Catalog: Archives: Collectibles (190)

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 10.25 inches high from hat to base bottom, this colorful, 1910 patent date, tin lithographed, wind-up toy featuring a dapper Black Gent dancing a jig is quite visually appealing!!

In very nice condition with minor scratches to paint here and there as seen in photos, this wind-up toy works, but can be a little fussy. Given its 100+ years of age, a bit of fussiness in the mechanism is not atypical or unexpected. Marked "TOMBO" Alabama Coon Jigger Trademark Strauss Mfg Co New York USA; US Patent May 24, 1910. The figure, itself, is 8.25 inches high.

This fabulous toy is a CLASSIC MUST-HAVE for the avid Black Memorabilia Toy collector!

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 container is in good condition, perhaps a 7 out of 10, with one side exhibiting minor surface scuffing, while on the other side more scuffs and rubs are evident. Some minor wear around the edge of the top of the container likely occurred from simply taking the cover on and off; however, this is completely concealed by the cover. The original cardboard cover was lost with the passage of time; the replacement tin cover shown was in place when this container was acquired.

The original brownish orange color of the container remains consistent throughout, and the structural integrity of the cardboard is quite sturdy. Superficial rust is evident on the inside and outside of the metal base; this rust does not impact integrity of the tin base. The container retains partial remnants of its paper Federal Revenue Tobacco seal on both sides.

This very rare tobacco container is just a wonderful example of latter Black Americana advertising. The container looks better "in person" than in the photos as the camera actually accentuated the appearance of the scuffing, especially on the "better" side!

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!

Offered is an 1809, Augusta, Georgia, slave document - a Bill of Sale between John Woolfolk of Edgefield District, South Carolina, to Thomas Cumming of Augusta for a total of three slaves, all of whom were related: an adult woman named Judy, who was a seamstress, and her two children, Eliza and Edward.

This document is quite unusual in that it was generally atypical that slave families were permitted to remain together when a slave sale was conducted, regardless of the age of any children involved.

The single page, 15.5" wide x 19" long document was folded in half by its author, and the bill of sale is written out on one side of the folded page (see photos). The folded page was then flipped over, folded into thirds, and the title of the document was written out: "Bill of Sale John Woolfolk, Edgefield District. S.C. (South Carolina) for Judy- a Seamstress Edward (and) Eliza her children".

The text of the Bill of Sale reads as follows, First Paragraph:
"Augusta the 8th June 1809, Received from Thomas Cumming, Six hundred Dollars, being the consideration money infull for the following negro slaves sold and delivered to him this day. Judy a woman of about 21 years old Edward a Boy of about three years old and an infant female, named Eliza, Both Children of the said Woman Judy, which Said three negroes, Judy, Edward and Eliza, I do hereby warrant and defend against the claims of all persons whomsoever"

Second Paragraph:
"Given under my hand and seal the day and date first above written."
"John Woolfolk"

Condition of this slavery document is quite remarkable given its 213 years of age! Expected age-related discoloration of paper and slight (approx 3/4 inch)paper split at one end of one fold only. (see photos)

This signed, original artwork rendered in 2003 by the emerging, self-taught, New Orleans, Louisiana Folk Artist, L. Sister Raya, measures 11 X 14 inches.

The work is entitled, "Coffee With the Spirit World" and is done in acrylics on watercolor paper. It comes mounted on acid-free foam core which can continue to be used when the piece is framed.

Of this piece of artwork, Sister Raya says, “When peoples get up in the morning they slog on coffee and stumble round full of stress and worry, but they don’t be knowin that’s the time when the spirit folk be slippin round they heads. They be friendly folk and like you to say good morning to them. People go too fast today, slow down when you be drinkin yo coffee and say good mornin!”

The vibrant blues, yellows and reds make this art work tremendously visually appealing and thought-provoking!

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."

Measuring 5.25 inches high x 6.50 inches wide, this near mint, three piece, Black Mammy and Chef Oil and Vinegar Cruet was produced in 1940s Japan.

The bodies are one single piece with one hand each on Mammy and the Chef that serve as stoppers for the two pouring spouts. The piece is marked with a "V" for Vinegar and an "O" for Oil on each arm. Very sweet faces!

All original with no breaks, cracks, repaint or repairs, the cruet retains the original corks as well! In truly lovely condition with just one scrape to the red paint under the chef's left arm and some missing paint spots on his right arm. (see photos) Otherwise quite perfect, and displaying very, very well!!! An eye-catching piece!!!

