Catalog: Archives: Collectibles (190)

Measuring 4 1/4 inches in diameter x 1 1/8 inches high x 6 inches long, this fabulous, circa late 19th Century, solid brass Native American and African American SLAVE FACE Bowl is an extraordinarily RARE find! The craftsmanship and detailing of the bowl is superb!

It is quite the extraordinary find to discover any Black Memorabilia item reflecting the common but not widely acknowledged practice of interracial marriage among the indigenous Native American and the freed/slave African American population in 18th and 19th century Southern New England coastal towns and cities that were part of the Slave/Sugar/Rum Trade Triangle of the era. Rightfully viewed as a museum piece, this finely-executed figural bowl is certainly reflective of a unique and little known aspect of African American as well as Native American History!

The bowl is in utterly pristine condition with no faults other than expected age patina to the surface. There are no markings on this piece which appears to be hand forged given the subtle asymmetry of the overall shape of the bowl as well as the detailing of the facial features.

This truly unique and rare item would be an important addition to the serious collector’s Black Americana collection!

An exquisite pair!!!

These mint condition, 1940s, PEARL CHINA Black Chef and Mammy salt and pepper shakers are simply outstanding!

Measuring a super-size 7.50 inches high, this exceptionally large salt and pepper pair are meant for stove-top and not table-top use, thus their robust dimensions!

The pair are in mint condition and likely were never used. They retain their original corks and are accented in 24KT GOLD-- on the black chef's lips, ladle, the kerchief in his back pocket, and his name, "SALTY" and on Mammy's name, "Peppy".

Rarely found in this condition, the pair displays simply beautifully!!!!

Offered is the fabulously RARE BIGGER HAIR Negro Tobacco container produced from the mid 1940's through the early 1960's. This container is actually constructed of cardboard with tin base, and is much less frequently found, and thus, much more rare than the earlier, all-metal, and scarce-in-its-own-right, Nigger Hair container due to the greater fragility of cardboard as compared to metal, as well as the fewer numbers of cardboard containers produced.

Following the conclusion of World War II, the American Tobacco Company of Virginia changed its product name from Nigger Hair to Bigger Hair, seeking to broaden the product's marketing appeal as well as viewing the latter label as the more-socially acceptable one. (The earlier Nigger Hair moniker was used by the American Tobacco Company from the 1890's through the early, pre-WWII 1940s; the lithographed can was manufactured by the B. Leidersdorf Company, Milwaukee, Wisconsin.) Interestingly, the company DID NOT change the image of the African woman, but merely added the words Fiji Islander to the left of her face in its indifferent and weak attempt to move further away from the earlier, severely derogatory label.

Measuring 7 inches high x 5 3/4 inches wide, the photos provide a fine representation of condition. The container is in near-mint condition with a tiny rub here and there, and some very minor wear around the top of the container that likely occurred from simply taking the cover on and off. This wear is completely covered by the cover. The original orange color of the container remains consistent throughout, and the structural integrity of the cardboard is quite sturdy. The original wax bag which held the tobacco remains inside--highly unusual! The container retains most of its paper Federal Revenue Tobacco seal on either side and is dated February 26, 1926, Series 119, a tax stamp which was issued exclusively in 1949. Truly incredible condition given the age and material composition of this piece--- 69 years!!

This very rare tobacco container is just a wonderful example of latter Black Americana advertising and looks even better "in person" than the camera was able to capture with its lens!

If the Nigger Hair Tobacco container is currently in your collection, the addition of the Bigger Hair container will complete your collection from both a cultural and historical perspective! The Nigger Hair Tobacco container featured in the last photo has been SOLD.

Published in 1939 by the Whitman Publishing Company of Racine, Wisconsin, this very rarely-found, large folio, fine heavy stock, softcover book measuring 12.5 x 9.75 inches, offers a very unique continuation of the original Little Black Sambo story!

Entitled A New Story of Little Black Sambo, this tale picks up the story of the original Little Black Sambo tale with Little Sambo's mother, Black Mumbo, exclaiming that Sambo, after almost losing his best Sunday clothes to the tigers, would- from now on- only be allowed to wear his every day clothes. Now very unhappily dressed in only a grass skirt, a pouting and naughty Sambo decides to run off into the jungle once again without permission, and climbs a tree to gather coconuts. Two hungry tigers soon arrive threatening to eat Little Black Sambo, trapping him up in the tree for the entire day! Eventually, Sambo's friend, Tusker the Elephant arrives, successfully chasing off the tigers, saving Sambo. Tusker carries Sambo back home, where his worried parents await him. Relieved that Sambo is finally safely home, Black Mumbo decides not to punish him too harshly by spanking him with a hairbrush for running off without permission and all alone. The conclusion of the tale then moves forward one month, one week and one day before Little Black Sambo is finally allowed to wear his fine clothes once again!

Although no author is attributed, it is thought by some that this continuation tale of Little Black Sambo was co-authored by Clara Bell Thurston and Earnest Vetsch, who illustrated Whitman Publisher's earliest and first known edition of this story version in 1926.

The hallmark of this version of A New Story of Little Black Sambo is the utterly fabulous illustrations that make this edition stand out. The vibrant colors used, the stunning detail applied, make each of the 12 full color plates simply gorgeous works of art! This softcover book is constructed of very sturdy, heavy, high quality stock which likely accounts for its very good condition. No fading of color, writing or missing pages. Binding is tight with all three original staples present although the cover pages have separated at the bottom to just above the lowest staple. Some page edges are subtly worn with minor creasing, and age-related, light soiling is present.

This very rarely found continuation of the original Little Black Sambo story is a must have addition for the collector of Little Black Sambo books! Given the extraordinary quality of the illustrations, this is a book that one will want to display- under protective cover, of course!

