Thwarted in Texas: A Confederate Family versus a Union Naval Blockade

This post by Ervin “EJ” Jordan Jr., Research Archivist & Associate Professor at the Albert and Shirley Small Special Collections Library, concerns a recent acquisition, “Isabella, Jumain, Miriam and Rosa Letter,” March 7, 1865 (MSS 16853)

This document of historical rarity on a unique maritime aspect of the American Civil War was recently acquired by the Albert and Shirley Small Special Collections Library. It consists of March 7, 1865 letters of an anonymous family of four Confederate women Isabella and her daughters Jumain, Miriam, and Rosa (their surname unknown) to their husband/father in Havana, Cuba. Trapped by the Union Navy’s blockade of Galveston, Texas, their anxious departure attempts were a backdrop of Southern blockade-running activities (‘running the blockade’). Postal supply shortages and costs necessitated these letters’ single sheet of blue stationery; its 160-year survival implies receipt by the husband/father, interception by federal blockaders or never having been mailed. (Its cover envelope is missing). Extant letters by blockade runners’ civilian passengers are rare as mail confiscated by Union blockaders was usually destroyed.

Building a Blockade: Team Union Navy Blockaders

The Federal government imposed a naval blockade (April 1861-May 1865) of Southern seaports during the Civil War, patrolling 3,550 miles of coastline with a blockading fleet of 400 ships assigned to six geographically-based squadrons: Atlantic, North Atlantic, South Atlantic, Gulf, East Gulf and West Gulf. Captured blockade runners were taken to federal-held ports as war prizes, their cargo’s cash value shared among ships’ crews as prize money. Several seized vessels were commissioned for Union naval service. The blockade gave notice that foreign nations trading with the Confederate South risked confrontation with the United States. Although the smaller Confederate Navy (100 ships) never seriously challenged the Union Navy (700 ships) nor imposed its own blockade, Southern commerce raiders attacked Northern merchant vessels and whaling fleets in the Atlantic, Arctic and Pacific Oceans, decimating trade and increasing shipping insurance rates.

Breaking the Blockade: Team Confederate Blockade Runners

Southern blockade runners, privately or government-owned, were specially-built seagoing steamships constructed or purchased in Britian, Scotland and Ireland with large cargo holds and comfortable cabins. Known as “greyhounds of the sea” for their gray paint and swiftness, many bore colorful names like Let Her Rip, Rattlesnake, Banshee, and Vulture. One Confederate government-owned vessel, the Fingal (later the ironclad CSS Atlanta), returned from Europe in late 1861 with 10,000 rifles, 400 barrels of gunpowder, and a million bullets.

Blockade runners exported cotton for British textile industries, tobacco, sugar and rice to Europe in exchange for munitions, shoes, blankets, meat, coffee, medicines, and Bibles. They also carried civilian passengers and private and diplomatic mail to and from Europe and the South’s Atlantic and Gulf Coast ports (usually as night runs to avoid detection): Fernandina and St. Augustine, Florida; Beaufort and Wilmington, North Carolina; Charleston, South Carolina; Savannah, Georgia; Mobile, Alabama; New Orleans, Louisiana; Galveston and Brazos Island, Texas. Favored foreign ports included Liverpool (Great Britain), Bermuda, the Bahamas (Nassau), Halifax, (Nova Scotia, Canada), Tampico, Matamoras and Vera Cruz (Mexico), and Havana, Cuba. European nations were officially neutral but vessels owned or crewed by their citizens dominated blockade-running. After the war international arbitration (the Alabama Claims, 1869-1872) resulted in Britain’s compensating the United States $15.5 million for ‘damages’ caused by British-built Confederate ships.

Blockade-running was a business often financed by joint stock ventures euphemistically known as ‘exporting and importing companies’ whose investors reaped profits ten times their cargoes’ original value. Such voyages were inherently perilous–1,500 ships were run aground, captured or sunk, drowning crews and passengers. “King Cotton” exports slumped by 95 percent; the Confederate South’s cotton embargo strategy to pressure European intervention in the war failed, contributing to its ruined economy.

