So happy to announce i’ll be talking about my recent publication in the Winter 2025 issue of the Afro-American Historical and Genealogical Society Journal, “Not Yet Completely Free: Gradual Emancipation and the Family of Moses Williams, 1776-1833.”
I’ll discuss the 1780 Gradual Emancipation Act in Philadelphia, part of the lesser known history of Northern slavery. By tracing the family histories connected to the silhouette artist and museum artisan and assistant Moses Williams (1776-ca 1833) one can catch sight of the challenges experienced by African descended and multiethnic Free People of Color in their emancipation process in this city. Williams was among the children of John and Phylis Williams, a couple held in bondage until 1786. He worked in the Philadelphia Museum of Charles Willson Peale from his childhood to adulthood and was manumitted about 1802.
Shamele Jordon will present on the heritage of Green Book locations in New Jersey, and Mary Belcher and Guy Weston will discuss recovery and reclamation of Black cemeteries in Washington DC and Flushing New York.
Silhouette of Moses Williams, Cutter of Profiles, 1802. Library Company of Philadelphia
So happy to share that “Not Yet Completely Free: Gradual Emancipation and the Family of Moses Williams, Philadelphia 1776-1833. ” is in the latest issue of the AAHGS Journal!
Volume 43 Winter Edition of the AAHGS Journal is available via Amazon. Editor Guy Oreido Weston brought together articles that span several states. The issue delves into family and local histories, the recovery and reclamation of Black cemeteries in Washington DC and New York.
Not Yet Completely Free: Gradual Emancipation and the Family of Moses Williams, Philadelphia 1776-1833.
Moses Williams is a paradigmatic figure for the 250th Anniversary of the founding of our country. Born into slavery in 1776, and eventually freed by 1803 under the terms of the 1780 Gradual Emancipation Act, Williams was the first Black museum professional. For a time, he owned property and a house at 10 Sterling Alley; he had a wife and at least four children. Raised in the museum, in proximity to the Peale children, Williams learned how to read, how to prepare birds and other animals for displays. Eventually he cut silhouettes there using a patented machine. In 1810, he considered his role important enough to tell the census enumerator that he ‘attended at the Museum’.
Now in 2025, an amazing group of historians, curators, writers and artists from different institutions & independent professionals are focusing on Williams’ life and craft. This is a sea change from the shock I experienced listening to an exasperated curator ask why look at him? in the midst of the Peale exhibition touring nationally some two decades ago. I published my first article in Museum Anthropology detailing what I learned about Williams, who also figured in my dissertation. This built on then-current Peale scholarship on the audience for Peale’s Museum. Black history did not figure into the history of museums, even though to function, some institutions were dependent on the labor of enslaved and indentured persons. Similar to Monticello, the Peale project suffered from a segregated history that has changed since the late 1990s.
Since then, Williams has been recognized as an artist and artisan in his own right, part of a growing community through exhibitions organized by Gwendolyn DuBois Shaw and other scholars. There is also an initiative by Faye Anderson, Director of All That Philly Jazz; she also serves on the Advisory Council on Historic Preservation, and plans to have him remembered with a historical marker where his former home stood, to be featured in future walking tours of the city.
Williams is a historical figure I can relate to. He knew a lot about many things, was literate and skilled with his hands. When I went to museums I found myself connecting to the people who worked there cleaning, protecting and maintaining the collections, and so I see him as a kindred spirit, an ancestor who deserves to be taken seriously. To see the constructed nature of the display, its arrangement, the acquisitions taken as booty in wartime, silenced behind display labels shows the larger threads that colonization wove to establish particular kinds of truth. There was a silencing or veiling of the destruction of Native settlements and the genocide that accompanied these early campaigns, also tied to an economy built on the backs of enslaved people. Despite these challenges, Williams’ presence is there, part of a larger story of this nation.