To see all of the Little Black Sambo items currently available for sale, simply type “Sambo” into the search box on our website homepage.

Offered is the fabulously RARE NIGGER HAIR Tobacco Tin produced from the late 1870's through the first half of the 1940's.

This particular tin does not retain its original, US Internal Revenue paper tax stamp, so there is no way to precisely date it. As such, we will place its age as at the first half of the 1940's- the final production years of this style tin.

The image of an African woman with the racist title of “Nigger Hair” imposed over her shoulders was used by The American Tobacco Company of Wisconsin to promote its product; the lithographed tin was manufactured by the B. Leidersdorf Company, Milwaukee, Wisconsin. Interestingly, it must be noted that after World War II, the product name "Nigger Hair" was changed to "Bigger Hair", although the exact same image of an African Woman continued to be used. The company simply added the words “Fiji Islander” to the left of her face in a very, very weak attempt to broaden the product’s appeal by moving further away from the earlier, severely derogatory moniker. At that time, the material out of which the tobacco container was constructed was changed from tin to heavy cardboard.

Measuring 7 inches high x 5 ¾ inches wide, the condition of the tin is a wonderful 8 out of 10--- sporting a beautiful lithograph on both sides with extremely minor, superficial scratches and rubs, along with tiny areas of paint loss. These areas of minor paint loss exist on the back side where the metal bale handle made contact with the tin and slightly scraped it, and on the front side, where several teeny areas of paint loss are present that are very difficult to see unless bright light is deliberately shown upon the tin surface as has been done in both closeup photos. When viewed in natural lighting, the tiny areas of paint loss on the front side are not readily visible unless one deliberately looks for them (see first photo).

The rim of the tin has two, tight 1/8" long splits- very difficult to see and photograph and which are not visible with the tin cover in place. The lid, base, bale handle junction points, and interior of the tin show minor evidence of light, superficial rust. Otherwise, the tin is solid. The original mustard-orange color of the tin remains consistent over the entire tin as does the clear, brilliant black lithography.

Any imperfections are quite reasonable and expected given the age of this piece-- approximately 80 years of age!! Please note that any "white" areas in photos are flash or lighting reflections and are not imperfections to the tin.

Truly an extraordinarily RARE piece of Black Memorabilia seldom found in this wonderful condition complete with bail handle and lid (Soft tissue paper has been wrapped around the bail handle to prevent any further scratching to the tin exterior.)

Offered is this 1931 copyright, LITTLE BLACK SAMBO Book with text and illustrations by the original author of this tale, Helen Bannerman. A David McKay Company publication of Phildelphia and Washington Square, copyright by Howard E. Altemus, with an introduction by George C. Harvey. Hardcover, 59 pages.

A much-beloved children's classic written in the early 1900's by Englishwoman, Helen Bannerman, for her two young daughters while they lived in India, Sambo, in the original tale, was an Indian boy and not an African-American child. He was converted over time to this race, however, by subsequent story tellers and illustrators. This age-old tale tells of Little Black Sambo and his frightening tiger encounter, which fortunately, has a happy ending!

Condition is 8 out of 10. This book has seen careful but frequent use with moderate wear to book cover edges as well as the red cloth spine cover. While the binding remains quite tight, surface soiling to covers and some interior pages is evident. The inside front cover reveals a penned inscription from an aunt to her nephew at Christmas, 1937.

This book retains outstanding, bold and brilliant coloring of all illustrations--- just fabulous---given its 89+ years of age!

There are small tears at the bottom of the following pages very near the bound side of the pages ranging from 1/2 to 1.5 inches long; some tears have old tape repairs: pages 9, 18, 19,20, 28, 33, 47, 49, 58.

A unique copy!

A powerful piece of Black Americana, this original and seldom-found, 1897, photo lithograph entitled “Alligator Bait” is a stark reminder of the historic prejudice and racism suffered by Americans of African heritage.

Measuring 11 inches by 25 inches wide, the piece is signed in the lower right corner, "Copyright by McCrary & Branson 189_ Knoxville, Tenn.", with the numeral 7 gone due to missing bits of the paper edge. Research has documented the copyright date of 1897.

The condition is very fine and all-original including the wooden frame and wooden backing. The glass is a replacement. There is some minor water damage here and there along the lower edge as documented in photos which does not impact the image. Some minor paper edge loss is noted in photos.

Indeed, an extraordinarily powerful and historic piece!

Measuring 5 inches tall x 4.5 inches wide, this delightful and quite colorful mechanical bank was manufactured by the Chad Valley Company, England, circa late 1940's.

The Chad Valley Company was the most well-known manufacturer of toys in the United Kingdom during the 20th century, beginning in the 1920s. Metal toys were first produced at their factory in 1945 at the end of World War II, which is likely the time frame for production of this bank.

The bank features a well-dressed, smiling black man attired in a black and white checkered jacket with white shirt and black and green striped tie.

To operate the bank, the gent's tongue pops out to receive a coin. When his tongue pops back into his mouth, a wide, toothy smile is revealed. The tongue apparatus is operated via a lever on the front of the bank that is positioned at the knot of the the tie. The gent's eyes jiggle in a silly matter when his tongue moves in and out.

The bank comes complete with the original key. It is in fine condition with expected, light, superficial rubs and scratches to case paint. The face is in quite wonderful condition as seen in photos.

A delightful collectible which displays absolutely fabulously!

Used by the Atlantic and Pacific Tea Company, New York, - the A & P grocery store chain - for advertising purposes, this rarely-found and sizable die cut has been protected in a 12 3/4 x 9 1/2 inch, gold-toned frame.

