One prominent feature of this piece to be considered is the excellent condition of all brass components including the hanger! Nearly all of this wonderful brass plating remains, retaining its original glossy sheen enhanced with a rich, aged patina.
Of course, the attention to the detailing and design of all of the brass components of this globe are second to none, pushing this show globe into a class by itself. Note the intricacy and the elegance of design incorporated into both the show globe collar and the finial - simply outstanding! The gargoyle hanger typifies the Victorian era embrace of elaborate detailing with its combination of curves and curlicues, ending with the head of a fierce, warrior-like gargoyle with wide open jaws- quite capable of supporting this gorgeous show globe.
The show globe measures 22 inches tall from the top of the crown to the tip of finial. The hand blown glass globe condition wise is near perfect on the exterior, while the interior notes a mild, unobtrusive haze which will not be visible when the globe is filled with the colored water of your choice. The haziness should clean up if desired.
The elegantly sculpted wall bracket measures 10.25 inches high x 2.75 inches wide, while the ornately and richly detailed gargoyle hanger is 14.75 inches wide x 9.5 inches high.
Acquisition of this rarely found and beautifully stunning show globe is an opportunity not to be missed, absolutely the best apothecary show globe I have had the privilege of offering in over 40 years!
Given that this sign is clearly segregating services for African-American children despite the fact that this was a federal agency, one can only hypothesize that this sign was placed on the exterior of a federal building in a state that endorsed and enforced segregation.
A quick history of this agency drawn from the federal publication, "The Story of the Children's Bureau, 1912-2012":
At the turn of the 20th century, conditions for children in America were deplorable; 1 in 10 infants did not survive the first year of life, and very often, many children were forced to leave school to help support their families, oftentimes working under dangerous conditions.
Those who were orphaned were crowded into large institutions where they received little care or attention.
Lillian D. Wald, founder of the Henry Street Settlement in New York City, and her friend, Florence Kelley, are credited with conceiving the idea for a Federal agency to promote child health and welfare in 1903. Impressed with the concept, a friend of Wald’s wired President Theodore Roosevelt, who promptly invited the group to the White House to discuss it further.
After nearly ten years of discussions with multiple groups, committees, and individuals, as well as numerous failures of Congress to pass a federal bill addressing the plight of these children, Congress, in 1912, finally passed the Act creating the Children’s Bureau, charging it “to investigate and report . . . upon all matters pertaining to the welfare of children and child life among all classes of our people.”
President William Howard Taft signed the bill on April 9, 1912, and the agency continues its work today.
Measuring 24" wide x 18" tall, the sign features a beveled-edged, copper base mounted on a wood frame featuring approximately 3/8" high, raised, solid brass letters ranging from 2" to 3.25" tall. The copper backing is securely bolted onto the wood frame from the front with four brass bolts, one positioned at each corner, adding a decorative element to the sign. Each letter is securely screwed into the copper base from the back of the sign as seen in one of the photos. The sign is marked by the manufacturer, "ABELE" on the lower center of the base underneath the letters "L" and "D" in the word, "CHILDREN".
Fabulous patina to both the copper and brass with just a slight edge crimping below the "N" in "CHILDREN" as noted in photo. Condition consistent of a 100+ year old, extremely well-made sign that was mounted on the exterior of a building. Areas of the copper background surface that appear to be lighter in some areas and in some photos are the result of flash only; the color and patina of the copper background surface is even with consistent aging throughout.
Truly an extraordinary piece of African-American cultural history reflective of an era and time- on the Federal Level, no less- of continued ignorant, obtuse and repugnant belief and behavior.
The overall condition of the globes is very good with the imperfections and wear expected given their 130+ years of age. The decorative frames are sturdy and the globes hold water with ease. At some point long ago, the metal components were painted a gold/brass color. Today, the paint retains a delightful brass tone with an antiqued patina.
The attention to detailing and design of these show globe frames are second to none, pushing these show globes into a class by themselves. Note the intricacy and the elegance of design incorporated into both the show globe collar and the finial - simply outstanding!
