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[African American] [Photography] [Jim Crow] Strohmeyer & Wyman; Underwood & Underwood; Keystone View Co. Stereoview photographs, 1899 to 1905 document the mass production of racialized imagery of African American life in the post Reconstruction South and provide direct evidence of how Black labor, family, and domestic life were visually constructed for white audiences during the rise of Jim Crow segregation. The images depict cotton field labor, cabin interiors, and staged family scenes, accompanied by captions that employ dialect and narrative framing aligned with plantation mythology and paternalistic ideology. Produced for stereoscopic viewing and wide commercial distribution, the set supports research into visual culture, racial representation, and the dissemination of white supremacist narratives through popular photography at the turn of the twentieth century. Southern United States, primarily Georgia, 1899 to 1905. Group of 9 stereoscopic photographs mounted on standard stereoview cards, most measuring approximately 3.5 x 7 inches, including one hand colored example, with publisher and photographer information printed in margins. Titles include "Cotton is King" (two versions, one hand colored), depicting African American men, women, and children laboring in cotton fields; "Uncle Tom and Little Eva" (1899), showing an elderly Black man seated with a white child in a staged domestic scene; "Blackberries and Milk," portraying a Black woman serving a white child inside a log cabin; and a family interior captioned "De breed am small but de flavor am delicious," depicting a group gathered around a modest table in prayer. Additional cards employ dialect captions such as "We Mary! Sut 'siah! I married young, but I be de mother ob twins," reinforcing caricature through language. One image depicts a white woman in blackface engaged in a commercial transaction, extending the archive's documentation of racial performance. The stereoview format allowed such images to circulate widely in educational and entertainment sets, embedding racialized representations of African American life within domestic viewing practices. These photographs coincide with a period marked by disenfranchisement, racial violence, and the institutionalization of segregation across the South, yet they present a curated vision of labor, domesticity, and social order that omits these conditions. By pairing visual composition with captioned dialect, the images construct narratives of contentment, simplicity, and subordination that aligned with dominant racial ideology. Clean prints with strong stereoscopic clarity; one card with corner crease, others with minor edge wear and light rubbing. Overall very good condition. A cohesive example of early twentieth century photographic media used to shape and reinforce racial perception in the United States.
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