This authentic, 1930-40's, framed barber shop or beauty salon advertisement for "Slick Black Hair Color and Straightener" for African Americans was extremely difficult to photograph as it is framed under glass. Please note that actual poster color is deep, rich, and even throughout, and that any imperfections in the images as may appear in photos, are due strictly to lighting and glare difficulties.

This colorful paper broadside measures approximately 10.5 inches wide x 15.25 inches, and framed, measures 17 inches wide x 22 inches long. The poster or broadside is in excellent condition with the exception of a small, 1.5 inch long crease line above the top of the gray side of the model under the word "hair'. Otherwise wonderful!!

This piece has been matted and framed for some time and most recently hung on a wall in a Florida restaurant. To deter pilferage, the frame was actually screwed into the wall and as such, has evidence of minor puttying and repainting restoration where the two little screw holes were in the frame. The new owner may wish to continue restoration or simply leave the frame as is!

This poster is rarely found in the antiques market today, and due to its striking imagery and coloring, is destined to become a most delightful and decorative room focal point!!

Painted on a 16 inch x 20 inch artist canvas panel, this highly colorful acrylic painting was executed by Geraldine Smith, a self-taught, African-American, Southern, Folk Artist.

This vibrant work, painted in June 2006, depicts a charming 1930's scene of a Southern cotton farm complete with log cabin, old stone wall, dilapidated truck, two big red barns, and two black women picking cotton in the fields. The leaves have turned the brilliant colors of autumn and some have fallen to the ground. The piece is signed in red in the lower left corner "Geraldine Smith June 2006".

(Please disregard any "shiny" or "white" areas in the painting; these are the result of camera flash glare ONLY and are not imperfections in this work. The colors in this painting are actually more vibrant and brilliant in tone than can be depicted in photos.)

Geraldine Smith, who is now in her late 50's, did not begin painting until the late 1980's when she saw the television painter, Bob Ross, and decided she wanted to give painting a try. "I don't know why," Ms. Smith said. "I couldn't draw a straight line. I'd sit up all night trying to paint. Lord help me. Something was driving me to learn to paint." Smith credits The Lord with providing her with the continued inspiration to paint, and states, "When the spirit is leading me, I can paint and paint."

Source for quotes and newspaper photo, The News, South Carolina.

Measuring approximately 7 inches high, this highly sought after Black Americana Vargas wax figure 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. Concepcion Vargas Alfonso, daughter of the world-renowned, turn-of-the-20th century, New Orleans, Spanish sculptor, Francisco Vargas.

From approximately 1910 through the 1930's, Mrs. Concepcion Vargas-Alphonso, influenced by the great artistry of her father who also famously sculpted in wax, crafted a variety of wax dolls inspired by the black folk she saw on New Orleans's street corners selling their wares or practicing their trade - black folk performing everyday activities that would have been daily seen on the streets of the city.

Sold exclusively at the time through Harriet's, of 318 Rue Royal 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 / Black Americana Collectible arena.

This figure, known as the Praline Seller, was recently de-accessioned from the Louisiana State University Rural Life Museum collection, Baton Rouge, LA, having been acquired by the museum from a private collector in January 1979.

The Praline Seller was one of the most popular of the renowned Vargas figures, highly sought after by visitors to the city of New Orleans. She holds a wicker basket in her right arm that contains five incredibly realistic praline cakes, and tucked under her left arm is a paper "fan" used to ward off any flies from landing upon her delicious pralines.

Vargas wax figures are distinctly characterized by their interesting but highly exaggerated facial features. This gentlewoman Praline Seller wears a yellow floral kerchief around her neck, a red, yellow and blue bandanna on her head, a red and yellow plaid shirt, an ecru linen waist apron, and a delightful yellow skirt patterned all over with whimsical bunny rabbits, which nearly conceals her black "leather" shoes. Her costume is entirely constructed of actual cloth fabric that was coated with a fine layer of clear wax to stiffen them.

The Praline 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 has the word "Praline" scripted on it.

This wonderful figure is in amazing condition for her 90+ years of age with one imperfection: a missing thumb on her left hand- a common condition occurring due to the extreme delicacy and fragility of the wax. At very close inspection, it appears that her right forearm may have been professionally repaired some many years ago, likely by professional staff at the museum.

A true must-have piece for the ardent collector of New Orleans Black folk character figures!

Please take a moment to view the additional Vargas figures we currently have the pleasure of offering for sale. Type "Vargas" into the search box on our website homepage.