The show globes measure 22 inches tall from the top of the crowns to the tip of finials. The exterior of the hand blown glass globes are in good condition. The interior of the globes note a modest yet common and unobtrusive haze which will not be visible when the globes are filled with the colored water of your choice. Additionally, the haziness should clean up if desired.
A singular, fancy wall bracket that swivels from side to side is included, measuring about 15" long x 9" high .
Acquisition of these rarely found, matching, beautifully stunning show globes is an opportunity not to be missed!
This club actually presents a number of qualities that indicate it may, in fact, be an example of pre-1860s craftsmanship: : LENGTH of the face is 6 inches. The DEPTH of the face is 1 1/8 inches max. The face is SMOOTH and CURVED, and the club head is shaped in the form of a TEARDROP. The club is UNMARKED. The neck is slightly thin at just over 3/4 inches--- all indicators of an early, pre-1860s club!
This amazing club sports most of its original varnish surface and is offered in "as found" condition. The darkening of the finish results in a wonderfully rich patina. The club displays an enchanting presence owing to the gently-sculpted angling of the face. The sole of the club is without the usual ram's horn which was the typical norm, making this particular club that much more intriguing and quite unusual!!! I have not been able to find reference to clubs that were made in this fashion. RARE!!!
The early golfer must have been quite robust and sturdy as this heavy club face is one that most folks today would have a difficult time keeping "square" at impact. Long spoon clubs were used off of grassy surfaces which accounts for the very nice condition of this beauty. Besides the unobtrusive, expected scuff marks on the sole, there is only one tiny, barely-noticeable chip on the leading edge of the club face at the sole, consistent with hitting something other than a grassy surface!
The lead on the back of the club has been partially removed to customize it for the golfer. The slightly warped hickory shaft is undamaged and sports a warm, honey-colored surface. The leather grip was expertly replaced many, many years ago and has signs of honorable wear.
The skills of the craftsman are most apparent when the club is viewed from the top. While unmarked, this club displays the form of the exceptional, highly-skilled, UK club makers of the 19th century. According to author and golf history expert, Jeffrey B. Ellis, unsigned, long-nosed golf clubs were the norm in the pre-1870 era.
This rare, antique, hand-wrought, golf club was recently acquired from the estate of a gentleman who had restored and collected golf clubs for 7 decades! His family, while settling his estate, remarked that he had "paid crazy prices for some of his collection!". This prized, rare club is certain to have been included in that category!
A phenomenal, rarely-found example of 19th century craftsmanship, and a tangible example of exemplary golfing history.
While the precise age of this late 18th to early 19th century old shackle is unknown, this type of ankle shackle has been documented to have been in use as far back as the 1780's by English slave traders, and was likely in continued use up until the 1860 onset of America's Civil War. In 2015, the International Slavery Museum in Liverpool, England, acquired a set of ankle shackles identical to the set offered here. In referring to the museum's acquisition, the museum's Head, Dr Richard Benjamin, stated the following:
“A similar pair of shackles was purchased in Liverpool by the campaigner Thomas Clarkson as evidence against the transatlantic slave trade. They were presented in front of Privy Council in 1788 as part of its enquiry into the transatlantic slave trade. An engraving of the shackles with a detailed description also appeared in Clarkson’s antislavery pamphlet."
These hand-forged, wrought iron ankle shackles remain in all-original and untouched condition, measuring approximately 11.75 inches in length. The cuff sizes vary slightly ranging from approximate lengths of 3.75 to 4 inches and approximate widths from 2.75 to 3 inches, a set likely used on a female slave. The shackles can be described as consisting of a wrought iron bolt with a pair of loops slid onto it via holes in both ends of each loop. One end of the iron bar is fixed closed by a triangular-shaped flange large enough to prevent the loops from being removed from the bar. The other end of the bar ends in a circular "eye" that is secured closed by a hand-wrought circular "lock washer" inserted at the time the shackles were applied.
