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This early engraving of the Reading of the Emancipation Proclamation by James W. Watt, published in Hartford in 1864, is one of the few contemporary prints created shortly after the Emancipation Proclamation that portrays enslaved individuals receiving the news of their liberation.
Based on a painting by Henry W. Herrick, this evocative engraving captures a powerful moment of transition and hope, depicting a slave family and visitors gathered in a modest cabin as a Union soldier reads the Proclamation from a newspaper. The scene is illuminated by a boy holding a torch, casting light on the newspaper and the faces of the occupants, whose reactions range from astonishment and jubilation to uncertainty and prayerful reflection.
When issued, the engraving was accompanied by a pamphlet, rarely found with surviving examples, that included a detailed “Description of the Engraving.” This description provided identifiers for the individuals in the scene, including the grandfather and grandmother, the parents, their children, and a young house servant who was visiting the cabin at the time. The description also emphasized the authenticity of the setting, noting elements such as the stone chimney, ladder to the garret, rough cradle, and pieces of sugarcane and cotton, which collectively presented an accurate portrayal of the domestic life of enslaved people.
Lucius Stebbins, the publisher of the print, highlighted its significance in an advertisement published in Life and Death in Rebel Prisons. Stebbins presented it as a “new national engraving,” noting its value as an illustration of “a great event in the world’s history.” He framed the print as a celebration of the Union soldier’s pivotal role in bringing the news of liberation to the enslaved, without whom, he argued, the Emancipation Proclamation might have remained ineffectual. The engraving was described as a deeply Christian and humanitarian image, suitable for display in homes across the nation.
The engraving’s sympathetic depiction of African Americans stands out in the context of its time. While many portrayals of African Americans in 19th-century art were derogatory or dehumanizing, Herrick’s work, along with its presentation by Stebbins, offered a dignified and humane perspective. It aligns with sentiments expressed by Frederick Douglass, who commended art that depicted African Americans with respect and humanity.
Henry W. Herrick (1824–1906) was a prominent American wood engraver, book illustrator, watercolorist, and art educator. Born on August 23, 1824, in Hopkinton, New Hampshire, Herrick was the son of Israel E. Herrick, a merchant and lumber dealer, and Martha Trow Herrick, an amateur painter who fostered his early artistic talents. By the age of eight, he was creating detailed paintings of flowers and birds under his mother’s guidance. The family lived in Concord and Nashua before settling in Manchester during Herrick’s teenage years.
At 20, Herrick moved to New York City to study at the National Academy of Design. He began working as an engraver for major publishers, creating book illustrations and reproducing the works of noted painters. In 1852, Herrick joined the newly founded School of Design for Women as a teacher, later becoming its principal. Herrick left the school in 1858 to focus on his engraving work and became a leading contributor to Harper’s Weekly during the Civil War.
In 1865, Herrick returned to Manchester to care for his aging mother. He continued his engraving work for publishers in New York and Boston, ans was a founder of the Manchester Art Association.
In 1875, Herrick turned to watercolor painting. His works often depicted the serene landscapes of New Hampshire, featuring lively rural scenes animated with people driving carriages, rowing boats, herding cows, or strolling through the countryside.
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