in my search for vintage images of mulatto folks i recently stumbled upon a gem!! Joan P. Gage is a journalist and a collector of photographs. on her blog A Rolling Crone she shares one of her collectibles and the fascinating (and still unfolding) story behind it. i feel all kinds of ways about this piece of our history (and by “our” i do mean mulatto, i do mean american, i do mean human seeing as everything is everything and all.) anyway, i feel sad for the little girl. i feel pride for the little girl. i feel a sense of satisfaction that i can point to this child and to the efforts charles sumner as evidence that, even way back when, a white man and a white-looking black child attempted to change people’s minds (way back)when it would have been much easier (not to mention safer!) to relish in the societal refuge that their phenotype offered. i am not implying that the attempt was perfect, nor that there is nothing offensive or off-color about the sentiment behind the message. but, if you consider the general consensus of the times on this matter, i think it safe to view sumner’s cause as a benevolent one. i wonder how little mary felt. i wonder if she understood. i wonder what her parents looked like. and her siblings. i assume there’s a reason that they were not photographed or ‘exhibited’ together. and i wonder how they felt about that, about all of it. and what became of all of them…
From a New York Times article dated March 9, 1855, which read:
A WHITE SLAVE FROM VIRGINIA. We received a visit yesterday from an interesting little girl, — who, less than a month since, was a slave belonging to Judge NEAL, of Alexandria, Va. Our readers will remember that we lately published a letter, addressed by Hon. CHARLES SUMNER, to some friends in Boston, accompanying a daguerreotype which that gentleman had forwarded to his friends in this city, and which he described as the portrait of a real “Ida May,” — a young female slave, so white as to defy the acutest judge to detect in her features, complexion, hair, or general appearance, the slightest trace of Negro blood. It was this child that visited our office, accompanied by CHARLES H. BRAINARD, in whose care she was placed by Mr. SUMNER, for transmission to Boston. Her history is briefly as follows: Her name is MARY MILDRED BOTTS; her father escaped from the estate of Judge NEAL, Alexandria, six years ago and took refuge in Boston. Two years since he purchased his freedom for $600, his wife and three children being still in bondage. The good feeling of his Boston friends induced them to subscribe for the purchase of his family, and three weeks since, through the agency of Hon. CHARLES SUMNER, the purchase was effected, $800 being paid for the family. They created quite a sensation in Washington, and were provided with a passage in the first class cars in their journey to this city, whence they took their way last evening by the Fall River route to Boston. The child was exhibited yesterday to many prominent individuals in the City, and the general sentiment, in which we fully concur, was one of astonishment that she should ever have been held a slave. She was one of the fairest and most indisputable white children that we have ever seen.
From “Raising Freedom’s Child—Black Children and Visions of the Future after Slavery,” written by a University of New Orleans professor, Mary Niall Mitchell:
“By the eve of the Civil War, abolitionists recognized the potential of white-looking children for stirring up antislavery sentiment…Although it was the image of a raggedy, motherless Topsy that viewers might have expected to see in a photograph of a slave girl, it was the “innocent”, “pure,” and “well-loved” white child who appeared, a child who needed the protection of the northern white public.
“Topsy” George Thomson’s Woodcut Illustrations
1888
“The sponsors of seven-year-old Mary Mildred Botts, a freed child from Virginia, may have been the first to capitalize on these ideas, as early as 1855. Her story also marks the beginning of efforts to use photography (in Mary Botts’s case, the daguerreotype, as the carte-de-visite format was not yet available) in the service of raising sentiment and support for the abolitionist cause.”
“…In his own characterization of Mary Botts,” Mitchell continues, “Sumner set a pattern that other abolitionists would follow. In a letter printed in both the Boston Telegraph and the New York Daily Times, he compared Mary Botts to a fictional white girl who had been kidnapped and enslaved, the protagonist in Mary Hayden Pike’s antislavery novel Ida May: ‘She is bright and intelligent—another Ida May,’ [Sumner wrote] ‘I think her presence among us (in Boston) will be more effective than any speech I can make.’”
From joanpgage, the blogger (and current owner of the daguerrotype) from which I am re-blogging this piece:
Only a year after parading Mary Botts through New York, Boston and Worcester and dubbing her “The real Ida May”, Charles Sumner’s devout abolitionist views led him to a crippling disaster, when, in 1856, he was so badly beaten on the floor of the Senate by South Carolina Representative Preston Brooks, who broke a cane over his head, that it would take years of therapy before Sumner could return to the Senate.
…Prof. Mitchell is currently working on a book about Mary Botts that will tell more about this former slave’s life, including the drama of how Sumner purchased her and spirited her out of Virginia, how he introduced her to the media and society as a living advocate for the abolitionist cause, and how her family settled in the free black community in Boston.
I’m eager to learn the rest of the story, but, for now, it’s enough of a thrill just to know that the daguerreotype, taken in 1855, that is part of my collection may represent one of the first efforts EVER to use the modern discovery of photography to touch people’s emotions and change their minds. This small image of a seven-year-old girl may be an example of the first time photography was used for propaganda, but it was certainly not the last.
The Negroid characteristics of the Queen’s portraits certainly had political significance since artists of that period were expected to play down, soften or even obliterate undesirable features in a subjects’s face. Sir Allan Ramsay was the artist responsible for the majority of the paintings of the Queen and his representations of her were the most decidedly African of all her portraits. Ramsey was an anti-slavery intellectual of his day. He also married the niece of Lord Mansfield, the English judge whose 1772 decision was the first in a series of rulings that finally ended slavery in the British Empire. It should be noted too that by the time Sir Ramsay was commissioned to do his first portrait of the Queen, he was already , by marriage, uncle to Dido Elizabeth Lindsay, the black grand niece of Lord Mansfield.
mulatto diaries 