An utterly gruesome, tangible testament to the malevolence and horrors of slavery and the transatlantic slave trade.
Merrill, known for creating extraordinary art collages of cut paper, cut birch bark, ink, and watercolor mounted on black construction weight paper, fashioned this particular piece depicting the fictional African-American Blackville Debating Society, by encompassing all of these preferred artistic mediums.
One can see the beautiful grain of the white birch bark Merrill used to execute each figure and form, which he then detailed using black ink and added depth and color by applying varying natural tones of watercolor. Merrill added additional elements of detail to the black mounting paper using a lighter toned ink, such as the entrance/exit door to the left of the moderator. The resulting work of art is simply exquisite!
Merrill's subject matter ranged from various genre pieces to racist scenes inspired by Solomon Eytinge, Jr.'s, (1833-1905) "Blackville" series that Eytinge created for Harper's Weekly in the 1870s. Merrill's artwork offered here was inspired by Solomom Eytinge's "Blackville" lithograph printed in the January 4, 1879, edition of Harper's Weekly. (A photo of Eytinge's litho is presented for client reference and comparison to E.W. Merrill's work and is not available for sale.) When comparing the two pieces, one will note that Merrill changed his artwork from that of Eytinge's by eliminating one of the "scorner's" in the right corner, many of the club members featured at the bottom Eytinge's litho as well as the signage above the debate moderator and by adding the 25 lb "Best Soap" box under the moderator's table leg.
At the base of this work reads the following: The Blackwell Debating Society- "Wedder Lord Dorwin Involved Hisself or Somebody Else." -The Scorner in the Corner Will Reply Drawn By E.W. Merrill Concord NH .
Measurements including the handsome, original oak frame are 26" wide x 18.5" in length. The original hanging eyelets have been removed for ease in shipping and are present under the tape as seen in the photo of the verso of the artwork.
The sign with its flat black background, features a decorative free-hand, skill-fully executed, corner-looped edge design in old white paint advertising: SLEEPING ROOM FOR RENT.
Beneath the words 'FOR RENT', the words "WHITE ONLY" have been covered over with a layer of similar-colored background paint. Both words are still visible beneath this layer of paint with the word "WHITE" being most readily visualized.
I believe that this "paint-over" can be easily, professionally removed, and I toyed with the idea of having this done, but then felt that I should offer the sign as it is in its current state, as it is reflective of a small yet positive progression in history, in the viewpoint of at least this proprietor in our society in this time period. What prompted this change of viewpoint, which obviously occurred decades before the Civil Rights Act of 1964, is forever lost to history. The place of origin of this sign is unknown.
The sign is hand-painted on Masonite, a smooth-faced, compressed wood hardboard that was invented in the 1920s and was in popular use during the Depression-ridden 1930s due to its relatively inexpensive price tag. The sign has nine holes to facilitate hanging: three on each end and three down the center of the sign. The sign retains an original surface patina with age-related crackling to the lettering. In addition to the words "White Only" being painted over, a decorative flourish centered between the words "Sleeping Room" and "For Rent" has also been painted over, reason unknown. Mild surface paint loss, scuff-marks, and edge wear are present, commensurate with a 90+year old sign.
An exquisite example of Segregation Era signage that tells a story of prejudice evolving to an acceptance of equality.
The single page, 16" x 25" document was folded in half by its author, and the charge is written out on one side of the folded page (see photos). The folded page was then flipped over, folded into fourths, and the title of the charge was written out: "Warrant of Slave girl Ally Crime of Murder "Tho. Roney (?)Pros(?)".