The golden age of blockade-running ended by the early spring of 1865 as the Union army and navy increasingly captured Confederate seaports; though blockaded, only Galveston remained under Southern control. Ironically, blockade runners’ successes may have helped strangle the blockaded Confederacy by increasingly trafficking extortionately-priced luxury goods like silks and champagne while Confederate armies suffered shortages of badly-needed military supplies.

The Letter(s): “We have had some adventures”

In the first of this anonymous family’s four March 7, 1865 Galveston letters, “Isabella” writes to her unidentified husband of her frustrated attempts to join him in Cuba via Matamoras, Mexico—a regular route for self-exiled Confederates. Several tries by an unnamed blockade runner [paddle steamer CSS Lark?] on which she and their three daughters booked passage, had been thwarted by Union ships [the West Gulf Blockading Squadron, 990 miles of the Gulf of Mexico coastline from St. Andrews Bay, Florida, to Texas-Mexico border] “since last Saturday night” (March 4). Their misfortunes (“We have had some adventures, without any Success or Advantages”) were compounded by seasickness, “loss of Sleep and great fatigue,” their ship’s running aground and frequent engine trouble, barely avoiding seizure. An incoming schooner, Charles Russel, was turned away because of “Yankees firing at her in great rate.” Isabella provides a clue of the family as Texans, remarking “when we arrived here 21 years ago” [1844] and concludes: “I must close now the Children want to add some[.] I wish you farewell again with the hope of Your Health and Happiness.”

First page of a handwritten letter in cursive from "Isabella" to her unidentified husband, March 7, 1865.

First page of a handwritten letter in cursive from "Isabella" to her unidentified husband, March 7, 1865.

The second letter, “Jumain” [eldest daughter?] to “Dear father,” offers sentiments similar to her mother’s. She relates another sailing attempt Sunday night (March 5) that only traveled a few hundred yards, stopped by engine troubles a half mile from the Yankees, forcing a return to Galveston. Another attempt was planned for that night (March 7) but she concedes the “Yanks blockade outside very effective, and no doubt we will have some trouble getting out.” She hopes for gainful employment in Havana “as this loafing about don’t Pay” and concludes “Bad news today if it comes true about Charleston having been taken.” [Confederates evacuated this South Carolina city in February 1865; Union troops subsequently burned it.]

Third page of a handwritten letter in cursive—this section includes a second letter from Jumain ("eldest daughter") to her "Dear father."

The third letter, “Miriam” [middle daughter?] to “Dear father,” complains: “We have not as yet departed for one reason or another, but if we do not get out tonight we will probably have to stay until next moon.” She says because “Mother” (Isabella) had already written about “our proceedings” it would only trouble him to repeat them.

The fourth and last letter, “Rosa” [youngest daughter?] to “my dear father” in childlike handwriting, is the briefest: “I bid You good bye again.” In a penciled postscript her mother Isabella reports interrupting Rosa’s initial use of ink because it was in short supply. (The first seven letters “my dear f” are in ink.) Isabella made her use a pencil “fearing she would [turn] the ink over” but Rosa apparently pouted at being denied an ink pen: “She does not like [using] the Pencil and therefore only bid you good Bye.”

Fourth page of a handwritten letter, containing two notes: first, “Miriam” [middle daughter?] to “Dear father" dated March 7th, 1865; the second, from “Rosa” [youngest daughter?] to “my dear father.”

The Confederacy never lifted the Union blockade, and the war ended a month after the family’s last known breakout attempt; subsequent efforts, if any, are unknown. On May 24, 1865, the South’s last blockade runner, CSS Lark (built in England for the Confederate government), departed Galveston for Havana. Three weeks later, June 19, 1865, during its postwar Union military occupation, Galveston became the birthplace of Juneteenth.

Select Bibliography

Dead Confederates, A Civil War Era Blog,“Builder’s Drawing of Wren and Lark.”

Heidler, David and Heidler, Jeanne, eds. Encyclopedia of the American Civil War: A Political, Social, and Military History. New York: W. W. Norton & Company, 2000.