Vividly colored, this Black Memorabilia themed piece features a smiling black girl seated on a large straw basket while holding 2, smaller-sized, flower-filled straw baskets in each arm. The young girl is nicely attired in a ruffled blue and yellow dress and wears red sandals, white lacy gloves, and a rose-accented, straw bonnet!

The die cut is in excellent condition! A very rare find!

Measuring 4 ¼ inches high with a 3 /14 inch diameter, this UNUSED, 1 pound can of circa EARLY 1930’s, Old BLACK JOE Axle Grease is in very fine condition! There is some wear to the paint along the edge of the lid cover and at the top and bottom side surfaces, but virtually no rusting! The only noted rusting was to the base of the can and this is very superficial and can be buffed away. The can is quite structurally sound with no leaking as demonstrated by the photos taken on unprotected, white, antique bed linens!

Old Black Joe Axle Grease was manufactured by the John Hancock Oil Company of Minneapolis/St. Paul, Minnesota- the Twin Cities. The can was made by the St. Louis Can Company and is so labeled (see photos). Note the exaggerated facial features of OLD BLACK JOE---an unfortunate, but very typical depiction of African Americans during this time period.

A wonderful and scarce find Black Memorabilia collectible in near excellent condition!

Once part of the Middle Passage Museum inventory, these authentic and extraordinarily RARE child’s slave shackles have been de-accessioned. These plantation-made, iron, 19th century shackles were once used on a Georgia plantation. They remain all-original and untouched with sixteen small chain links. These RARE shackles measure a total of 20 inches in length and retain their original iron key, a find that is virtually un-heard of! A horrible, tangible testament to the malevolence of slavery.

Also currently offered for sale and priced separately are a second set of rarely found, Georgia, child's, slave shackles (no key with this set) that is featured in the last photo. An additional set of ADULT shackles is also available. Please type the word "shackles" in the search box on our home page to find all 3 sets of shackles currently offered for sale.

The Middle Passage Museum was the dream of Jim and Mary Anne Petty of Mississippi as well as that of an anonymous Georgian benefactor who had together compiled a collection of slave artifacts numbering over 15,000 pieces and who had hoped to find a permanent site in Mobile, Alabama, for their museum. While they formed a non-profit organization to raise funds for their hoped-for museum, their dream was never realized.

In a 2003 statement, Jim Petty remarked, "The importance of the exhibit of these artifacts is to understand the harshness of what slavery and segregation was all about. The items in the exhibit remind us of the terrible heinousness of slavery. Viewing the collection can be very emotional, but it is a tool through which we can understand, honor and respect a great culture. We want to realize that out of slavery, a great culture emerged, and carried on, and continued to strive for a better life regardless of the adverse conditions that were placed upon them."

Measuring 10 1/2 inches high x 6 inches in diameter, this very visually appealing, very difficult to find, bright orange, 4 pound size, VINTAGE “MAMMY’S FAVORITE BRAND COFFEE” TIN is in near-excellent condition!

Some superficial scratches and rubs to the lithograph most notably on the back side of the tin above Mammy’s head. Structural integrity of the tin is quite sound with no holes, piercings, breaks, or dents, and only scarce, superficial rusting to base. See photos. (Please disregard any variation in surface color that may appear in some photos. Color is vivid and uniform throughout. Any color variation seen in photos is due to outdoor lighting conditions and light reflections, and not tin discoloration.)

This wonderful tin dates to the early 1920’s features a vivid graphic of "Mammy Serving Coffee". Processed and packaged by the C. D. Kenny Company of Baltimore, Maryland, this fabulous tin no longer retains its bail handle but does have its original cover!

In just wonderful condition with the front side displaying fabulously, this very difficult to find early coffee pail is an especially lovely and visually appealing piece of vintage Black Americana advertising!!!

Measuring 9 inches high, this delightful example of Folk Art styling, is one of a series of Black cloth character dolls made in Alabama in the 1930’s by unknown craftsmen/women. It has been speculated that their creation was encouraged through FDR’s Depression era program, the Work Projects Administration (WPA), in existence from 1936-1940.

This doll depicts the black washerwoman. She holds an authentic-looking wood and tin washboard in her left arm. This gentlewoman wears a red kerchief on her head covering all hair and has embroidered facial features –most characteristic of these dolls. Also characteristic of this type of doll is a small square of asphalt shingle glued to the feet to serve as a stand. This doll still retains her original shingle stand but it has come loose from the left shoe. Clothing, with the exception of her navy-colored knit-fabric sweater, is machine-sewn cotton with careful detailing right down to the red hankie poking out of her apron pocket. Her body, which is well-stuffed to be anatomically correct, is black cotton fabric stuffed with cotton batting.

A very special doll that takes a snapshot of history in capturing the life of the poor southern black of the Depression era.

Measuring 9-7/8 tall x 13-1/2 inches wide, this extraordinarily rare, Jim Crow era, segregation sign advertises a "colored-only" hotel, Coleman's of Ashland, Virginia.

Constructed of cardboard with black printing, this circa 1920-30s sign reads: " Coleman's Hotel Colored. Special Attention to Tourists. Ashland Virginia".

The sign remains in all-original condition inclusive of minor discoloration as noted in photos and small chips to the upper right and lower left corners. Print source is noted: "Herald-Progress Print, Ashland, VA".

This is NOT a reproduction, but rather a fortunate preservation. It is quite amazing that this sign has survived the many years being constructed out of cardboard. It was clearly stored away in such a manner that preserved its original condition.