Beyond the display were questions of family. Even with what was reconstructed and recently discovered, there remain questions and the hope of finding more fragments to pull together. I’m part of a group that shares these new finds. Public historian Dean Krimmel working with The Peale found a probate file showing that he died 18 December 1830; of three daughters, two, Louise and Sarah are named, his son Carl became Charles. Now we know he had four children with Maria– whose surname remains unknown. The likelihood of finding descendants today increases with these additional names.
Descendants of John & Phillis Williams- The Williams Family Tree
But back to Williams and his family. Their experiences resonate, as they lived under the threat of kidnapping and forced deportation, the result of the constitutional amendment passed in 1793– the Fugitive Slave Act. They did everything to insure their family’s survival, even if that meant separation by indenture. My research uses details from the Pennsylvania Abolition Society Papers, church records, the Peale Papers, newspaper accounts, census records and other items to reconstruct two generations of the Williams family. My hope is that this reconstruction makes it possible for descendants to connect.
Hope, resilience and faith in a better future drove their choices. To face the future despite the challenges is what defines the Williams’ family history.
This post, based on transcriptions of a notary document from Aguadilla, speaks the names of several enslaved ancestors held in Aguadilla by Pedro Pellot. Pellot, one of four Peugeot siblings from Fuenterrabia (Hondarribia in Basque), Gipuzkoa, in the Basque Country of the Atlantic Pyrenees in Spain. The siblings arrived in Puerto Rico in 1804.[1]
By 1810, Pellot became a partner in the company of d. Pedro Abadia (Pedro Manuel Abadia Valencia ca 1727-1828) and d. Martin Lorenzo de Acevedo y Hernandez (1749-1828; also my 4th GGF). Pellot first administered, then purchased Abadia’s hacienda in Barrio Aceituna and expanded it, acquiring some 105 souls to work the coffee plantation by 1847.
While Hacienda Yruena, was among the three largest haciendas in Aceitunas, Pellot held the largest number of enslaved people in the municipality. He sold the property to its administrator, Juan Labadie Larre. The big house was rebuilt in 1903, and today is known as Hacienda Labadie. [2]
Hacienda Labadie, Moca, PR. E. Fernandez-Sacco, 2007. This version of the house was built in 1903.
Margarita
At the end of December 1822, d. Pedro Pellot purchased Margarita (bca. 1806), a young 16 year old woman, born in Guinea from Da. Maria Lucia Domenech Arze (1792-1832). [3] Maria Lucia also came from a family of enslavers, as at least one enslaved person held by her father d. Jose Domenech, appears in the first Libro de Defunciones for Aguadilla.[4]
Maria Lucia Domenech was the wife of d. Francisco Rabasa Dalmaso, a Catalan who settled in Aguadilla and whom she married three years earlier. Rabasa was also involved in buying and selling humans in the 1820s. Domenech made the sale on the basis of her rights under marriage to conduct business, and eventually, Margarita became the property of Pedro Pellot.
We come to know of Margarita’s life in Puerto Rico as part of a series of transactions. How accurate was the recording of her age? How many Margaritas were there on the Pellot plantation? This is an issue one faces when researching enslaved ancestors, as the focus on familial details is reserved for the enslaver, while personal details are used to maintain the status of the enslaved as property, and later in the century, after 1868, they became citizens incrementally.
Searching for Margarita
Acta entierro, “Margarita esclava de Dn. Fran.co Rabasa de diez y nueve anos de edad” 15 December 1837, APSCB Libro 6 F115 No, 2589
In Libro 6, F115 #2589 of entierros for San Carlos de la Aguadilla is a record for another Margarita, born about 1818. On 19 December 1837, she was buried at the age of 19 years. According to the entry she was also enslaved by d. Francisco Rabasa. As Margarita (b.ca 1806) from the 1822 sale does not appear among the cedulas of 1868-70 in Caja 4 of the Registro de Esclavos, she either managed to buy her freedom, was sold away, or died. The difference in age, together with the children born after 1837 suggests that Margarita survived, unless the children belonged to a different Margarita.
