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Black boy with slave collar, Dutch 17th-century painting. Representations of slavery in European art date back to ancient times. They show slaves of varied ethnicity, white as well as black. In Europe, slavery became increasingly associated with blackness from the 17th century onwards. [1] However, slaves before this period were predominantly ...
White slave propaganda was a kind of publicity, especially photograph and woodcuts, and also novels, articles, and popular lectures, about slaves who were biracial or white in appearance. [1] Their examples were used during and prior to the American Civil War to further the abolitionist cause and to raise money for the education of former slaves.
The sex slave trade in white girls for sexual slavery (concubinage) did not stop, and the British travel writer described a batch of white slave girls in the Middle East in the 1870s: "Their complexion are sallow, and none of them [sic] are even good looking.
In other words, the before and after narrative, comprised of White writers' written 'philosoph[ies]' and the visual 'facts' of injured Black bodies, effaced the narrative authority of formerly enslaved African-American narrators, and supplanted the former slave's written and spoken testimony with a picture. [1]
The Slave Market (French: Le Marché d'esclaves) is an 1866 painting by the French artist Jean-Léon Gérôme. It depicts a Middle Eastern or North African setting where a man inspects the teeth of a nude, female Abyssinian slave in the context of the Barbary slave trade.
By 1830, there were 3,775 black (including mixed-race) slaveholders in the South who owned a total of 12,760 slaves, which was a small percentage of a total of over two million slaves then held in the South. [6] 80% of the black slaveholders were located in Louisiana, South Carolina, Virginia and Maryland.
Another illustration in Black Cargoes (and reprinted in a New York Times review of the book) was taken from a Harper's Weekly magazine article, a wood engraving after a daguerreotype of slaves on the captured slave-ship, Wildfire, brought to Key West in 1860, well after the slave trade was prohibited in the United States in 1808. The legend in ...
Census record of 1880, Louisville, Kentucky: Tarlton Arterburn, occupation "retired negro trader" shares a household with Mary E. Arterburn; Tarlton is classified as white, Mary is classified as black Arterburn left Mary everything in his will, directing that "the net income arising from my estate my executors are directed to pay to Mary Eliza Shipp alias Arterburn (of color) for and during ...