The text of the charge reads as follows, Paragraph one:
"Georgia Warren County"
"Before me Elisha Burson as Justice of the peace for Said County personally came before me Thomas Roney who being duly Sworn Saith that, he had Just reason to believe and verify doth believed that a negro girl by the name of Ally, hired by, and in the possession of Said Thomas, and the property of Nancy Mayhamry, did on Sunday afternoon twelfth last in Said County in Sweetwater Creek, feloniously and willfully drown two of his children, to wit, two daughters, one ten years old, the other seven years old - Sworn and Subscribed to before me May 30th, 1844" - (signed) Elisha C Burson J.P. (signed) Tho. Roney
"Georgia Warren County"
"To any lawful officer to execute and return - Whereas Thomas Roney hath this day made complaint before me on oath, that he hath just reason to believe and verify doth believed that a negro girl by the name of Ally, hired by, and in the possession of Said Thomas, and the property of Mary Mayhamry, did on Sunday afternoon twelfth last- in Said County in Sweetwater creek, feloniously and willfully drown two of his children, to wit, two daughters one ten years old, the other Seven years old - This was therefore to command you, to apprehend this Said negro girl Ally, and bring her before me that she may be dealt with as the law directs - here of fail not - - - In testimony whereof I have hereunto Set my hand and Seal, May 30th, 1844" - - - (signed) Elisha C Burson J.P. S.S.--(the S.S. encircled perhaps to signify his Seal)
Condition of this very, very unique slavery document is quite fine given its 178 years of age. Expected aging of paper with insignificant and minor tears at creases and tiny areas of soiling. (see photos)
Truly an extraordinarily rare historical document that defines a specific slave-related incident.
One has to wonder what became of Ally? Was she ever caught? If so, she was likely put to death. But was she innocent or guilty? Because she was a slave, it, heinously, did not matter as she would be allowed no voice...
The decorative and delicate detailing of this piece is at odds with its most gruesome history! Scalloped copper edge guards and the appealing pattern in which the drainage holes in the laminated wood tabletop were laid out contribute to visual appeal. The softwood table frame stands on nicely turned hardwood legs.
When opened and extended to its maximum dimensions, the table measures 72" long X 18.5" wide X 22" high. To facilitate ease of traveling, this portable table slides and folds to 40" long X 18.5" wide X 4" high. A leather carrying handle is attached to the table edge; legs, when folded, are secured in place with hooks.
Very fine original condition: expected overall wear (patina) with one hook missing and minor unobtrusive loss of laminate along lower table top edge measuring approximately 1/3” wide by 7”.
The single page, 16" x 25" document was folded in half by its author, and the charge is written out on one side of the folded page and then completed on the back of the same side of the page (see photos). The folded page was then flipped over, folded into fourths, and the title of the charge was written out: "The State VS Henry Negro Boy Slave".
The text of the charge reads as follows, Paragraph one:
"Georgia Warren County"
"Before me Matthew Sheilds a justice of the peace for said county, personally came Stephen Blount who being duly sworn deposeth and sayeth that according to the best of his knowledge and belief Henry a negro boy slave the property of the estate of Hardy Pitts late of said county deceased, did commit a violent assault and battery with intent to kill Deponent, with a heavy stick - and Deponent believes said stick was ferreled (an action suggestive of a wild beast)- upon the person of Deponent - on this night of the thirteenth of this Instant in said county of Warren to wit upon the plantation of Thomas Persons, near Warrenton.
Sworn to and subscribed before me this 14th March 1842."
"Matthew Sheilds JP"
"Georgia Warren County"
"By Matthew Sheilds one of the Justices To Sheriff the Constables of Said County and to all other lawful officers for as much as Stephen Blount who being duly sworn deposeth and sayeth that according to the best of his knowledge and belief Henry a Negro boy Slave the property of the estate of Hardy Pitts late of Said County deceased did commit a violent assault and battery with intent to kill Deponent - with a heavy stick and Deponent believes said stick was ferreled upon the person of Deponent on the night of the thirteenth of this Instant...." (continued next page)
"in Said County of Warren to wit on the plantation of Thomas Persons near Warrenton. These are therefore to Command you that you apprehend the Said Negro Boy Henry and bring him before me or some other Justice of the peace of Said County to Answer the said charge and to be further dealt with according to Law Herein fail not. Given under my hand and Seal this 14th day of March 1842."