Other persons enslaved by Rabasa were born in Africa, such as Maria who died in 1828 (without noting her age or any other details), and Juana Rita 28, who died in 1843. The 1826 Relacion de Esclavos de Aguadilla has a list of enslaved people held by d. Francisco Rabasa. At the top of the second column appears yet another Margarita, age 11 bca. 1815.
Caja 62, Relacion de Esclavos, d. Francisco Rabasa, 1826. AGPR
Another Set of Sales: Four Boys, Aguadilla, 1822
Four boys trade hands in Aguadilla in March 1822. While we have the record for Pellot’s purchase, there are another set of entries that offer the outlines of trafficking in small numbers of those enslaved.
In March 1822, Pellot purchased four enslaved children born in Coro, Venezuela from D. Jose Antonio Vidal and D. Carlos Espinet. The boys were between the ages of 10 and 14, and worked as house servants. A host of questions come up– where were their mother or parents? Were they separated earlier? When did they gain their freedom? Did they ever and when? What surname did they take on? Over how many continents did their origin reach? They are:
José Eduviges de 14 años, b, 1808
José Perfecto de 10 años, b.1812
Francisco de la Yuga de 11 años b.1811
José Manuel de 10 años b. 1812 [4]
As the century wore on, there was a growing preference for purchasing children, with the expectation of a longer term of labor. [5] According to the entry, they were first sold as a group for 725 pesos by Nicolas Franson (b. Genoa, Italy) to Jose Antonio Vidal and Carlos Espinet. The price that Pellot paid is not recorded in their resale on the 23 March 1822. [6] Franson was a captain, specifically of the ship Monserrate, ‘goleta espanola’, a two masted schooner, that suggests he was also capable of transporting the enslaved. I am left with questions and the hope of finding something more.
Capitania del Puerto, – “25 Abril 1837, De la Aguadilla goleta española Monserrate, su capitán d. Nicolas Franson” Gazette de Puerto Rico, Apr 29, 1837. Library of Congress.
The witnesses to the sale were D.Francisco Rabasa, D.Juan Bautista Doumeng and D.Jose Joaquín Miranda, all local plantation owners and enslavers. These documents show the small scale of human trafficking among married couples, emigres who shared French or Basque origins and local partnerships. By 1850, more formal businesses were involved.
Trafficking from Coro to Aguadilla, 1822
Here are all of the enslaved persons from Coro who were trafficked in Aguadilla for the year of 1822
Chart listing enslaved from Coro, Venezulela to NWPR, Caja 1291, Aguadilla.
References
[1] Ellen Fernandez-Sacco, “Reconstructing District 3’s Missing 1872 Registro Central de Esclavos for Northwest Puerto Rico.” [Part 1 of 4] Hereditas 2019, 73. Antonio Nieves Méndez, Historia de un pueblo: Moca 1772-2000. Ediciones Aymaco, lulu.com 2008, 247.
[2] Nieves Mendez, Historia de un pueblo: Moca 1772-2000., 247.
[3] Caja 1291 En Aguadilla 3-22-1822 fol 128 ante mi,el escribano Real y público y testigos que se nominaran compareció D.Nicolás Franson de este vecindario y dijo que da en venta Real a D.José Antonio Vidal y a Carlos Espinet de la propia vecindad 4 esclavos de su propiedad nombrados José Eduviges de 14 años, José Perfecto de 10 años, Francisco de la Yuga 11 años y José Manuel de 10 años naturales del Coro y se los vende por la suma de 725 pesos. Testigos y vecinos lo fueron D.Francisco Rabasa, D.Juan Bautista Doumeng y D.José Joaquín Miranda. Instituto de Cultura Puertorriquena, AGPR, Fondo de Protocolo Notariales, Caja 1291, Serie- Aguadilla, Pueblo- Aguadilla, Escribano Jesualdo Gaya 1821-1822. Transcrito por Carlos Encarnacion Navarro.
[4] Caja 1291 f370v-372, 31 Dec 1822; f131v – 132v, 23 March 1822
[6] Caja 1291, En Aguadilla 3-23-1822 fol.131-v a 132-v ante mi, escribano Real y público y testigos que se nominaran comparecieron D. José Antonio Vidal y D. Carlos Espinet de este vecindario y dijeron que daban en venta Real a D.Pedro Pellot del mismo vecindario 4 siervos esclavos nombrados José Eduviges de 14 años, José Perfecto de 10 años, Francisco de la Yuga de 11 años y José Manuel de 10 años todos naturales del coro. Testigos y vecinos lo fueron D.Francisco Rabasa, D.Juan Bautista Doumeng y D.Jose Joaquín Miranda.
Citation: Ellen Fernandez-Sacco, “Remembering enslaved ancestors purchased by Pedro Pellot, Aguadilla, 1822.” Latino Genealogy and Beyond, 9 Nov 2024.
Tonight i’m happy to share that ‘ll be participating in the AAHGS Journal’s Author Forum– with Kevin McGruder, Myrtle Thierry Palmer and Guy Weston, from 7-9PM this evening. The event recording will be available later for members to view in case you can’t make the live event.
I’ll provide an overview of “Searching for Lorenzo Ubiles, Alcalde de Barrio, Humacao, 1873” based on my previous Ubiles blogpost. Delighted at the geographic spread that each of us covers, from Louisiana to Philadelphia to New Jersey and Puerto Rico.
Thrilled to announce that my presentation proposal, “Not Yet Completely Free: Gradual Emancipation and the Family of Moses Williams, Philadelphia, 1776-1833.” was accepted for the 45th AAHGS National Conference this October! Appreciate the opportunity to share, learn and contact other genealogists and family historians at this wonderful event, hosted by AAHGS President LaJoy Mosby.
The conference theme is “Fighting Erasure: Staying Visible by Keeping African American Genealogy and History in Focus.” This centers on the “role of preserving and spotlighting African American history and genealogy in the broader narrative of American history.”
Silhouette of “Moses Williams, Cutter of Profiles, 1802″Library Company of Philadelphia.
Here’s my abstract for my presentation, “Not Yet Completely Free: Gradual Emancipation and the Family of Moses Williams, Philadelphia, 1776-1833.” :
When the word slavery comes to mind, many think of the US South, rather than the Northern states. Northern slavery’s history is less well known, particularly in states with gradual emancipation—Pennsylvania, New York, New Jersey, Connecticut. This presentation focuses on the family histories tied to the silhouette artist and museum artisan Moses Williams (1776-ca 1833), to glimpse African descended, Free People of Color and the challenges faced in their process of emancipation. The reality of bondage challenges the image of Philadelphia, a city so closely identified with national freedom. Important clues for Moses Williams and his family are contained in archives that includes the Pennsylvania Abolition Society, and records for his former enslaver, the Maryland-born portrait painter and Philadelphia-museum owner Charles Willson Peale (1746-1823). Peale held Williams’ parents between 1776-1786, and freed Williams in 1803. Most archival material on the Williams family is excavated from the Papers of the Peale Family, newspapers, deeds & census records. While the origins of Williams parents remain a question, records suggest the situations that Free Black Philadelphians contended with under the 1780 act for Gradual Abolition. Freedom was negotiated and paid for with terms of service at a tender age. This case study shows how the increased availability of digitized records and community research helps restore the experiences of free Black families to a larger historical narrative.
My deep thanks to Nancy Proctor and Dean Krimmel of The Peale Baltimore, who have invited me to share my work on Moses Williams, who now has a museum space and internship program named after him; and to Carol Soltis, of the Philadelphia Museum of Art, who is currently studying Williams’ technique and style for the profiles he produced, that numbered nearly nine thousand. Williams’ family members experienced degrees of unfreedom in different ways, and I seek to acknowledge their resilience by considering the ways they sought freedom at the cusp of the nineteenth century.
