Portrait in oil of Christiana Babcock Bannister by Edward Mitchell Bannister circa 1860
The extraordinary woman who would become known as Christiana Barrister was born in the humblest of circumstances in North Kingstown in 1819 to an Indigenous and African-American couple named James and Mary Babcock. The family lived in a remote section of town called Dark Corners, on land that had belonged to James’ ancestors, the Narragansett Tribe, and sat on the border of South Kingstown, nestled against the hillside that held the long abandoned Stony Fort, a site of tragedy and pillage undertaken by Connecticut forces during King Phillip’s War.[i] Mary Babcock had been born to an enslaved couple in Barbados. It's unclear as to when and how she was brought to Rhode Island.
The 1820 census shows James Babcock as the head of a household that included “3 male colored persons 14-25 years old, 1 free colored person female under 14 years old, 4 free colored persons female 14-25 years old, 1 free colored female 45 and over.”[ii] These represented the parents James and Mary as well as their children: Henry Babcock, born 1805, Mary and Sarah A., both born in 1810, James Jr., born in 1815, and Christiana, born in 1819.
As with many families of color in the State, poverty likely kept them on the margins of town life. What education was given to Christiana and her siblings was likely given at home by her mother and female members of the Babcock family. It may have been through their lessons that she would learn to cut and dress, or style hair in unique fashions. It’s also likely that these women instilled in the young child a sense of pride and achievement, traits that would later make her a well-known activist for her people.
It was a time of rising abolitionism. The first Abolitionist societies in Rhode Island had been formed in the early to mid 1830’s with the Providence and Pawtucket Anti-slavery Societies, as well as The Providence Ladies, Anti-Slavery Society. The growing rift between north and south on the issue of enslavement was widening, and would soon be addressed in North Kingstown as in other parts of the state.
Almost all abolitionist organizations began within the confines of a house of worship. Rhode Islanders found themselves at the forefront of anti-slavery organizing, hosting anti-slavery lecturers in black churches, and raising funds for national efforts. In February 1836, a state-wide convention resulted in the formation of the Rhode Island Anti-Slavery Society, a kind of umbrella organization for these smaller societies. In November of that year, Newport established an anti-slave society as well. Other churches in the state soon took notice. In 1839, the Quidnesset branch of the First Baptist Church of North Kingstown began to gather as a formal congregation at the old Meeting House on Quidnesset Neck. In 1842 the church congregation was among those who felt the “honest indignation” that an increasing number of Baptists felt was “our national shame.” As the official history of the congregation explains
“ A few slaves were still held even in Rhode Island. The Quidnesset church at once took occasion to express a decided conviction respecting this all -important question. In April of this year the church unanimously adopted the following resolution:
'Whereas, We, the members of the Quidnesset Baptist Church, in North Kingstown, R. I., believing it to be wrong to hold any of our fellow-beings in slavery, and that it is contrary to our religious principles, and also contrary to the precepts of the gospel of Jesus Christ,
Therefore Resolved, That all persons holding a slave or slaves, and not treating them as subjects of their own family, and also who do not intend to emancipate them at the first proper and suitable opportunity, shall be excluded from the communion and fellowship of this church.”
The church also grappled with the inclusion of outside or visiting worshipers who owned slaves or dealt with the trafficking of enslaved people as
“it was a frequent occurrence for Southern Baptists, often slave-holders, who were visiting Rhode Island, to sit at the table of the Lord with their northern brethren of the same faith and order.”[iii]
A deacon of the church then proposed
“That the Quidnesset church should decline to receive any slave-holder, however good his standing in the church of which he was a member, to the table of the Lord; and furthermore, that the church should refuse to fellowship those churches which did invite such slave-holders to the Lord’s Supper.”[iv]
The proposal was “heartily debated”, but the church declined in the end, to adopt the resolution.