Travel for African Americans during the Jim Crow period was difficult and complicated, with limited options for eating, sleeping, even procuring gasoline for the car. As a result, black-owned hotels and motels placed signs such as this one prominently in their windows. There were even special travel-guides to help African Americans plan their trips, hopefully, without incident. Victor Green's "Green Guide" provided state by state lists of colored hotels, motels and other travel-related businesses that catered to African-Americans.

Quite possibly the ONLY sign remaining extant from this particular, racially segregated establishment. An historically significant piece!

This sweet, 1930's, wooden pull toy made by the Hustler Toy Corporation of Sterling, Illinois, features a darling little black character pulling the reins of his white mustang horse! The toy measures 12 inches long x 5.5 inches high.

When the toy is pulled, the wheels rotate and the horse's head bobs up and down! Just adorable!

This 75 year old toy is in very good condition with very minimal and expected, normal wear from light playing to appropriate areas (see photos).

All original including very aged (!)string, with no breaks and no repairs or replacements to either wooden or metal parts. There is evidence of repaint to the green platform and the red wheels only; however this was done a very, very long time ago as the repainted areas show old wear! The horse's black cloth ears are worn-looking but still intact!

A very charming old toy with fabulous, visual "shelf appeal"! Perfect for either the Early Toy or Black Memorabilia collection!

C1920s Cast Iron Hubley Black Mammy Soap Dish In fine form with very minimal paint loss as seen in photos, this wonderful circa 1920's, cast iron, Hubley BLACK MAMMY SOAP DISH is in all-original condition- no repaint!

Measuring 5 1/8 inches tall with soap dish attached, Mammy's colors- her deep red dress, mustard yellow shawl, and yellow and red polka dot head scarf- remain vibrant and brilliant with a wonderful old patina! Her face features large, dark eyes and a smiling, red mouth.

The soap dish is designed to be removed, and its anchoring cast iron peg fits into a hole atop Mammy's head. The exterior of the soap dish is cast to resemble a wicker laundry basket and is painted a slightly lighter-toned, mustard yellow.

A delightful, vintage piece of early Black Americana in premium condition!

This is an authentic signed baseball from former Negro League baseball player Luther "Luke" Atkinson. The ball was signed at an autograph show in March 2006. Luther "Luke" Atkinson was #20, a stand-out performer for the Wilson, North Carolina All Stars, the Carolina Tigers, and the Satchel Paige All-Stars, who played baseball in the Negro Leagues from 1955 to 1960, starting his career right out of high school. As of spring 2018, Mr. Atkinson, who lives in Maryland, remains an active volunteer in the newly opened, Hubert V. Simmons Museum of Negro Leagues Baseball, Inc., at the new Owings Mills Metro Centre Complex.

A brief history of the Negro League:

African Americans first began to play baseball in the late 1800s on military teams, college teams, and company teams, eventually finding their way to the established professional baseball teams of white players. However, racism and “Jim Crow” laws would force African Americans from these teams by 1900, with black players left to form their own teams.

In 1920, an organized league structure was formed under the guidance of Andrew “Rube” Foster, a former player, manager, and owner for the Chicago American Giants. In a meeting held at the Paseo YMCA in Kansas City, Mo., Foster and several other Midwestern team owners joined to form the Negro National League. Soon, rival leagues formed in Eastern and Southern states, which brought black baseball to major urban centers and to rural countrysides in the U.S., Canada, and Latin America. The Leagues maintained a high level of professional skill and inspired economic development in many black communities.

In 1945, when Major League Baseball’s Brooklyn Dodgers recruited Jackie Robinson from the Kansas City Monarchs, Robinson became the first African American in the modern era to play on a Major League roster. While this historic event was a key moment in baseball and civil rights history, it marked the decline of the Negro Leagues. The best black players began to be recruited for the Major Leagues with their black fans following them, and the last Negro Leagues teams folded in the early 1960s.

Identical to Milton Bradley's "Jolly Darkie Target Game" manufactured circa 1910, this visually striking dexterity game is very curiously unmarked---quite likely a very rare error in manufacture.

This fabulous game features a brightly colored lithograph target depicting the dapper, banjo-playing, "Jolly Darkie" with a gigantic mouth.

The target box remains in very fine condition, appearing to have seen little, if any, use. It has four openings through which one was to toss the four wooden balls that the game originally came with, but which are no longer present. It measures 13 inches tall x 6 3/4 inches wide x 1.5 inches deep.

As evident in the photos, the side-less box cover shows expected wear given its 100+ years of age, with some pencil writing in the mouth and some surface soiling.

As indicated earlier, the extant game pieces do not retain a copyright year or maker name; however, this game is very similar to two other Milton Bradley Jolly Darkie Target games that were manufactured from 1890-1910, suggesting that this game was also manufactured during this era by Springfield, Massachusetts' Milton Bradley Company. The directions to this game are not present, and it is quite possible that the manufacturer and manufacture date both appeared on the direction card-- as has been found to be the case on other Milton Bradley games of this era.

The game cover as well as the JOLLY DARKIE target box display absolutely wonderfully and would be a colorful asset to one's vintage black Americana game collection!

Measuring approximately 15 inches in length, this 1930's, vintage, J. Chein, tin, wind-up toy remains in all-original condition!! With detailed graphics, this toy has NO repairs, replaced parts, or repaint!

A wonderful addition to any vintage toy or Black Memorabilia collection, this vividly colorful toy remains in great working condition. Wind up the alligator, and his mouth viciously snaps open and closed as he rolls along, with the black native balancing on his back! (Mr. Alligator is a bit fussy with regard to what type of surface he will roll upon, but the mechanism functions fine!)

Some missing paint here and there as would be expected given its 80+ years of age (please see photos), as well as some superficial scratches, and some crimping to the alligator's tail.

