White slave propaganda

The first abolitionist novel,[5] The Slave: or Memoirs of Archy Moore, published in 1836 by historian Richard Hildreth, features an enslaved mixed-race hero, son of a white planter and an enslaved mother, who is herself the daughter of a white planter. He can state that "both on the father's and the mother's side, I had running in my veins, the best blood of Virginia".[6] When he and his sister decide to escape, they have no problems "in passing ourselves as white citizens."[7] The title of the 1852 edition refers to the appearance of the hero: The White Slave; or, Memoirs of a Fugitive.[8]

Eliza and her boy in an 1853 illustration to Uncle Tom's Cabin

The character of Eliza in the 1852 novel Uncle Tom's Cabin was described as a quadroon slave (one-quarter black ancestry), whose child also appeared to be "all-but-white".[9][10]

Another popular abolitionist novel of the time was Mary Hayden Pike's Ida May: a Story of Things Actual and Possible (1854), a story about a "white" slave. In 1855, Mary Mildred Botts, a young mixed-race slave who appeared white, gained freedom after her father got financial support from abolitionists to purchase her freedom as well as that of his wife and two other children. Among those who helped was US Senator Charles Sumner of Massachusetts, who adopted her. She was considered the embodiment of Ida May. Articles were published about her in the Boston Telegraph and the New York Times, and copies of her photograph were widely publicized.[11][12][13] Botts accompanied Sumner and other abolitionists on stage; she sat with them while they lectured, and was described as a former slave. On May 19 and 20, 1856, Sumner spoke in the Senate, comparing Southern political positions to the sexual exploitation of slaves then taking place in the South. Two days later Sumner was beaten almost to death on the floor of the Senate in the Capitol by Representative Preston Brooks from South Carolina, known as a hothead.[13]

Three decades after the Emancipation Proclamation, Frances Harper's 1892 novel Iola Leroy, or Shadows Uplifted tells the story of a "colored" family before and after emancipation. With the exception of Iola's grandmother, who is "unmistakably colored",[14] all members of the family have so much European ancestry that they can easily pass for white. When Iola's uncle, Robert Johnson, escapes from slavery and distinguishes himself in the Union army, a white officer compares him to the other former slaves among his soldiers: "You do not look like them, you do not talk like them. It is a burning shame to have held such a man as you in slavery." Johnson answers: "I don't think it was any worse to have held me in slavery than the blackest man in the South."[15]

Nonfiction accounts written by escaped mixed-race slaves who used their European appearance to "pass for white" and gain freedom include Ellen Craft: Running a Thousand Miles for Freedom (coauthored with her husband William).[16] With majority-white ancestry, Craft often also appeared as a speaker on the abolitionist lecture circuit.[17]

The Crafts and other abolitionists also publicized the life of Salomé Müller, a German immigrant orphaned as an infant soon after arrival in New Orleans. Though Muller (later known as Sally Miller) was completely of European descent, she became enslaved as an infant, and was assumed to be a mixed-race slave. The threat of white girls being seized and thrown into slavery prompted Parker Pillsbury to write to William Lloyd Garrison: "A white skin is no security whatsoever. I should no more dare to send white children out to play alone, especially at night...than I should dare send them into a forest of tigers and hyenas."[18]

Fannie Virginia Casseopia Lawrence was a young white slave freed in early 1863. She was adopted by Catherine S. Lawrence of New York and baptized by Henry Ward Beecher at the Plymouth Congregational Church in Brooklyn, New York. Carte de visite photographs of her were also sold to raise money for the abolitionist cause.[19]

• 
  Mary Mildred Botts/Williams in an 1855 daguerreotype
• 
  Fannie Virginia Casseopia Lawrence, a slave freed in early 1863
• 
  Etching of Ellen Craft, based on a c. 1860 photo

Four former slaves - three children and Wilson Chinn, an adult man, all with books in their hands; the image is entitled "Learning is Wealth"

By 1863 in Louisiana, ninety-five schools for freedmen, serving 9,500 students, were active in areas controlled by the Union Army. Funding was needed to continue to run the schools. The National Freedman's Association, the American Missionary Association, and Union officers launched a publicity campaign to raise money by selling carte de visite (CDV) photographs of eight former slaves, five children and three adults. The former slaves were accompanied on a tour of Philadelphia and New York by Colonel George H. Hanks. A woodcut, based on a photograph of the former slaves, appeared in Harper's Weekly in January 1864 with the caption "EMANCIPATED SLAVES, WHITE AND COLORED."[20][10] Four of the children were predominantly white in appearance, although born into slavery.

The former slaves traveled from New Orleans to the North. Of these, four children appeared to be white or octoroon. According to the Harper's Weekly article, they were, "'perfectly white;' 'very fair;' 'of unmixed white race.' Their light complexions contrasted sharply with those of the three adults, Wilson, Mary, and Robert; and that of the fifth child, Isaac—'a black boy of eight years; but nonetheless [more] intelligent than his whiter companions.'"[20][21]

The group was accompanied by Colonel Hanks from the 18th Infantry Regiment. They posed for photos in New York City and in Philadelphia. The resulting images were produced in the carte de visite format and were sold for twenty-five cents each, with the profits of the sale being directed to Major General Nathaniel P. Banks back in Louisiana to support education of freedmen. Each of the photos noted that sale proceeds would be "devoted to the education of colored people".[20][21]

Of the many prints that were commissioned, at least twenty-two remain in existence today. Most of these were produced by Charles Paxson and Myron Kimball, who took the group photo that later appeared as a woodcut in Harper's Weekly. A portrait of Rebecca was taken by James E. McClees of Philadelphia.[20]