group consists of an 1862 “Map of the Seat of War in Virginia, Maryland, &c.” (pictured on this issue’s cover) and pages from a pocket diary written by Rhodes. One sample
entry reads, “Nov. 9th 1862. Genl McClellan took leave of the Army of the Potomac being superseded by Genl Ambrose E. Burnside.”
The RIHS purchased this lot of material at auction, and it came with a bonus a book of tactics (now quite rare) published in 1863 “for use of the colored troops of the United States Infantry ” The diary and the map will join the Elisha Hunt Rhodes Papers (Mss 1089), donated in 2002 by his great-grandson, Robert Hunt Rhodes. The tactics guide will join the library’s collection of reference books.
U.S. Infantry Tactics...For the Use of the Colored Troops of the U.S. Infantry. (New York, 1863). Copy found on the Battlefield at Petersburg, Virginia, by Captain Nevitt, 5th Wisconsin, owned by a sergeant in R.I. 2nd Infantry.
TheGirlofMyDreams, Sylvia
A 19th Century Life
By: Elizabeth Sulock Associate Director of the John Brown House Museum
Stacy Renee Morrison is a New York-based photographer who often forgets which century she lives in Her work, which merges a 19th century aesthetic with a modern medium, blends past into present using photography to create what one can’t see. Her art, a time machine of sorts, is not foreign to the Rhode Island Historical Society nor the John Brown House. Over 15 years ago, she created striking visuals at JBH, including a piece on the staircase, that pulls the viewer through time into the early Federal era.
As the John Brown House Museum staff work towards the full reinterpretation of the museum - transitioning from a traditional house museum into galleries featuring recent scholarly research that places Rhode Island in its global contexts up to 1860 – Stacy’s show is a creative departure from this evolution The intent, according to Richard Ring, Deputy Executive Director for Collections and Interpretation, is to “feature how an artist can interact with, be moved by, and create art in conversation with history and the surviving objects that represent it.”
The Girl of My Dreams, Sylvia: A 19th Century Life, tells the micro-history of a Victorian woman’s life uncovered through Stacy’s meticulous research and recreated with her artistic vision.
The story that inspired The Girl of My Dreams, Sylvia is just as fascinating as the exhibit itself As fate would have it, Stacy encountered a 19th century trunk discarded on a New York City street, which led her on a 20-year journey Filled with sentimental keepsakes, the trunk contained calling cards, photographs, paper dolls, and even an invitation to an 1860 ball in Boston honoring the Prince of Wales. In time, Stacy discovered that the trunk belonged to a woman from a prominent Rhode Island family named Sylvia DeWolf Ostrander (1841-1925).
“I study the personal effects of women from the past with the attentiveness of a detective, caution of a conservator, engagement of a fiction writer, and the curiosity of an artist,” Stacy explains “I imagine backwards, an apparition in a bygone era ” The Girl of My Dreams, which will be on display through summer 2025, unites these themes Visitors will discover the story of Sylvia Ostrander’s life through the trunk and its contents alongside objects from the RIHS collection and several 19th-century gowns.
When not thinking about the 19th century, Stacy teaches in the MFA Visual Narrative Department and BFA Photography and Video Department at the School of Visual Arts. Her work pertaining to Sylvia inspired her silkscreen clothing line, Sylvia, which features images of Victorian women and related ephemera. To learn more about Stacy Morrison, please visit her website and to view the new exhibit visit the John Brown House Museum during our winter hours Admission is always free for members
All imagery courtesy of Stacy Renee Morrison
Opposite page: “Sylvia”
Bottom left: “October 18, 1860”
Background: “Henceforth and Always Precious”
Get to Know: The John Brown House Museum Team
The John Brown House Museum is revitalizing. From the new trees, pathways, lights, and panels on the Great Lawn to the reinterpretation of the interior with new exhibits like From Forest to Foyer: Rhode Island and Mahogany in the 18th Century and Dark Work: The Business of Slavery in Rhode Island As part of this evolution, we have also created a new position: Associate Director of the John Brown House Museum In June 2024, we welcomed Elizabeth Sulock to that role. She, along with her team of Museum Manager Kelvis Hernandez and Museum Assistant Lillian Young, are bringing museum visitors on a new journey focusing on Rhode Island’s global influence from its founding to 1860.
The John Brown House Museum is in a period of transformation. What are your roles in the reinterpretation of the museum?
Elizabeth Sulock (ES): As the Associate Director for the John Brown House Museum, I’m responsible for implementing the RIHS’s strategic plan for reinterpretation, which includes project managing the new exhibits, developing special events correlating to the exhibits, and drawing in audiences to raise awareness for the site.
Kelvis Hernandez (KH): The front-facing staff’s responsibility is engagement and orientation Our
role is to ensure that all of our visitors get an amazing experience through thought-provoking conversations and perspectives on history
Lily Young (LY): Reinterpreting an entire museum is a huge undertaking, and one that requires every department to rise to the challenge. From a visitor experience perspective, each new exhibit shifts the conversation of the whole museum It’s exciting, because it means we’re constantly learning and adapting.
The scope of the museum is widening significantly from the specific story of the Brown
Photo credit: Jordan Mernick
family. Why is this change in perspective important now?