Mr. Edwin W. Hemphill, University of Virginia Library “Bibles from Britain for the Blockaded Confederacy,” 29 May 1949, MSS 3224, Albert and Shirley Small Special Collections, University of Virginia Library.

Isabella, Jumain, Miriam and Rosa Letter, 1865, MSS 16853, Albert and Shirley Small Special Collections, University of Virginia Library.

The New York Times, February 2, 1865: “Correspondence of the Associated Press/HAVANA, Saturday, Jan. 28.”

U.S. Naval War Records Office, Official Records of the Union and Confederate Navies in the War of the Rebellion Series 1, vol. 22. Washington: GPO, 1894-1922.

Wikipedia, The Free Encyclopedia: “CSS Lark”; “Danish West Indies”; “History of Galveston, Texas”; “List of ships built by Cammell Laird”; “Postage stamps and postal history of the Confederate States.”

Wilson, Paula. St. Croix Landmarks Society, 2007, https://www.stcroixlandmarks.org/history/transfer-day/

Staff Spotlight: Molly Fair, Digital Preservation Analyst

Our staff spotlight series continues to shine! We’re featuring recent hires and new roles of staff in the Albert and Shirley Small Special Collections Library here at the University of Virginia. Today: meet Molly Fair, our Digital Preservation Analyst. 

Molly’s interest in film and independent media led her to pursue a career in archiving and preservation. She is passionate about community archives and documenting histories of radical social transformation. To this end, she co-founded Interference Archive in Brooklyn, New York, a social center and community archive which has been active for over a decade. She likes to spend time making art, gardening, and foraging mushrooms in the wilds of Richmond, where she lives.

Photo of Molly Fair, with face partially obscured by a giant mushroom

What was your first ever job with books or libraries?
As an undergrad student I worked at the Tamiment Library and Wagner Labor Archives at NYU. It contains a vast collection of radical history of the left and international social movements. As a student organizer I even contributed my own materials. It was the first time I understood that archives can come from the grassroots, which shaped my entire career and way of thinking.

What was the first thing you collected as a child? What do you collect now? (oh, c’mon, admit it).
The first things I collected were rocks and shells. Now I still collect rocks and shells! Little has changed. 

Molly's home collection, including rocks and shells.

Hopefully you’ve been roaming Grounds and Charlottesville a bit since your arrival. What’s your favorite new discovery other than Special Collections?
Amanda Greenwood gave me an amazing tour of the historical collections at the Health Sciences Library. It was wild to see the old iron lung they have in the reading room and the books of anatomical drawings.

Tell us what excites you about your job?
I like collaborating and working through complex problems. A lot of people don’t like being down in the weeds, but that’s where I’m most satisfied.

Tell us something about Special Collections or UVA that is different from what you expected.
UVA is such a huge institution, I was not sure if I’d feel lost in the mix. But I’ve met and connected with so many awesome people across departments..

If you could be locked in any library or museum for a weekend, with the freedom to roam, enjoy, and study to your heart’s content, which one would you choose?
Filmmaker Derek Jarman’s former home, Prospect Cottage in the UK. It’s on the Kent shoreline near Dungeness nuclear power station. The terrain is rugged, the weather inclement, and it’s very hard for plants to grow and thrive in that environment- but he still built this amazing garden intermixed with his sculptures. He moved there after he was diagnosed with HIV in the 80s, seeking a place to heal, grieve, rage, and keep creating art up until his death- which I think is really powerful. It is now run by an art trust and open to the public.

Staff Spotlight: Veronica McGurrin, Reference and Instruction Librarian/Archivist

Photo of Veronica in a white coat pointing to a building sign which reads, "No, I'm a Veronica"

Veronica McGurrin, Reference and Instruction Librarian/Archivist

Welcome back to our staff spotlight series! Over the next few weeks, we’ll catch up on featuring recent hires and new roles of staff in the Albert and Shirley Small Special Collections Library here at the University of Virginia. 