A seldom-found toy!

Please note that white spots in photos are the result of flash reflection and not imperfections to the toy.

Measuring 20 inches in length by 4 inches high, this rare, Jim Crow-era, segregationist sign once hung in the one and only movie theatre of Doerun, Georgia, a small south Georgia town. Folks would view movies on a white sheet that was tacked to one wall. The white folk sat in folding chairs on the first floor while the African-Americans were directed to seating via this sign in the upstairs balcony.

This 1940s sign is white-washed on both sides with lettering and art work completed in red paint. Made of metal with 2 holes on either end for hanging. It has seen its share of vandalism with numerous deliberately inflicted scratches to the paint as seen in photos.

Once part of the Middle Passage Museum inventory, the sign has been de-accessioned. The Middle Passage Museum was the dream of Jim and Mary Anne Petty of Mississippi as well as that of an anonymous Georgian benefactor who had together compiled a collection of slave artifacts numbering over 15,000 pieces and who had hoped to find a permanent site in Mobile, Alabama, for their museum. While they formed a non-profit organization to raise funds for their hoped-for museum, their dream was never realized.

In a 2003 statement, Jim Petty remarked, "The importance of the exhibit of these artifacts is to understand the harshness of what slavery and segregation was all about. The items in the exhibit remind us of the terrible heinousness of slavery. Viewing the collection can be very emotional, but it is a tool through which we can understand, honor and respect a great culture. We want to realize that out of slavery, a great culture emerged, and carried on, and continued to strive for a better life regardless of the adverse conditions that were placed upon them."

Offered is a wonderful, seldom-seen, circa 1910's, tin wind-up, Black Porter toy manufactured by Ferdinand Strauss of New York City, New York.

This Black Porter Pushing A Wheelbarrow amazingly still retains his original, red ribbon neckerchief. The windup mechanism is intact and holds a full wind...the man's legs are a little sluggish after 90+ years, but the toy does work.

This very difficult-to-find, Black Memorabilia toy measures 6" long, is approximately 2 3/4" wide and is 6" tall. Minor rubs to paint are present as noted in photos, but this paint loss is insignificant given the age of this toy.

A fine addition to one's Black Memorabilia collection!

Those who are ardent collectors of the famed Florence Upton creation - the Golliwogg - recognize this 19th century, first edition, children's book as an extraordinarily RARE find indeed, very seldom available for purchase in today's market!

"The Golliwogg's Bicycle Club", published in 1896 by Longmans, Green & Co, London & New York, was illustrated by Florence K. Upton, with story written by her mother, Bertha. This book was the 2nd Golliwogg adventure in a series of thirteen Golliwogg adventures by Upton, with the last published in 1909-- all of which are incredibly difficult to find today.

This hard cover book, measuring 8.75 inches high x 11.5 inches long, is a total of 63 pages in length. The book is lavishly illustrated with 30 full-color illustrations and tells the story of Golly's world travels. Golly and his friends, suffering from boredom, create their very own bicycles out of tree-wood and then partake of marvelous adventures in Paris, Japan, Turkey and Africa!

The Golliwog, itself, was based on a Black minstrel doll that Florence Kate Upton, born in 1873 of English parents, had played with as a small child in New York. Upton's Golliwog character was first introduced to the world in her 1895 book entitled The Adventures of Two Dutch Dolls. Like the rag doll that inspired it, the Golliwog in her book was a less-than-handsome creature with very dark, jet black skin, large white-rimmed eyes, red clown lips, and wild, frizzy hair. Golliwogs are typically male and are generally dressed in a jacket, trousers, bow tie, and stand-up collar in a combination of red, white, blue, black, and occasionally yellow colors.

The book is in very fine but not perfect condition-- not surprising given the book's 114 years of age! Wear to hard-board-cover edges. Binding remains strong, but thread stitching securing pages to binding has weakened with the two, center-most pages separated from the others. Evidence of tape repair on these loosened pages present. Book is complete, with no missing pages.

Truly a fabulous find! The first time I have EVER had the pleasure of offering this wonderfully-rare children's book in my 26 years of dealing in Black Memorabilia!!

In absolutely MINT condition, this wonderful, 1950's era, 5 piece, ceramic Spice Set features either a cheerful Black Mammy or Pappy on each jar. The set accommodates the following spices: CINNAMON, NUTMEG, SALT, PEPPER, and ALLSPICE.

Each ceramic jar measures approximately 3.25 inches high, and each is marked "JAPAN" on the bottom. They are of one-piece construction retaining the original corks in their bases. Each jar top features a different color which further adds to decorative appeal! Other than age-related crazing to the glaze, each jar is in perfect condition with no wear to the decorative paint!

The original wooden rack which- retains its original "MADE IN JAPAN" sticker on back- measures 9.50 inches long x 4.25 inches high x 2 inches deep and is in very fine condition. The rack features 2 holes for wall-mounting.

This delightful set has obviously seen little use in its 50+ years and would provide the collector with an interesting, visual kitchen display!

Measuring 13 inches tall, this fabulous, highly-detailed, circa 1900, folk art, cloth doll is reminiscent of William Shakespeare's era! Shall we call him Othello?

Dressed in a machine-stitched, worn-in-places (see photos), black velvet pants and shirt complete with red chain stitch accenting, the doll, Othello, also sports an original and very well-worn red velvet hat and a very frail, pair of original, black leather shoes.

Othello's face is interestingly expressive with hand-stitched black eyes and eye lashes, hand-sewn, red satin lips, and a three-dimensional nose! His hair is fashioned from wool yarn which has selectively faded in places resulting in a salt and pepper look of light tan and black.