ES: The JBMH reinterpretation plan is a unique and creative approach to utilize a house museum space. It provides a dynamic way for our organization to leverage scholarly research straight from the RIHS archives and present that research in a way that’s accessible to visitors. Once completed the site can serve as a model for other historic sites and house museums who want to refresh the interpretation presented in their museum setting
KH: This new shift in the focus of our interpretation is allowing us to do so much more as we work to engage the visitors of our museum.
LY: I think it’s a natural progression in a lot of ways Rhode Island history is made up of so many voices, so many perspectives, and so many interconnected stories.
How is the new approach to the museum’s content changing the way school tours are brought through the museum?
ES: We are hiring four part-time Museum Educators who will support school tours and other education-related events during the coming school year. The team will serve as education-focused guides and professionalize the tour experience for students and educators alike
KH: Our school programs are made to be dynamic. As we shift the main focus of the John Brown House Museum, our programs can shift to the needs of our students In the period rooms of a historic house, conversations tend to focus on who used the spaces, including the servants or any enslaved persons. Our new rooms help visitors think more critically about Rhode Island’s larger role in global events.
LY: The school programs have changed for two reasons: one is the new exhibits, and the other is the new Rhode Island state standards for social studies, which are essentially a standardized curriculum outline for each grade level. Our programs weren’t far off from the new standards or the new exhibits, so it was mostly a matter of shifting and zeroing in on certain topics. They were great programs to begin with, and they’re even stronger now.
What are your hopes for the museum’s reinterpretation?
ES: By offering new exhibits and unique programs, such as “Saturdays in the 1700s,” we hope to see repeat visitors who become better acquainted both with the John Brown House Museum and the Rhode Island Historical Society.
KH: The reinterpretation is exciting. Not just because we can see the structure in a new light, but because we can highlight the histories that affected everyone who called Rhode Island home.
LY: Although our entire museum object collection lives at the JBH, most of it has never been on display here. This reinterpretation is an amazing opportunity for us to do more and to be more, and to show you more than you’ve ever seen before.
Want to learn more?
Exhibit information about From Forest to Foyer: Rhode Island and Mahogany
Exhibit information about Dark Work: The Business of Slavery in Rhode Island
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Mr Paul R Williams
$100-$499
Brule, Nault & Hainley, Attorneys at Law
Consulate General of Canada
Ms. Katherine R. Epp
Mrs. Trudy Lamoureux
Marcum LLP
McGee Re/Max Properties
Northern RI Chamber of Commerce
Sheahan Printing
The Villa at St-Antoine
Wealth Management Resources, Inc
In-Kind Donations
Adeline’s Speakeasy
Bottles Fine Wine
CCRI-Knight Campus
Coffee Connection
Cozy Catering
Dave's Marketplace
Ms Donna Montequila
Dunkin Donuts
Elaine's Flowers
iHeart Media
Kay's Restaurant
Li'l General Store
Mrs. Maureen Sansonese and Mr. Rick Dufresne
Narragansett Brewery
Newport Restaurant Group
Olly's Pizza
Park Ave Pizza
Pomodoro and Ciro's Restaurants
Preservation Society of Newport County
RJ Hill Liquor
RI Monthly
RISD Museum
River Falls Restaurant
Shark's Peruvian Cuisine
Somo Kitchen & Sushi
Stadium Theatre
The Industrious Spirit Company
Tomaquag Museum
Trinity Repertory Company
Veterans Memorial Auditorium
Wright’s Dairy Farm & Bakery
Ye Olde English Restaurant
Donors to the Collection
Anonymous
Cheryl Babiec
Phoebe S Bean
Sister Barbara Bir
John Biasuzzi
Pat Brady-Kempf
Les Burson
Jackie Castle
Lydia Carswell
Marcia Carr Carvalho
Inge Chafee
Kemberly Core
Carole Conrad
Cranston Public Library
William Curtis
Frederick Day
Russell DeSimone
Carolyn Ives Dingman
Nicholas Dominick Etcheverry
Paul Fernandes
Howard E. Fletcher
Paul Friday
Bryan Fridette
Robert A Geake
Glenn Goodale, in Honor of Louise Thurber Lee
Dror Goldberg
Alma Felix Green
The Handicraft Club
Eric Hado
Truli Halpern
Mr & Mrs William H Dyer Jones Junior League of Rhode Island
Paula Kandarian
Deborah La Perche
J. Stanley Lemons
Nancy Spencer Lieber
Janet Lovegreen
Ellen Washburn Martin
Peter Meggison & The RI Postcard Club
Jess Milton
Scott Molloy
Gretchen P Nichol
Amanda Aldrich O'Bannon
Paul Oeser
Ray Owen
Jerrad P. Pacatte
Beatriz Carolina Peña
Lisa Carlson Penta
Harriet Platt
Kim Pristawa
Public Archaeology Laboratory
Susan J Rabick
Mark W. Rechter
Deborah Richards
John K. Robertson
Alvin Schaut
Anne Schreck
Scituate Historical Society
Katharine Small, in Memory of Sally Small Society of Mayflower Descendants of RI
Luther Spoehr
Norma Sutcliffe
Dr. Paul M. Taylor
Wardwell Foundation
Randall Weill
Winter Pink Films
The Woonsocket Call
Michael Zuckerman
Tennis players, B&W Negative, 1910-1915
PortraitofTinaChernickbyH B Tuck, 1945
CommemorationofThomasWilson Dorr,1854 OlneyBallouCollection