These anti-slavery societies were, at the time, composed largely of white abolitionists. It’s unknown, but unlikely that Mary and Christiana Babcock were involved with the Quiddnesset congregation, but they would certainly have heard of the abolitionist efforts at the church-the first in South County to declare such a resolution, and moreover Christiana’s older sister Sarah was already living in Providence by the 1840’s, residing in the home of Cupid and Margaret Brown.[v]
As noted, Providence at this time was a hot-bed of Abolitionist activity. One of the most noted speakers invited to talk in Rhode Island was Charles Lenox Remond, son of Salem abolitionist John Remond.[vi] The eldest of John and Nancy Remonds children, son Charles Lenox Remond was born in 1810. He, along with daughter Sarah Parker Remond born in 1826, grew to become among New England’s greatest abolitionist orators, often touring together as well as separately throughout the United states and Europe.[vii] Affiliated like his father with the Massachusetts Anti-Slavery Society, Charles soon became a popular figure on the Abolition circuit, speaking widely throughout New England and representing the organization with others at national meetings in Philadelphia. It’s likely that Christiana, her sister, and the Browns attended, and were inspired by Remond’s talk in Rhode Island. The Babcock siblings would become close to the Remond’s, and intermarry into the family.
Christiana’s brother James would marry the Remond’s daughter Cecelia and move to Salem. Younger brother Charles would move in with the Remond family at their residence of Hamilton Hall within the decade, later marrying Cecelia after the apparent death of James. Christiana had also left Rhode Island, and had moved to Boston by 1840, and on October 13, 1840, she married Desiline Carteaux, a man considerably older than she, but already established as a milliner.
For the next decade Christiana Carteaux learned the craft from her husband. This let them diverge their interests and income. By 1846-1847, both Christiana and Desseline are listed as a milliners, with Desiline also listed as a cigar maker at their Cambridge Street address.[viii] Their businesses then were in the heart of Boston’s black community, where some three quarters of the city’s 2,000 population of color resided.[ix]
By 1850 however, Christiana was living with friends in Providence. The marriage apparently having hit rocky ground, she continued to live in Rhode Island that year, but returned to Boston in 1851. Initially, she returned to work as a milliner, but by 1853, Christiana had found the vocation that would earn her fame, and a considerable fortune for a black woman at the time. The Boston directory of that year lists her as a hairdresser with her own salon, mostly catering to male clients.[x]Her salon on Washington Street proved so successful that she opened another in Providence by 1855. Operating both salons at the same time.[xi]
Photograph of Edward Mitchell Bannister, Providence, circa 1870
Around this period, Edward Mitchell Bannister entered Christiana’s life and employment. A “sparemade, slim” young man, Bannister held “an interesting cast of countenance”, was “easy in his walk and easy in his manners – he had big plans for the future,” according to black author and activist William Wells Brown.
Bannister had been born in Nova Scotia to a black father from Barbados and a Scottish mother around 1828. He showed a penchant for drawing at an early age and was encouraged in art by his Mother. After grammar school, he was employed by a wealthy attorney, but painted whenever he could find the time. The desire to be an established artist soon overtook any other concerns, and he took to sea for a time before landing in Boston with the hope of fulfilling his dream.
He initially found employment at Christiana’s salon as a hairdresser in 1853 and moved into the establishment as part of the arrangement of employment. They were married in 1857 and opened yet another salon in Boston on West Street. As a black owned business, they advertised in William Lloyd Garrison’s The Liberator on a regular basis. An advertisement from that year announces that “Madame Carteaux…would attend to Cutting and Dressing Ladies’ and Children’s Hair, Dyeing and Shampooing.” The ad announced that Christiana
“Had a Hair Restorative, which cannot be excelled, as it replaces new hair where baldness had taken place.”
Later advertisements reveal that the Bannisters moved their business to a new location on Washington Street which provided a greater suite of rooms, including one that was set aside for Hair Drying.
The couple soon became active in Boston’s black community, opening their salon to a black theater group called the Histrionic Club, to which they both belonged and engaged in performances. Edward Bannister also sang in the Crispus Attacks quartet, a vocal group named after the black victim of the Boston Massacre before the Revolution.[xii] The Bannisters were also close friends of Abolitionist Louis Hayden[xiii], helping to facilitate the city’s network of sites on the Underground Railroad by providing their salons as meeting places for white and black abolitionists. The Bannisters lived for a time with Hayden in a house where he also kept enslaved refugees, and protected them from slave catchers, who had routinely patrolled northern cities since the 1850 passage of the Fugitive Slave Law, which said “slave catchers” routinely utilized to kidnap black Americans and forcibly transport them to southern plantations who had paid them to find escaped laborers.