Measuring approximately 7.5 inches high, this highly sought after Black Americana Vargas wax figure 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. Concepcion Vargas Alfonso, daughter of the world-renowned, turn-of-the-20th century-New Orleans, Spanish sculptor, Francisco Vargas.

From approximately 1910 through the 1930's, Mrs. Concepcion Vargas-Alphonso, influenced by the artistry of her father who also famously sculpted in wax, crafted a variety of wax dolls inspired by the black folk she saw on New Orleans's street corners selling their wares or practicing their trade - black folk performing everyday activities that would have been seen on the streets of the city.

Sold exclusively at the time through Harriet's, of 318 Rue Royal 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 / Black Americana Collectible arena.

This figure, known as the Coal Seller, is most particularly hard to find, and thus, he is very seldom seen in today's collectible market.

Vargas wax figures are distinctly characterized by their interesting but highly exaggerated facial features. This gentleman Coal Seller wears a red and yellow kerchief around his neck, a yellow shirt patterned with red flowers, green trousers and "leather" shoes- all constructed of actual cloth fabric that was coated with a fine layer of clear wax to stiffen them. At his feet is a very large, wax-coated burlap bag filled with small planks of wood, ready for burning. The Coal 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 features the original trade sticker advertising Harriet's. Remnants of an unreadable paper sticker are also noted on the front of the wooden base.

This wonderful figure is in amazing condition for his 90+ years of age with two imperfections: one missing finger on the right hand, and 3/4ths of the hat brim missing-- both conditions occurring due to the delicacy and fragility of the wax construction as both the hands and the hat are made solely from molded wax.

As a result, fingers are frequently found to be missing on Vargas figures, and hat brims often fall culprit to damage as well. The brimmed hats of Vargas male figures are the ONLY item of Vargas clothing that were never constructed of fabric first before being coated in wax- the only significant design flaw in the execution of these fabulous and iconic New Orleans Black Folk figures!

Please take a moment to view the additional Vargas figures we currently have the pleasure of offering for sale. Type "Vargas" into the search box on our website homepage.

In wonderful condition, this hard-bound, 2nd printing of Elvira Garner's "EZEKIAL" retains its original dust jacket.

Printed in 1937, this delightful story of little Ezekial and his Florida family was both written and illustrated by Ms. Garner.

The book is tightly bound with some foxing at the front and back cover interior seams. The colors are much brighter and more vivid than they appear in my photos. No rips, tears, or repairs. Photos provide a representation of condition of interior pages, cover and dust cover. Excellent condition for its 70 years!

A very difficult to find Black Memorabilia children's story book!

Measuring 7 3/4 inches long, this VERY RARE, 1930’s VINTAGE, Cast Iron, Mammy spoon rest retains most of its original gold paint suggesting that it saw minimal actual use! The well-dressed Mammy sports a wide grin and holds an iron in her right hand and other household implements in the left.

She is in very fine condition with a smattering of teeny superficial dings to the front side paint surface as well as some very superficial rusting here and there. The back side of the spoon rest is perfect and looks as though it came right out of the factory just yesterday!

The following is imprinted on the backside: “Compliments The Toledo Stove And Range Co”, documenting the spoon rest’s original function- continuous promotional advertising presented as a free giveaway to buyers purchasing the company’s products!

Offered separately is the equally rare companion piece- The Black Chef Spoon Rest from Toledo Stove and Range! A fortuitous opportunity to acquire a very rare Black Memorabilia pair!

Offered is an extraordinarily RARE, pre-Civil War, Negro slave document from Decatur County, Georgia, dated May 1837.

This document is an exceptionally rare piece of historical ephemera in that it is the actual, formal and legal lawsuit filed by slave owner, Esther Miller, along with 25 other named male citizens of Decatur County, Georgia, against one Cader Powell for the "offense of beating, whipping, and assaulting a slave without sufficient provocation."

The document goes on to state that Cader Powell assaulted "a certain male slave named Issac (property of Esther Miller) with sticks, fists, cow pokins, and other dangerous weapons and then did unlawfully whip beat him, so that the healthy body of service of said slave was greatly injured without sufficient provocation being first given by said slave to the great annoyance of the said Esther Miller, the lawful owner of said slave..."