Othello's body is fashioned of firm, cotton-batting-stuffed, black sateen cotton that has been machine stitched. As indicated earlier, Othello's red velvet gathered hat or beret is quite delicate in condition with wear, fading and splitting of the cloth quite evident (see photos). His right leather shoe remains firmly tied in place despite the wear evident to it (see photos) and only one half of the left shoe exists (again, see photos). Othello's neck has also experienced some loosening over time from the vicinity of his shoulders making his head wobbly when not supported. This can be repaired-- or not -- if desired by the new owner.

Despite his flaws, Othello, given his approximate 111 years of age, remains a beautifully-fashioned and an historically-interesting example of a folk-art-inspired, black cloth doll fashioned over a century ago to appeal to upper class clientele of the turn of the twentieth century, given the very fine attention to detailing evident in both his crafting and creation.

Measuring 10 inches long, this fabulous and rarely-found, all-original, C1900, cast iron, MAMMY Memo Board actually still retains its original pencil, which is labeled "MAMMY MEMO Made in USA No.370"!

This cast iron piece retains a majority of its original paint, and the bug-eyed caricature of Mammy is suggestive of turn-of-the-century manufacture. This memo board is heavy and hefty and is, not unexpectedly, missing its paper pad. This wonderful piece also reveals its manufacture origin on the reverse side indicating Holyoke, Massachusetts, origin (see photo). Mammy may either be displayed propped up on a shelf, or she can be hung via the original hole in the top of her kerchief.

This cast iron Mammy memo board in such fine condition rarely surfaces in today's collecting market. It is the precursor to and model for all subsequent Mammy memo boards that were manufactured much later on in a variety of materials--plaster-of-Paris, wood, and plastic.

Truly a must-have for the collector of Mammy or Aunt Jemima collectibles!

Measuring 17 inches long x 9.25 inches wide x .75 inches deep, this untouched, all-original, double-sided wooden sign is an extraordinarily RARE piece of Black American history-- an artifact of the "Jim Crow" era when segregation of the African American race was unfortunately, most commonplace.

This sign once hung on the inside of a railroad car, designating the line behind which African Americans must remain-- in the back of the car.

The sign is painted in gold lettering on both sides as follows: the back of the sign is painted, "FOR COLORED PASSENGERS", while the front of the sign is painted, "FOR WHITE PASSENGERS".

The sign is in all-original condition and has some paint fading, fading of the wood stain in given places (please view photos), and imperfections in the wood as noted in photos. These do not impact the integrity of the sign and are appropriate to the age and purpose of the piece. The sign retains all of its original hardware including "keyhole" receptacle for hanging the sign inside of the railroad car.

An utterly phenomenal, extremely RARE, one-of-a-kind, museum-worthy piece of Black American history that may very well be the only one of its kind extant today!

Measuring 9.5 x 11.5 inches framed, this lovely, circa 1950’s, multi-colored, cross stitch sampler is entitled, “Enough Is As Good As A Feast”. In excellent condition and appearing to have been recently re-framed, this lovely piece features a Mammy and child carrying meal-filled dishes, presumably, to the dinner table. The sampler also features pretty flowers, and appropriately, a knife and a fork! The tiniest trace of a stain is barely visible at the top of the fork, but truly, it is not readily noticeable and certainly does not detract from the marvelous visual appeal of this very sweet piece!

Offered is a group of 3 Wright & Ditson Golf Clubs that include two scarce Hickory Smooth Face examples and one later steel club. Smooth face clubs fell out of fashion around circa 1900, although they were still offered in catalogues for a number of years. I date the following first two of the three clubs offered from 1900-1910.

The two hickory smooth face clubs are each stamped "ST ANDREWS", "Wright Ditson & Makers". Each shaft is stamped "Wright & Ditson" just below the grip and sport a nice aged patina.

The first hickory club appears to be an unmarked putter, and the iron club head portion is in very nice condition. Measures 33.5 inches from heel to top of shaft.

The second hickory club is essentially a 5 iron (MASHIE) although it is not marked as such. There are two small leading edge dings and is otherwise a nice example.

The third club, is a steel club, is marked "5 and MASHIE" on the base and dates to the 1930 era. The painted metal shaft sports a nice dark brown leather grip. The head of the iron is stamped "PARAMOUNT REG.U.S. PAT. OFF. - GRADUATED IRONS 'WRIGHT & DITSON' U.S.A. MILD STEEL". The club head is in good condition with various mild leading edge dings.

All clubs ready to play!

Measuring 19 inches long by 3.5 inches wide, this untouched, all-original, double-sided, porcelain-enameled, 1930-40s, metal sign is an extraordinarily RARE piece of Black American history-- an artifact of the "Jim Crow" era when segregation of the African American race was unfortunately, most commonplace.

This sign was found in storage inside of an old Austin, Texas, gas station and likely designated the COLORED ONLY entrance to a local public building or room within.

This historic sign is enameled on both sides with the word "COLORED" and a downward pointing arrow. Colors are blue with cream background.

The sign is in all-original condition with several chips to the porcelain enamel as well as subtle edge wear. It likely was posted on the interior of a building as its overall condition is really quite fine and does not evidence any characteristics one would expect of a sign that was subject to the ravages of Mother Nature. Or...perhaps the sign was simply never used-- a mystery never to be solved!

An utterly phenomenal, extremely RARE, one-of-a-kind, museum-worthy piece of Black American history that is quite likely the only one of its kind extant today!

Please take a moment to view the second "Jim Crow" Segregationist Era sign I currently have the pleasure of offering.

