Labeled #298, "Native Cane Grinders in Sunny Florida", the scene depicts 7 young Black men either chewing on a sugar cane stalk or holding a sugar cane cutting implement.
Printed on the back of the card is a brief history of sugar cane cultivation from its origins in 500 AD China to its introduction in the US in 1675 by the Jesuits. The harvesting process is also discussed.
Her cute face is completely hand-stitched and is accented by original celluloid hoop earrings. She wears a flowered bandanna, a cream colored flowered shawl, and an off white apron over her green and black mini-checked dress. She even has a cream colored petticoat underneath all! Her machine-stitched clothes are odor free and are nicely constructed, although her apron does have tiny age holes!
Although her bottle frame is covered by a black stocking, the stocking has risen up revealing her sand-filled milk bottle with red lettering from R.W. Tripp's Dairy, established 1889. The milk bottle lettering is in great shape and even features a graphic of a school boy and girl! Among milk bottle collectors, this particular milk bottle is quite rarely found and quite highly sought after, adding further collectible value to this sweet doll!
This great, early bottle doll is one of 3 currently offered bottle dolls --- all priced separately.
Measuring 33 inches tall and 12 inches deep at its maximum depth, the bell hop carries a black tray topped off with a hefty aluminum ashtray. The ashtray is large enough to serve as a receptacle for a smaller potted plant, updating the use of this wonderful sculpture to a modern-day purpose!
The bellhop is quite sturdy as it is constructed of 3/4 inch thick wood, and it is well-balanced, as it is mounted upon a 12 inch diameter wooden base of equal thickness. Condition is wonderful with a great aged patina. At some point long ago, the bell hop lost the front half of his foot, but this loss was cleverly repaired so that it is not readily evident. Also cleverly repaired some many, many years ago, is the bellhop's wrist which appears to have been either broken off or cracked, but which has been nicely repaired and repainted.
Measuring 10.75 inches wide x 8.25 inches long, the book has seen gentle use as evidenced by the fairly good condition of the little boys' heads which, while providing visual interest, are primarily present to allow easy turning of each page. Given this purpose, neck creasing and edge wear is expected and evident. Corner and edge wear of front and back boards is present, as is a brown oval stain on the front board near the word "little". Front and back covers are constructed of heavy cardboard, the pages of heavier stock paper. Both the front and back boards evidence age discoloration and some foxing, and a bit of vintage staining from handling on the back board.
The book retains its brilliant, bright, crayon-box-like colors. The book has ten pages with alternating color and black and white illustrations as noted in photos. I did not have sufficient space to post photos of all pages, but those present are representative of overall condition. Some pages evidence foxing, but all pages are free of rips and creasing. The binding is tight and the book retains its original, red, binding spiral.
Originally published in 1868 under the Title of “The Ten Little Indians,” this poem was used during minstrel shows, which oftentimes were traveling acts, performed by white actors in blackface following the Civil War. The following year, the poem was adapted to this overtly horrid, racist rendition, replacing the word Indians with “Nigger” in both minstrel shows, printed sheet music, and children’s nursery rhyme books. This version married the stereotypes of violence and ignorance within the African-American population with the intent of villainizing freed black males while simultaneously allowing violence acts to befall the black characters portrayed in the rhyme.
This 1942 version having changed the derogatory term nigger to that of colored (equally derogatory), also depicts a somewhat tempered portrayal of the violence befalling the characters as compared to earlier versions of the rhyme.
Ten little colored boys sitting in a line; one slid off the roof, then there were nine.
Nine little colored boys fished with worms for bait; one fell in the river, then there were eight.
Eight little colored boys flying up to heaven; one tried to parachute, then there were seven.
Seven little colored boys doing circus tricks; one teased an elephant, then there were six.
Six little colored boys found honey in a hive; one tried to pet a bee, then there were five.
Five little colored boys heard a lion roar; One didn't run in time, then there were four.
Four little colored boys started out to ski; One hit a snowman, then there were three.
Three little colored boys cooked some chicken stew; One ate the pot-ful, then there were two.
Two little colored boys playing with a gun; Thought it wasn't loaded, then there was one.
One little colored boy thought it would be fun to settle down and marry, then there was none.
He had a family of colored boys and then, before very long, there were ten of them again.
To view other versions of this book presently available for separate purchase, please type the words "ten little" into the SEARCH box on our home page.
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!
PLEASE NOTE: Any discoloration, white spots, or other unnatural variances in color are due to the unavoidable light reflections caused by the glass in the framing. The presence of the glass made photography quite a challenge!