"Matthew Sheilds JP" (JP written a second time and encircled in a squiggle to simulate a wax seal)
Condition of this very unique slavery document is quite fine given its 180 years of age. Expected aging of paper with insignificant and minor tears at creases. Also present are three long spillages of ink (as seen in photos) which likely occurred at the time this document was written out with, obviously, no intention of the author to start over again and rewrite!
An extraordinarily rare historical document that defines a specific slave-related incident.
This vintage, 120 year old+ piece of Black Americana is in wonderful condition absent two very tiny edge breaks- one at the extreme edge of the right tip of the base, and the other in the very minor loss to the tips of the right thumb and index finger. Neither of these points of extremely insignificant loss are at all readily evident and do little to distract from the truly incredible rarity of this piece.
The frame easily comes apart into 3 pieces for safe shipping and/or storage.
An extraordinary opportunity to acquire an extremely RARE and highly coveted piece of turn-of-the-19th-to-20th-century Black Americana!
The fancy and highly-stylized, Art Deco, aluminum frame cradles an equally highly-stylized, classically-ribbed, clear glass show globe and finial. If so desired, the show globe will hold colored-water as was the display fashion back "in-the-day". The frame is embellished with a buffed, silver matte finish with design details outlined in contrasting black to further enhance the fabulous, Art Deco styling. The chain link is also painted black, echoing the black detailing of the frame, and it retains most of its gorgeous, original finish, with absolutely no pitting! The hanger medallions retain their original finish and are ready for mounting. Here and there, the metal parts retain a faint honey tone adding to the show globe's antique charm. This fabulous apothecary showpiece measures approximately 34.5 inches from the top of its fancy, ceiling-mount hanger to the base. If desired, it is possible to add additional chain links to further extend the overall length of the globe.
The condition is excellent. The globe glass is clean and clear except for some very, very faint haze on the interior top of the globe just below the neck. A perfectly fitting, ground-glass faceted finial echoing Art Deco design, rounds out this beauty.
The combined take-away of this offering, this outstanding piece of nearly 100 year old, American pharmacy history, is its exquisite Art Deco styling with extraordinary visual appeal, its utterly excellent condition, and its very scarce, ceiling-mount design, making it a true rarity among extant Apothecary antiques and collectibles!
This wonderful folk art decoy was recently acquired from the collection of an 81 year old Kansas collector who stated that the decoy originated in Montana.
Expertly carved and painted to simulate an actual Perch fish, this beauty quite closely reflects the real thing!
In fact, this charmer has some subtle signs of having once been an actual working decoy as evidenced by the light areas of superficial rust on the tin fins and at the junction where the fishing line connects to the eyelet in front of the dorsal fin. Clearly, given this decoy's incredible condition and its 80+ age, it did not see much use below the waterline!
There is faint loss of paint and light wear giving this a work of art a wonderful vintage patina. Two weights are present on the underside of Mr. Perch. Measures 9 inches long x 3 inches wide x 2.5 inches high including the fins. Maker unknown.
An utterly splendid work of folk art!
Please take a moment to view our other fish decoys offered for sale by typing "decoy" into our homepage SEARCH box or by clicking on the "American Folk Art" specialty category on our homepage.
GOLD DUST Trolley Signs are a very rare find in today’s market as they were made of cardboard, a material much less likely to withstand the test of time as opposed to tin advertising signs which were much sturdier!
This Gold Dust trolley sign features the Gold Dust Twins dressed in ruffled, red skirts emblazoned with the words “GOLD DUST”, busily scrubbing the front porch and the kitchen in a vigorous attempt at “Spring Cleaning”. The colors featured in this trolley sign are just stunning—greens, pale peachy-colored orange, pale blue, and yellows with white apple blossoms and red tulips flowering in profusion!! To the left of the Gold Dust Twin scrubbing the front porch, sits a large box of Gold Dust Washing Powder. The advertisement proclaims in black-outlined, peachy-orange lettering: “For Spring House Cleaning”.