Measuring approximately 7 inches high, this highly sought after Black Vargas wax figure which is mounted on its original wooden platform, is one of a series of fascinating "street character wax dolls" conceived of and crafted by Mrs. Conception Vargas Alfonso, daughter of the world-renowned, turn-of-the-century-New Orleans, Spanish sculptor, Francisco Vargas.

From approximately 1915 through the 1930's, Mrs. Vargas-Alphonso, influenced by the artistry of her father who also sculpted in wax, crafted a variety of wax dolls inspired by the black folk she saw on New Orleans's street corners while growing up. Sold exclusively at the time through Harriet's, of 318 Rue Royale in the French Quarter of New Orleans, the completely hand-made, one-of-a-kind dolls are seldom found on today's market due to their inherently fragile nature, making them highly sought after in the Black Memorabilia Collectible arena.

This particular figure is known as the Vegetable Seller.

Vargas wax figures are distinctly characterized by their interesting but highly exaggerated facial features. The Vegetable Seller wears a blue and yellow striped bandanna around his neck, dark pants, and an orange and yellow polka dot shirt- all constructed of actual cloth fabric that was coated with a fine layer of clear wax to stiffen them. He carries a straw basket containing three different types of vegetables in his right hand while holding a corn cob in his outstretched left hand. His wax body is internally supported by a wire frame through which the figure is securely attached to the wooden base. The bottom of the base retains its original paper sticker which reads, "HARRIET'S, 318 Royal Street, New Orleans, LA". Harriet's Gift Shoppe was the exclusive retail outlet for the sale of Vargas figures to the public.

This wonderful figure is in mint condition for his 75+ years of age with no apparent or visible imperfections. Amazingly, all fingers and both thumbs remain perfectly intact! (The fingers are so very, very thin and fragile that they are quite easily broken.)

The Vegetable Seller is most delightful- a snapshot into 1920's New Orleans cultural history!

Please see the other Vargas figure that is currently available and priced separately--type "Vargas" in the search box to quickly locate them. A photo of the other Vargas figure currently available for purchase has been included, for the buyer's viewing convenience, in this listing.

Please note- any white or light spots noted in photos are a result of sun light glare and are not reflective or discoloration or fading.

Offered is a scarce, Western Union display box from the 1920's era used hold a variety of telegram forms as well as written guidelines and charts needed to accurately and precisely perform this valuable and popular communicative service.

This advertising gem was once used at the Island Pharmacy, City Island, New York, and was acquired directly from the family.

This display box measures 11"H x 9.25"W x 4.25"D, is in very good condition and sports the "WESTERN UNION TELEGRAPH" cardboard label on its front. Both the display box and label exhibit age appropriate wear as noted: a few, small, top edge chips to the wood, some staining to the label as seen in photos, and the "N" in the word "BLANKS" is damaged.

This graphically appealing, vintage, advertising piece comes with a wide variety of very interesting and historic associated ephemera that serves to define the vast scope of service that Western Union provided: a 1962 CIPHER (Encoding and Decoding Card) for use with money order messages, a guideline card defining the delivery of Military Casualty telegrams, a 1949 guide card defining the Priority Order of Messages, a Standard Abbreviations Guide card, 2 cards notating New York City and Albany addresses of the main Western Union Offices in the state of New York, numerous contracts spanning multiple decades confirming the continued authorization of the pharmacy as a Western Union provider, as well as 15 colorful and unused, telegraph and cable THANKSGIVING blanks and over 40 Christmas HOLIDAY GREETINGS blanks. Also included is a 1950's, 17 page, company history given to Western Union services providers entitled, The Story of Western Union.

The City Island Pharmacy contracted with Western Union as an agent for the delivery and acceptance of telegrams and cable services from 1939 through 1972!

What a delightful advertising piece with wonderful provenance, filled with historic Western Union ephemera!

Measuring approximately 7.5 inches high, this highly sought after Black Vargas wax figure with a young child is mounted on its original wooden platform and is one of a series of fascinating "street character wax dolls" conceived of and crafted by Mrs. Conception Vargas Alfonso, daughter of the world-renowned, turn-of-the-20th century-New Orleans, Spanish sculptor, Francisco Vargas.

From approximately 1915 through the 1930's, Mrs. Vargas-Alphonso, influenced by the artistry of her father who also sculpted in wax, crafted a variety of wax dolls inspired by the black folk she saw on New Orleans's street corners while growing up. Sold exclusively at the time through Harriet's, of 318 Rue Royale in the French Quarter of New Orleans, the completely hand-made, one-of-a-kind dolls are seldom found on today's market due to their inherently fragile nature, making them highly sought after in the Black Memorabilia Collectible arena.

This figure, known as the Cotton Seller with Child, is most particularly hard to find and thus is quite highly sought after as it features a very young, female black child standing in a basket of newly-picked cotton. The Vargas family seldom included children or infants in their depictions of the numerous trades of black New Orleans folk, making any characterization featuring a child or an infant more than significantly rare.

Vargas wax figures are distinctly characterized by their interesting but highly exaggerated facial features. This female, Mama, Cotton Seller wears a red and white kerchief on her head, a red and white checked scarf around her neck, and a yellow and white checked shirt and skirt with an apron that matches her head scarf - all constructed of actual cloth fabric that was coated with a fine layer of clear wax to stiffen them. At her feet is a very large, wax-constructed basket made to simulate wicker that is filled with cotton and within which her young female child stands. The Cotton Seller's wax body is internally supported by a wire frame through which the figure is securely attached to the wooden base. The bottom of the base is stamped "Genuine VARGAS New Orleans, LA".

This wonderful figure is in amazing condition for her 75+ years of age with no apparent or visible imperfections other than some missing fingers, a condition which is quite commonly found among Vargas figures.