While Madame Carteaux’s businesses were flourishing, her husband found his efforts at establishing himself as an artist was a continuing struggle. He had gained a commission in 1854 for the oil painting entitled The Ship Outward Bound,[xiv] but though he was listed as an artist in the Boston Directory by 1858 with a studio on Tremont street; recognition and new commissions were slow to come. Later in life, looking back on these years, Edward Bannister reflected that “I would have made out very poorly had it not been for her…my greatest successes have come through her, either through her criticisms of my pictures, or the advice she would give me in the matter of placing them in public.” Determined to earn his own living, Bannister worked for a time with a photographer making daguerreotypes in New York.[xv] He was back in Boston by 1860 where he painted the now famous portrait of Christiana at the RISD museum.
When the Civil War erupted, the Bannisters found themselves in the midst of the controversy over the federal government’s reluctance to enlist black soldiers. By the time of President Lincoln’s Emancipation Proclamation in January 1863, brought a sea change to this effort. That month, Massachusetts governor and Abolitionist John A. Andrew, persuaded the Secretary of War Edward M. Stanton to authorize the recruitment and formation of an all-black regiment. Christiana, in her role as President of the Boston branch of the Colored Ladies’ Relief Committee, was active along with William Lloyd Garrison and the governor in actively supporting the movement.[xvi]
Initially blacks were slow to enlist in the newly formed unit of the 54th Massachusetts Infantry, but by spring, these efforts had enlisted about forty percent of the city’s eligible black males. Governor Andrews would pronounce the unit “ a model for all future colored Regiments”. Recruitment eventually increased to the point of forming another black unit, the 55thMassachusetts Infantry.
That spring, the recruits of the 54th Massachusetts gathered for training camp in Readville, just south of Boston. On May 18, 1863, they were visited by a group of dignitaries led by Governor Andrew which included William Lloyd Garrison, the abolitionist Wendall Phillips, orator and activist Frederick Douglas, and Christiana Bannister, who in her capacity as president of the Colored Ladies’ Relief Committee, presented the unit with its official colors.[xvii] They were joined by a trainload of white and black abolitionists who had journeyed to the camp for the occasion. Just four days after the ceremony, the 54th Massachusetts marched in full dress uniform with their colors through the streets of Boston before embarking by ship to South Carolina.
As the war continued, the city of Boston and other northern cities began to sell with black refugees. A law creating a draft for the war had been passed, requiring all men between the ages of twenty and forty-five to register for service. As the remaining men of eligible age in the northeast were mostly poor men of Irish background, riots erupted against this effort to enlist these men to fight for black freedom. A riot in the north end of Boston in July, resulted in police being held hostage in their station house. While the 55th Massachusetts regiment was nearby and available, Governor Andrews thought it prudent to avoid using the black regiment to quell the disturbance.
The war brought hardship to Christiana’s family as well. By the close of the war in 1865, he father James Babcock had been committed to the poor asylum in South Kingstown.[xviii] Boston continued to be a turbulent town after the war as more refugees flooded the city. The disturbances there and the state of her father’s health were likely factors in the Bannister’s returning to Rhode Island by 1869. The 1870 census shows them sharing a modest house on Wilson Street with Edward’s sister and a niece and nephew.[xix]
It was there, that Edward Mitchell Bannister’s artwork began to be noticed, and as his career progressed, he became recognized for his compositions of almost impressionistic scenes and idyllic landscapes of the Rhode Island countryside, as well as the Providence River, and other natural scenic views.
In 1870, Christiana opened another salon just off Providence’s Westminster Street, advertised as “Madame Carteaux, Hair Doctor”. The following year she moved the location to 224 Westminster Street, the heart of the city’s shopping district. Edward also opened a studio on Westminster Street, but by 1874 with his career finally beginning to flourish, Bannister opened a studio at 2 College Street, where he would eventually become a founder of the prestigious Providence Art Club.