The condition of this trolley sign is truly quite fine. Colors are very strong and consistent throughout; please ignore the various glass reflections seen in some of the photos- they were unavoidable and do appear to make the colors appear a bit faded—which is inaccurate! The sign is free of rips or tears although it does have two, early, fold-creases – one running from top to bottom of the sign along the left side of the pail and between the “O” and “L” in “GOLD” and the other vertical crease on the very right edge of the sign, running through the stove in the kitchen to the “T” in “DUST”. The creases are very unobtrusive and do not detract from the wonderful, colorful imagery this sign conveys.
An unusual opportunity to acquire a very RARE piece of Black Americana!!
This is single page, partial document written on both front and back sides. It is missing its first page which would have shown the name of the deceased slave owner and the listing of the interior household goods and furnishings, and the last page which would have noted the date and county in which the document was executed as well as witness and judicial signatures. However, the most historically significant page exists and is offered here- a plantation estate document in which the slaves are referenced by name and further described by their family position and marital status!
What makes this document EXTRAORDINARILY RARE, UNUSUAL, and ATYPICAL is that it proceeds to, first, categorize the 40 slaves using the word SLAVES instead of the common verbiage of the time -Negroes-, and secondly, it proceeds to list the male slaves BY NAME, ALONG WITH THE NAMES OF THEIR WIVES AND THEIR CHILDREN, with monetary value listed in the right column of the document!!!! In two instances, the number of years married is also listed! Children are labeled "Girl, "Boy", or "Infant". Total value of these 40 slaves was calculated at $24,200.00!
Given that slaves were viewed as property and not human beings in any way equal to the Caucasian race which enslaved them, it is extraordinarily unusual to find a document which recognizes and lists slaves as "Family Units", further designating family position- husband, wife or child! Typically,there was little, if any, thought given to the pain and anguish such slave families would suffer if their "owner" chose to sell off any one of them at any given time. Such estate documents as this listing ENTIRE SLAVE FAMILIES BY NAME is simply without precedent! It would indeed be a phenomenal discovery to be able to identify the plantation and/or deceased slave owner as such an estate listing speaks to an uncommon, albeit, rare and unique perspective of slave ownership. Such a personalized and humanized account of the slaves owned makes this particular document all the more heart-wrenching, and it certainly begs the very sad question of whether or not these slave families were allowed to remain united and intact once the final estate disposition was conducted.
The document measures approximately 8 1/2 inches wide x 14 1/8 inches long, is double-sided and is in good condition, with fold lines evident along with some age-related foxing at top and bottom fold lines. 1 3/4 tear along the fold line of the top fold at right edge. The ink color is sepia toned (likely as a result of some fading over time) on a pale blue, vertically-ruled, heavy paper. This phenomenal piece of cultural ephemera is ready for appropriate archival preservation/framing.
The listing of slaves is on the back side of the document with the front side listing farm animals, equipment and supplies along with values- "The following property set apart for the use and benefit of the farm".
Middle Passage Museum History: 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."
Each of these rag books were published as alphabet and numerical teaching tools for the very young children of the wealthier class who could afford to purchase books to furnish their children's home library as well as to support their early home-tutorial education.
While clearly overtly racist in title (pickaninny) and conceptualization ("A" stands for Alabama Coon, "P" stands for Pickaninnies), the book also promotes age-old stereotypes as well ("W" stands for Watermelon, "U" stands for Uncle Tom, "H" stands for Hen-Roost, "C" stands for Cake Walk, etc) that were, unfortunately, acceptable societal references at the turn of the twentieth century.
This 116 year old book remains in all-original, very good condition with no alterations or repairs. While the front and back covers exhibit significant age-related staining, the interior pages are significantly "cleaner" and the illustrations remain very brightly colored. Interior pages present varying degrees of very light soiling, light foxing, and yellowing of linen, commensurate with age. The exterior binding has teeny spots of wear to the first layer of binding fabric which do not impact binding integrity. