Slave grave markers of any form are extraordinarily rare. Typically, slave graves were not marked or noted in any manner. Recent academic and archeologic research has authenticated burial sites containing marked slave graves that remain extant in various areas of the South. These graves remain designated by the placement of rocks, use of pipe, and even slave chain links.

The clay slave grave markers offered here were used in the Milledgeville, Georgia, area; Milledgeville was the capital of Georgia from 1804 through 1867. The symbols present on the markers -- the star (or sun with diamond) and the double cross --harken from the slaves' West African religious and cultural beliefs.

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."

One photo shows these very Slave Grave Markers on exhibit in February 2003, at Millsaps College, Mississippi, when the Petty's were still hopeful that their dream of a permanent Middle Passage Museum would be realized.

Protected in an antique gold wooden frame with gold matting, this magazine sheet has retained all of the brilliance of its original color, making it a rather striking piece of wall art! Seldom located in such fine condition!

A striking piece that would be a colorful centerpiece to any Black Americana collection!

Mounted to a thick piece of hardwood via 3 screws and devoid of manufacturer's mark, the match holder measures 4 inches high x 3 inches wide x 2.5 inches deep.

Mammy's wonderful, smiling face is hand-stitched and her clothes are machine sewn. Her blouse is seersucker, and her head, arms, skirt, apron, and cap are cotton. Her head, arms, and upper torso are stuffed with cotton batting. The natural bristle broom fills out both Mammy's torso and skirt & the wooden broom handle extends upward through her neck and head.

Mammy is in all original condition with no mends or repairs. The structural integrity of the broom remains quite sound, and Mammy, herself, is free of holes and tears. Her once-red skirt has now faded to pink. Her white cotton apron and cap have been cleaned removing nearly all traces of old stains, dirt, and dust. Photo number 2 shows her outfit BEFORE cleaning; all other photos reflect her appearance after cleaning.

Remaining in its original frame, this watercolor retains its vibrant color. A lovely piece of Black Americana executed with some naivete!

The tin is in very fine condition with the expected superficial scratches and rubs to the 80+ year old litho along with some light rust spots on the inside bottom of the tin. The interior of the cover reads: “FUMINETTES, Compania Cadena, Amsterdam, Den Haag, Rotterdam, Utrecht”

A fascinating and early tin equally at home in the Black Memorabilia or Tobacciana Collection!