In 1871, Christiana purchased a house in Swan Street in the south end of the city. The Bannisters lived there until 1876 when they rented the property and moved in with the family of Ransom Parker at their home on Cushing Street, in Providence’s East Side.
For a time, Christiana seems to have retired from hairdressing, and this coincided with the years of Edward’s increasing success as a painter. He began to win prizes at exhibitions in Providence and Boston, and most notably, in 1876 when his painting Under The Oaks received first prize at the Centennial Exposition in Philadelphia. Known today, for the incident in which members of the prize committee were apparently taken aback when it was revealed that the winning landscape had been composed by a black artist. Upon showing up in person to claim the prize, the astonished members, Bannister recalled, were soon “bowing and scraping to me.”
In 1880, Edward Mitchell Bannister would co-found the Providence Art Club, cementing his legacy as a Providence painter and the start of the couples further advocacy for the black community of Providence. In 1884, they moved to a new house on Benevolent Street, where they resided for the next fourteen years. Christiana had reopened a salon the year before, and was once more an active Hair Doctor for the ladies of the city. Her involvement with advocacy for black women was the impetus for the effort in opening a Home For Aged Colored Women in the city. Working with members of the Methodist Church on Meeting Street, she helped to collect funds and search for a suitable location. Christiana’s befriending of Elizabeth Goddard Shepard, who husband owned Providence’s largest department store, proved to be most fruitful. With this philanthropists aid, a lot was donated and a new house built at 45 East Transit Street to provide these services and shelter in April, 1890. The Bannister’s continued their involvement in supporting the home, with Christiana receiving special recognition for her efforts over the next several years.
A painting by Edward, entitled Christ Healing the Sick was displayed in the home in 1892, and he donated the portrait he had done of Christiana years earlier to the home as well to commemorate her efforts. Edward Mitchell Bannister served on the board of the Home for the remainder of his life.
As Christiana and Edward reached their elderly years, they downsized from the home on Benevolent Street and moved to one on Wilson Street in Providence. After Edward’s sudden death during a prayer service at The Methodist church on Elmwood Avenue in 1901, Christinia remained alone, supported by the many friends she had made in Providence. By September of the following year, she herself became a patient at the Home For Aged Colored Women, but only after eight days in residence, she “became violently insane”, and it became necessary to remove her to the State Hospital for the Insane in Cranston, Rhode Island. Christiana Babcock Bannister’s spent her last month’s bedridden, dying on December 29, 1902.
Such was the tragic end of the lives of this remarkable couple, but there was still another remarkable story that was only revealed a few years ago from the lives of Christiana and Edward Mitchell Bannister.
In 2021, Author and Art historian Anne Louise Avery contacted Smith’s Castle regarding a painting had been located in London by the artist.
The painting in question had last been shown at an art show in Boston in 1881 and was entitled “Smith’s Palace, Narragansett Bay”. For some reason, the painting disappeared until the recent revelation that it had been in a private collection in England.[xx]
As Ms. Avery explains,
“Bannister often painted abstracted or idealized houses in his landscape, never really accurate portrayals of building…it may be more impressive”.
In Bannister’s landscape of the Castle, that is just the case, though I immediately recognized the view as I have seen it from the SeaView Trolley trail just below Post Road, and it may well be that the view Bannister received was from that vantage point on Post Road, whether he set up an easel on the edge of the road, or took a photograph, or just painted from memory on his return to Providence remains unknown.
Bannister’s style and affectation for the pastoral has been described as a reflection of his admiration for the French Barbizon school, and in particular, for the artist Jean-Francois Millet.
He experimented throughout his artistic career, striving to perfect his idealistic philosophy in control of the color and atmosphere expressed in his painting. A lifelong sailor, he found inspiration from the Rhode Island seacoast, but was equally at home in the fields and farmlands he found outside of Providence.
His artwork had fallen out of favor when he died in January 1901. It was not until some 60 years later that his work, along with other African-American artists received attention once again, and he is now well known as a pioneer for black Americans, and his paintings highly prized for museum and private collectors.