While one would like to think that this formal lawsuit was filed as a result of the tremendous outrage against humanity felt by the 26 parties bringing the suit, one has to consider that this lawsuit was more likely filed due to financial considerations--that the cruelly assaulted slave, Issac's, monetary value as owned, usable property was greatly diminished as a result of his beating. It is quite reasonable to infer that the slave, Isaac, suffered permanent physical injury as a result of his beating and that his monetary worth was thus, permanently devalued.

Regardless of the motivation behind the filing of the lawsuit, to find such extant documentation describing the conditions of southern slavery as well as the objection of slave-owners to the cruel and inhumane treatment of a slave is rare indeed.

The document remains in excellent, all-original condition. It measures 7.75 inches wide x 9.75 inches long.

Offered is an incredibly RARE, undoubtedly one-of-a-kind, authentic, 19th century, slavery artifact!

This incredible slave collar speaks for itself, opening yet another small window into the history of African-American slavery. The collar is labeled with the enterprise's business name, Ross and Drum, out of Florence, South Carolina (SC), and is dated 1846. This enterprise was likely involved in the trading and auctioning of African-American slaves given its pronouncement of the phrasing "Negroes &" on the metal plate of the collar. The "&" likely implied the service of selling all "other" manner of estate "property" from land to livestock. Slaves- or Negroes as they were commonly referred to in the "slave states"- were considered "property", not human beings.

Measuring approximately 33 inches in length, the collar band is constructed of thick, sturdy leather, upon which is fastened a brass-appearing, engraved plaque, with ten, hand-forged, iron links forming the chain. Two circular, iron loops appear at either end of the leather collar. The collar weighs a hefty 1.6 lbs.

The slave collar plaque, ironically, is decoratively etched and features two crosses and two Masonry symbols, along with other symbolic engravings.

A stunning and important museum-quality offering without question!

Measuring 4 inches in diameter x 2 inches in height, this colorful, French, LeBene wax tin dates to the 1950's. The lithographed tin still contains a bit of wax. It is in very fine condition with some very light superficial rubs and teeny scratches here and there to the surface of the tin. No rust! A very visually-appealing piece that displays quite well with its vivid black and yellow colors contrasting superbly with the background black.

Measuring approximately 7 inches high, this highly sought after Black Americana Vargas wax figure 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. Concepcion Vargas Alfonso, daughter of the world-renowned, turn-of-the-20th century, New Orleans, Spanish sculptor, Francisco Vargas.

From approximately 1910 through the 1930's, Mrs. Concepcion Vargas-Alphonso, influenced by the great artistry of her father who also famously sculpted in wax, crafted a variety of wax dolls inspired by the black folk she saw on New Orleans's street corners selling their wares or practicing their trade - black folk performing everyday activities that would have been daily seen on the streets of the city.

Sold exclusively at the time through Harriet's, of 318 Rue Royal 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 / Black Americana Collectible arena.

This figure, known as the Cotton Seller, was recently de-accessioned from the Louisiana State University Rural Life Museum collection, Baton Rouge, LA, having been acquired by the museum from a private collector in January 1979.

This female Cotton Seller is a bit unusual as she has a simple, red-patterned cloth draped over her head, neck, and shoulders to protect from the sun, instead of the more typically-found bandanna worn by the majority of female street vendors. She holds a wax "wicker" basket in her right arm that is brimming with freshly-picked cotton, and at her feet, her left hand balances a large burlap bag containing much, much more cotton.

Vargas wax figures are distinctly characterized by their interesting but highly exaggerated facial features. This gentlewoman Cotton Seller wears a red floral kerchief around her neck, a green patterned shirt, and a delightful yellow skirt patterned all over with clusters of hearts, which nearly conceals her black "leather" shoes. Her costume is entirely constructed of actual cloth fabric that was coated with a fine layer of clear wax to stiffen them. The Cotton Seller's wax body is internally supported by a wire frame through which the figure is securely attached to the wooden base.

This wonderful figure is in absolutely amazing condition for her 90+ years of age with only one imperfection: a missing index finger on her left hand- a common condition occurring due to the extreme delicacy and fragility of the wax.

Please take a moment to view the additional Vargas figures we currently have the pleasure of offering for sale. Type "Vargas" into the search box on our website homepage.

Measuring 4 3/4 inches high, this pre-World War II, Austrian-made, metal ashtray features a very intriguing, slouching, black nodder figure smoking a cigar!

In wonderful, working condition, the black man's head is attached to his body via the original, flexible, metal rod which allows the head to bob back and forth when jiggled.

Marked on the base of the ashtray "Made in Austria". Paint loss as seen in photos with no repairs or repainting!

An interesting character!