Veronica McGurrin (she/her) recently joined the Small Special Collections Library as a Reference and Instruction Librarian/Archivist in Public Services. Previously, she was the Librarian for Art and Art History at UNC Chapel Hill, where she received her Dual Master’s Degree in Art History and Library Science. Outside the library, you can find Veronica reading outside on her porch with her cat, Morty, and beagle, Woody.

What was your first ever job with books or libraries?
I started volunteering at my local library when I was 12 and pretty much never left! I volunteered with the children’s department, then worked at circulation through high school and college before starting my MLS degree at UNC. 

What was the first thing you collected as a child? What do you collect now? (oh, c’mon, admit it).
I think I am horribly boring and will say that books are really the only thing that I collected when I was younger (besides rocks + shells from the beach). My house is overflowing with books, and my partner and I have begun a (modest) record collection as well. I’ve had to restrict myself, but I’m thinking that zines are going to worm their way in as a new collection. 

Hopefully you’ve been roaming Grounds and Charlottesville a bit since your arrival. What’s your favorite new discovery other than Special Collections?
Carter Mountain! One of our first stops after the frantic haze of unpacking was to go to Carter Mountain for some peaches and a peach milkshake. 

Tell us what excites you about your job?
Currently, it’s just being able to explore the depth of the collection here.You could be working and staring at your computer for a few hours, and then pop down into the stacks and pick out a first edition Little Women or Gone with the Wind off the shelf. I’m currently scheduling the instruction sessions for the fall semester, so I am really excited to get started working with students in their exploration of the collection. 

Tell us something about Special Collections or UVA that is different from what you expected.
It is so much colder than I thought it would be!! Remember to bring your cardigan when coming to the Reading Room, even in the dead heat of the summer. 

If you could be locked in any library or museum for a weekend, with the freedom to roam, enjoy, and study to your heart’s content, which one would you choose?
The Isabella Stewart Gardner Museum in Boston! Ever since I was a kid, it has been my absolute favorite museum. For those who don’t know, Gardner imported a Venetian palace into Boston and turned her home into this magnificent museum, open to the public. Her portrait, by John Singer Sargent, is stunning! 

Staff Spotlight: Rosalind Calhoun, Processing Archivist

Welcome back to our staff spotlight series! Over the next few weeks, we’ll catch up on featuring recent hires and new roles of staff in the Albert and Shirley Small Special Collections Library here at the University of Virginia. Let’s go!

Photo of Rosalind Calhoun

Rosalind Calhoun, Processing Archivist at the Small Special Collections Library

As a Processing Archivist, Rosalind Calhoun works with the Patrick Oliphant Artwork and Papers, documents the history of enslavement at UVA for the Andrew W. Mellon Foundation funded project On These Grounds, edits and revises the Inclusion and Reparative Action Plan for Special Collections Technical Services, and improves discovery of collections. Previously, she was the Librarian and Archivist of the Woodrow Wilson Presidential Library and Museum. She has a MLIS from the University of Maryland and a MSc in Book History and Material Culture from the University of Edinburgh. Her interests include art, history, travel, and her Rottweiler, Gumbo (@gumbotherottie).


What was your first ever job with books or libraries?
Working in Special Collections and University Archives at the University of Maryland’s Hornbake Library as a graduate student. While I was there I was fortunate enough to work with several books from the Kelmscott Press, which inspired my love for all things William Morris.

What was the first thing you collected as a child? What do you collect now?
As a child of the late-90s and early-2000s: Beanie Babies. Now I collect antique wax seals, Japanese netsukes, stirrup cups, Hermès silk scarves, Christmas ornaments, taxidermy, oddities, and curiosities.

Hopefully you’ve been roaming Grounds and Charlottesville a bit since your arrival. What’s your favorite new discovery other than Special Collections?
I’ve lived in Charlottesville since 2020, and my husband and I love the North American Sake Brewery. We enjoy eating on their patio next to Ix Art Park with our Rottweiler, Gumbo. There are also so many fantastic places in the area to go antiquing!