The statuette is constructed of lucite and is placed on a painted wood base. The piece is very nicely hand-painted and detailed. It depicts Ms. Baker in her famous banana skin skirt, wearing large loop earrings and holding her long, slender, silver cigarette holder. Her anatomical assets are duly accented in aluminum. The base is constructed utilizing the Art Deco design styling of the 1930's--the decade in which Ms. Baker first acquired her fame. The card holder, itself, is also aluminum.
Condition is mint with just the teeniest of surface scratches here and there apparent only when the piece is held to the light. Some slight pitting to the aluminum card holder edges.
Josephine Baker (June 3, 1906 – April 12, 1975) was an American-born French entertainer, most noted for her celebrated Folies Bergère singing career. In her early career, she was a feted dancer and is often credited as a movie star, although she only starred in 3 films in her early career. She was given the nicknames "Black Venus" or "Black Pearl" and "Créole Goddess", while in France she was known in the old theatrical tradition as "La Baker". She became a citizen of France in 1937. She is also credited for her contributions to the Civil Rights Movement in North America and for being an inspiration to generations of African-American female entertainers.
This circa 1920-30's Johnny Griffin inkwell is constructed in solid brass and has a hole for both placement of pen and glass insert for ink. This piece is offered without the pen and glass ink insert.
It is in all original condition with delightful patina- not a reproduction- no replaced parts- and measures 6 inches long x 3.25 inches wide and 2 1/2 inches high. It does not retain any marking other than a mold number 4557.
Johnny Griffin Black Americana collectibles should form the cornerstone of any serious Black Memorabilia collection!
To see all of the Johnny Griffin items currently available for sale, simply type “Johnny Griffin” into the search box on our web home page.
Measuring 13 inches tall, he is constructed of black, machine-stitched, vintage 1930-1940's, polished cotton which has been stuffed with cotton batting. Facial features have been hand-embroidered, are quite expressive and are exceedingly well done. His hair has been styled in tightly wound little ringlets.
His brown-patterned, machine-stitched shirt and pants are also vintage 1930-40's fabric, accented with two miss-matched buttons holding up cute red suspenders.
A delightful piece of Black Memorabilia Folk Art! This wonderful, 1940's-vintage-look, one-of-a-kind, Artisan Doll was constructed in the 1990's by a Maine Folk Artist who is now deceased.
Please take a moment to view his big sister by typing the words "Maine Doll" into the SEARCH box.
The String Holder is stamped "JAPAN" and “Theo Hinode” on the inside of the base (The Hinode Company is the Japanese Ceramic Company.). Mammy has a hole in the center of her chest area, just above her folded hands, to accommodate the string which would be pulled from the ball of string placed inside her body from the back of the piece. This wonderful piece even comes complete with vintage hanging string---Mammy has two holes at the back of her head to accommodate this! The entire piece is glazed with the exception of Mammy's red kerchief which is cold-painted (meaning that the paint was applied after firing). As such, this area of paint would be the most vulnerable to wear, and Mammy does have some “bald areas” where the paint has come off her kerchief. Please take a moment to view all photos to ascertain condition and appeal of this fabulous and functional, vintage string holder!
A lovely and colorful piece that can be displayed on a shelf or hanging from the wall!
The folder was mailed, but remains in fine condition given its age. Some edge wear evident at corners. While some photos may appear a bit blurry, this is a function of photography and not condition. All postcards are crisp and clear!
The Real Photo postcard folder features the lyrics and music of "Dixieland" and 18 full color scenes of the industries common in the South during this period: cotton picking and production, tapping pine trees for turpentine production, watermelon farming, and sugarcaning. Of cultural and historical interest are the numerous scenes of African-American life including less-flattering stereotypical scenes. Some very politically incorrect and derogatory captioning including use of "dialect".
The graphics on the cover of this box feature a smiling, happy, young African-American boy (the company's trademark) who is peering through a rip in the paper, unknowingly about to be pounced down upon by a very ugly and venomous-looking spider!
The box is in amazingly near-perfect condition despite its 100+ years of age with very insignificant soiling present as well as rubs and abrasions to box edges, all of which are more than perfectly reasonable given the age of the piece.
A very seldom-seen advertising piece featuring a Black Americana theme! The first that I have had from this company! is in excellent, all-original, perfect condition!
Unmarked, this toy is in very good condition with tiny superficial surface scratches wherever metal rubs metal during toy movement. To operate the toy, one simply squeezes the metal lever on the back, which causes the clown to hit poor Golly on the head with a mallet!
A brief history of the Golliwog doll: The Golliwog is based on a Black minstrel doll that the Victorian era illustrator, Florence Kate Upton, born in 1873, 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 an ugly 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.
A brief history of the Golliwog doll: The Golliwog is based on a Black minstrel doll that the Victorian era illustrator, 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 an ugly 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.
Measuring 21.5 inches long, this delightful and appealing cloth Golli is unmarked and is thought, by his original and quite elderly owner, to have been made in the mid 1940's! (She speculates that he could even be a bit older than that, but she remembers not acquiring him until after the end of WWII.)
His nose and mouth are hand-stitched and he has round, cloth covered button eyes- the pupils were hand-colored using black ink! His nicely coiffed, black hair appears to have been styled from soft, "stuffed animal-type" fur! Rather interesting and ingenious! He has a machine-stitched, cotton batting stuffed, black sock cloth body. His colorful wardrobe is also machine stitched- green wool mourning coat, gold vest, and red and white polka-dotted cotton pants and matching bow tie!
He is in wonderful condition with the exception of some tiny moth holes to the back of his mourning coat (see photos) as well as another tiny moth hole to the back of his right arm and back right pants leg. The polka dot clothing shows the slightest hint of fading. His dark black fur hair also shows some age-related color change to brown at the roots. Hmm...then again...perhaps he's simply overdue for another hair coloring appointment at the Salon!
A very sweet addition to one's Black Memorabilia or Golliwogg collection!
Measuring approximately 10 inches long x 8 inches wide, this extraordinary and historical document is handwritten and was executed on April 29, 1861, just 12 days after Virginia chose to secede from the Union on April 17, 1861.
The document is in excellent condition save the fold marks; this document clearly has been stored in this folded state for the past 153 years. It is suitable and ready for archival preservation- appropriate acid-free backing and matting materials with framing. In the upper left hand corner, the local stationery store's embossed imprint is visible and reads: “S & P Lawrence Superfine”.
The text of the document is as follows:
“Know all men by these presents, that A A Cowdery, of the city of Norfolk, for and in consideration of the faithful services of my negro man George Danley, do hereby emancipate and set free the said negro man George Danley and absolve him from all claim to my service; and for the consideration aforesaid hereby warrant unto him his freedom against the claim of myself and of all persons whomsoever to witness my hand and seal at the city of Norfolk, this 29th day of April 1861.”
A A Cowdery (SEAL)
“City of Norfolk, to wit
Simon S. Stubbs (sp?) a Notary Public in the city aforesaid in the state of Virginia hereby certify, that A.A. Cowdery, whose name is signed to the writing above (?) bearing (?) date on the 29th day of April 1861, has acknowledged the same before me in the city aforesaid. Given under my hand this 29th day of April 1861.”
Simon. S. Stubbs
Truly an extraordinarily rare piece of historical ephemera documenting a tiny light shining within a very dark period in American history. If only the circumstances and "story" surrounding the execution of this document were known today!
Some relevant family history that was very kindly provided by extant Cowdery-Taylor family ancestors:
Alexander Augustus Cowdery was born May 11, 1817, in Norfolk, Virginia, the son of Jonathan Cowdery of Sandisfield, Berkshire County, Massachusetts, and Elizabeth Reddick of White Haven, England. Jonathan Cowdery was a career physician surgeon in the United States Navy, serving until his death in 1852.
Alexander Augustus Cowdery was uncle to Walter Herron Taylor, who served as Lieutenant Colonel in the Confederate Army as Aide-de-Camp and then Adjutant-General under General Robert E. Lee, becoming one of Lee's most trusted aides and an intimate friend. Taylor later authored two works documenting his wartime experiences: "Four Years With General Lee" and "General Lee, His Campaigns in Virginia, 1861-1865".
This product was produced by the lime manufacturers, Hatmaker and Place, of Canaan, Connecticut, in the late 1800s. This small company was located within a large "lime belt" that stretched from Connecticut to Vermont. Back in the day, lime powder mixed with water was quite commonly used to "white wash" or paint numerous surfaces, and it was also used as a medicinal disinfectant! The manufacture of lime from marble was one of the earliest and most successful mineral industries in Connecticut, with historical records dating the establishment of the first CT lime manufactory to 1722.
Given its age and the fragility of paper, condition of this wonderful box is quite good. The lower portion of the back side of the box evidences light surface wear with some of the printing on the lower portion of the box worn away as a result. The front of the box has a 3.25 inch long tear which resulted in the loss of the lime powder from the box.
This early piece of Black Americana advertising is EXCEEDINGLY RARE and may well be a ONE-OF-A-Kind item! The Hatmaker and Place Company was one of a number of very small manufactories located within the "lime belt" that were ALL bought out and immediately closed down by a wealthy group of investors who then created and incorporated the mammoth monopoly, The New England Lime Company, early in 1902.
This fabulous piece of Black Americana is NOT to be missed by the serious collector!