I’m so excited to say i’m one of the genealogists who’ll be participating in this event. I’ll be zooming in & chatting with Kenyatta Berry, former host of Genealogy Roadshow, LaJoy Mosby, President of AAHGS and guests about how to get started with genealogy– even if you haven’t started before. Let’s get into it!
About the event: Ties of the Black and Brown communities in DC go deep! Chuck Brown is the father of go-go, but did you know about the music’s Latin influence? We’re excited to announce a first-ever event in a celebration of similar and shared heritage, history, and identity. Plus—discover how to unlock the secrets of your own ancestry with renowned genealogists LaJoy Mosby, President of AAHGS, Dr. Ellen Fernandez-Sacco, with special guest Ms. Kenyatta Berry, former co-host of the “Genealogy Roadshow” will also be here!
Verbal Gymnastics is bringing Playback Theatre (where storytelling and art meet community) to the party, so get ready for some amazing and interactive improv! We’ll also have the DC Office of the Medical Examiner onsite to highlight Black and Brown missing persons cases. Learn how genealogy is used to solve crime! So come on out—there’s something for everyone!
Date: Saturday, June 15
Time: 1pm – 5pm
Location: Episcopal Church of the Atonement (5073 East Capitol St SE) and 52nd St SE
Admission: Free and Open to All
Highlights Include:
Live Music: Go-Go, The Lilo Gonzalez Band, and More!
DJ Buddah!
Free Food!
Cultural Performances!
Game Truck!
Giveaways!
Parking:
Street parking and parking lot at Guiding Light Baptist Church (1 51st St SE)
About The Majani Project:
Organized by the Majani Project, a Black youth-focused genealogy nonprofit located in Ward 7, in collaboration with Genealogy Adventures, the premiere Black online genealogy show, this event aims to introduce youth and adults to genealogy to honor the ancestors, unravel family history mysteries, and connect with your roots.
Come to a series of short presentations and a panel discussion on Black History & Genealogy in Puerto Rico! I’m excited to share in the discussion at this event this afternoon, hosted by Taller Entre Aguas & Black Testimony Project.
Join TEA x BTP on April 25, 2024 from 2pm-4pm EST for a special virtual event titled, Mareas de Memoria: Black Puerto Rican History and Genealogy on Zoom.
For over twenty years in Moca, the Museo is an important focal point, interconnecting tejedoras, artisans, materials and cultural memory, under the directorship of Don Mokay Hernandez Vale.
Don Benito ‘Mokay’ Hernandez Vale founded the museum with the support of a group of tejedoras (master lacemakers), some no longer with us. Today, El Museo del Mundillo sits near the town’s plaza in the former 1935 health building on Calle Barbosa in the heart of Barrio Pueblo in Moca.
The museum serves the community by connecting artisans, hosting trainings, coordinating festivals and events. Featured are many examples of local lacemaking, and the institution preserves aspects of mundillo’s history all too often lost when an artisan passes.
Also on display are works that tie mundillo to deeper histories of the island. This is seen in the framed work of Carmen Quinones Marcial & Frances Mendez Colon’s (QEPD) Tejidos de Maguey. Featured is lace made from the fibers of the maguey plant, processed and transformed into a decorative arrangement of fan and flowers.
This talk covered an overview of the museum, the community’s century’s long involvement with mundillo and the importance of supporting this institution today.
Here’s a recent tour of the Museo del Mundillo by the Museo de las Americas PR’s #DaleClickaLaCultura initiative:
I’m delighted to learn of one artist’s amazing use of mundillo in their work- artist Glorimar Garcia reached out after my talk and shared her site! – Be sure to check out her installations & projects.
The talk is archived for IOLI members. IOLI VP Prabha Ramakrishand sent a lovely letter of acknowledgement and a year subscription to the IOLI digital journal. So appreciate the gift!