Tell us what excites you about your job?
All the wonderful things in the collections I get to see and the histories I get to help make discoverable and accessible, so we can share that knowledge and wonder with the world. 

Tell us something about Special Collections or UVA that is different from what you expected.
I am surprised that the atmosphere in Special Collections is so down-to-earth. It makes being here a lot less intimidating! Everyone has been kind and welcoming.

If you could be locked in any library or museum for a weekend, with the freedom to roam, enjoy, and study to your heart’s content, which one would you choose?
The Morgan Library and Museum in New York. I think the East Room is one of the most beautiful library spaces in the world, and their collections are amazing. I would love to see the Black Hours in person.

New Exhibition: American Modernisms

American Modernisms: Modern Stories, Types, & Aesthetics, curated by the Spring 2024 graduate seminar ARTH 9545 led by Elizabeth Hutton Turner,  is on view through October 12, 2024 in the First Floor Gallery of Harrison/Small. Find our hours and directions online. 

Poster for Issuing Modernisms: Modern Stories, Types, Aesthetics featuring a repeating design of Gibson Girl caricatures

In the aftermath of the Civil War, great industrial, scientific, and technological changes fostered a revolution in print culture. Photomechanical reproduction and chromolithography disrupted conventional distinctions between fine and applied arts by introducing more direct graphic means of personal expression into image production of all kinds. By the turn of the twentieth century, printed images became ubiquitous and synonymous with modern life itself. The printed image was attuned to the fast-paced realities of mass production, marketing, and readymade products, as well as aspirations for new ways to live, work, and prosper in the modern world.  

Photo of First Floor Gallery exhibition space, showing half the gallery with objects in cases.

Issuing Modernisms: Modern Stories, Types, & Aesthetics is on view through October 12, 2024

During the spring 2024 semester, four graduate students enrolled in ARTH 9545 American Modernisms located and analyzed visual evidence of modern types and modern stories in a variety of print genres in the Albert and Shirley Small Special Collections Library. These included cartoons, caricatures, advertising illustrations for American periodicals, graphic novels, illustrated dust jackets, and playbills over a range of dates from 1900 to 1939. 

Exhibited are the results of their multi-faceted investigations. Andi Laska surveyed a run of Gustav Stickley’s The Craftsman magazine from 1904 to 1913, selecting images and articles advocating for social reform and the promise of the single-family home and garden whose furnishing combined preindustrial craftsmanship with machine production. 

Photo of installation of The Craftsman magazine issues.

The Craftsman: Aesthetics and Reform Through Design, curated by Andi Lanka

Matias Hendi located photographs of experimental productions starting 1916-1920 of the Provincetown Players in the archives of playwrights Eugene O’Neill and Susan Glaspell. The rudimentary sets, some designed by Marguerite and William Zorach, frame bold veristic characters such as Minnie Wright on trial for murder in Susan Glaspell’s Trifles or the conversation between the dying sailor Yank and his friend Driscoll in O’Neill’s East of Cardiff.

Photo of installation of archival materials related to the Provincetown Players

The Provincetown Players: The Life and Death of a Modern Theater, curated by Matias Hendi

Emmy Monaghan explored modern innovation through simplification and subtraction in Lynn Ward’s wordless novels such as God’s Man (1929), which tells of a Faustian bargain engaged by a cosmopolitan artist in exchange for a magic paint brush that leads only to corruption and despair. 

Photo of installation of wordless novels

The Wordless Novel, curated by Emmy Monaghan

Surveying illustrated advertisements in runs of popular periodicals such as Life, Collier’s Weekly, and The Saturday Evening Post, Leo Palma located modern attitudes towards gender, beauty, and sexuality in alluring characters such as Charles Dana Gibson’s Gibson Girl and George Leyendecker’s Arrow Collar Man. Similarly, Emmy Monaghan followed the careers of three female illustrators/cartoonists from the 1920s—Helen Hockinson, Barbara Shermund, and Margaret Trafford—whose work explored the outlook of urban middle- and working-class women for The New Yorker, Esquire, Life, and Collier’s

Photo of installation of archival materials related to the

The Leyendecker Man and Advertising Masculinity, curated by Leo Palma

Photo of installations of archival materials exploring women's role in both their work and as decoration through the lens of the Gibson Girl—featuring sketches, magazine covers, and magazine illustrations.