The Cotton Seller's young, female child also has some missing fingers, and additionally, her neck shows a contiguous crack all the way around. Because her structure is also supported by internal wiring, her head still remains securely attached to her body. Please note that the child is merely placed inside the cotton basket and was never securely glued into it. The wax cotton basket, which was originally glued to the wooden base, has become loosened from it; however, when positioned on the base, it will easily remain in place for display.

Vargas figures are becoming increasingly more difficult to find!

Type "Vargas" into the SEARCH box to see the other Vargas figure currently available: 1920 New Orleans Vargas Wax Black Doll Female Vegetable Seller

Measuring approximately 5 inches high, this very RARE, Japan-made, circa 1930’s pair of Black Butler and Mammy Salt and Peppers are in unused, mint condition, with just the lightest of glaze crazing visible. This highly appealing pair is considered rare as the Butler wears a green jacket versus the very common black jacket. Each is marked “Japan” on the base. A very wonderful addition to the special Black Memorabilia collection!

Derogatorily entitled "Uncle Sam's Big Show Jackie 'COON' Acrobats", this exceedingly rare, early 1920's toy was manufactured by the National Toy Mfg. Company, 1345 West 21st, Chicago.

Included are the original box, as well as the original paper instruction booklet that depicts the "thousands of tricks" the wooden acrobats can perform!

The set of 5 black character acrobats have detachable arms and legs with lithographed paper faces and clothing. All body parts have either notched edges or sides which allow the acrobats to assume all sorts of poses. The figures are free-standing once put together as the toy also comes with wooden bases or stands to mount then upon.

This toy was likely seldom played with as the figures and booklet are in superb condition for its age! The exterior of the box -particularly the cover- shows its 80+ years with expected wear to seam edges, but it remains in sturdy condition.

A very rare toy that displays quite well- has striking, visual appeal!

Once part of the Middle Passage Museum benefactor's inventory, these authentic and extraordinarily RARE, Slave Ship shackles have been de-accessioned from the personal collection of the museum's anonymous Georgia benefactor who is cited below.

These iron, hand-forged, 19th century slave ship shackles were purchased back in the early 1960’s out of a family estate in New Orleans, Louisiana, whose 18th and 19th century ancestors were involved in the slave trade. The shackles remain all-original and untouched with fifteen very heavy chain links that vary in size, measuring a total of 40 inches in length when positioned in a straight line. The cuff size is enormous with diameter measurements of 4.75 and 4.25 inches each; the heft and weight of each cuff is quite impressive. This very weighty set was designed to immobilize when the two circular links were attached to another locking shackle on the interior wall of the ship. An utterly horrible, tangible testament to the malevolence of slavery.

The anonymous museum benefactor from Georgia kept this particular set aside from those items he had planned to donate to the Middle Passage Museum due to the rarity in opportunity of acquiring slave ship shackles---the only set he acquired in his many years of collecting which began in the early 1950's before the collectible field of Black Americana was popular or even socially or politically acceptable.

Also currently offered for sale and priced separately are a rarely found, 19thC Slave Rattle Shackle out of the Charleston, South Carolina area and a set of early 19th century, child/young adolescent - size, Slave Crab Rattle Shackles. Please type the word "shackles" in the search box on our home page to find these sets of shackles.

The Middle Passage Museum was the dream of Jim and Mary Anne Petty of Mississippi as well as that of an anonymous Georgian benefactor who had together compiled a collection of slave artifacts numbering over 15,000 pieces and who had hoped to find a permanent site in Mobile, Alabama, for their museum. While they formed a non-profit organization to raise funds for their hoped-for museum, their dream was never realized.

In a 2003 statement, Jim Petty remarked, "The importance of the exhibit of these artifacts is to understand the harshness of what slavery and segregation was all about. The items in the exhibit remind us of the terrible heinousness of slavery. Viewing the collection can be very emotional, but it is a tool through which we can understand, honor and respect a great culture. We want to realize that out of slavery, a great culture emerged, and carried on, and continued to strive for a better life regardless of the adverse conditions that were placed upon them."

Measuring 25.5 inches wide x 22 inches high in its original oak frame (the artwork itself measures 19.5 inches x 16.5 inches), this extremely rare, museum-quality example of American Folk Art with Deep South Black Americana theme, features the unusual combination of stenciled (?) cotton, crewel stitch-work, and oil and watercolor painting to achieve its phenomenal look!

Cheerily entitled, “Down Where The Cotton Blossoms Grow”, the scene encapsulates a moment in time in the life of poor, southern, Black folk living as part of a tenant farming family in a wooden cabin at the edge of a expansive cotton field. A young, barefoot black boy and his graying mama are caught in a happy moment smiling and dancing next to a freshly-picked burlap bag of cotton.

This artwork has been completed on a tightly woven piece of tan cotton, with the outline of the basic design either pre-stenciled or hand-painted with black India ink. (Without removing the piece from its frame and examining it under the stronger power of a microscope, this is difficult to determine.)

The artist then used watercolors to paint in the broad areas of color prior to using embroidery cotton and silk thread to stitch the title, and to outline the trees, the landscape, the wooden cabin, the two black figures and their clothing, etc. The final touch was to paint in the cotton blossoms and aspects of the folk’s facial features with a white oil paint. The result is a larger scale, utterly charming Folk Art Black Americana scene!

The condition of the piece, which is framed under glass, is excellent with no staining, tears, or other damage to the cotton fabric. The original solid oak frame shows some scuffing and subtle traces of paint. The original wood backing remains as well as several original square head nails.

This piece is truly a unique example of traditional, late 19th century, American Folk Art! Coupled with its Black Americana theme, this artistic rendering is a rare and precious offering!