The Working Girl: Women Sketching a New Life, curated by Emmy Monaghan; The Gibson Girl: The New Woman and Male Anxieties, curated by Leo Palma

Analyzing Civil War-Era Correspondence and Portrait Photographs: Lesson Plans for the John L. Nau III Civil War History Collection

This post is by Elizabeth Nosari, Project Processing Archivist at the Albert and Shirley Small Special Collections Library, who is currently working with the William Faulkner Collection. In her previous role, she served as the Nau Project Archivist for the John L. Nau III Civil War History Collection.

Black and white tintype portrait of two Black soldiers in uniform seated; American flag in background. Tintype portrait is encased in ornate gold frame.

Tintype double portrait of two unknown soldiers, ca. 1861–1865. John L. Nau III Civil War History Collection, MSS 16459, box 166, tray 1, PT0321, Albert and Shirley Small Special Collections Library, University of Virginia.

Lesson plans for the John L. Nau III Civil War History Collection are now available to view and download directly from the collection’s finding aid, under the “External Documents” heading at the bottom of the page. The two lesson plans—Analyzing Civil War-Era Correspondence and Analyzing Civil War-Era Portrait Photographs—engage students with the two most significant record types in the Nau collection in terms of scope. These two mediums also speak to one of the greatest strengths of Mr. Nau’s collection: the documentation of personal, lived experiences during the United States Civil War, 1861–1865.

Yellow envelope with red stamp on upper left corner. Addressed to Miss Sarah A. Platt, Naugatuck, Conn.

Goodyear, Robert B., February 14, 1863. John L. Nau III Civil War History Collection, MSS 16459, box 43, folder 31, DL0006, Albert and Shirley Small Special Collections Library, University of Virginia.

The Nau collection letters, found in Series 1 and written by white men as well as white women, connected men away fighting to loved ones and business associates at the home front; letters reflect their role as wartime lifeline and contain exchanges of everyday news about families, friends, and finances. Letters also offer firsthand accounts of camp life, hospital conditions, battlefield experiences, and political views. The portrait photographs in Series 2—in early photograph formats, including daguerreotype, ambrotype, tintype, and carte de visite—visually capture and document their mid-nineteenth-century subjects, including their wartime roles as evidenced in uniforms, insignia, and weaponry. Digital facsimiles pulled from Series 1 and 2 of the collection are an important part of the lesson plans and encompass a selection of letters written by white men and women as well as portraits of soldiers, including white men, Black men, a Native American man, and a white woman.

Tintype portrait of Frederick L. Rainbow, ca. 1861–1865. John L. Nau III Civil War History Collection, MSS 16459, box 157, tray 2, PT0424.0001, Albert and Shirley Small Special Collections Library, University of Virginia.

The lesson plans engage with letters and photographs from the Nau collection as artifacts of history and material culture that served real and practical functions in the context of war. The reading materials and activities are designed for students to learn about the technologies that made letter writing and portrait photography possible on a mass scale in the mid-nineteenth century as well as their democratizing influences. As both practices increased in popularity over the course of the Civil War, literacy rates rose and a new, larger swath of American society was able to read and write. Portrait photography, which proliferated in part due to its convenience and affordability, allowed Americans across the social strata of the country to participate in portraiture for the first time. Mid-nineteenth century people could readily and self-consciously construct, capture, and memorialize their identities. They could also share their likenesses with friends and loved ones and mail these mementos back to the home front.

The Nau collection lesson plans invite students to read about Civil War-era letter writing and photographic portrait making, look at and analyze real-world examples, and create their own letters and portraits. Designed for grades 9 and up as well as grades K–8, they allow instructors to pick and choose which materials and activities best suit their students’ learning objectives.

Access the lesson plans and explore the John L. Nau III Civil War History Collection here.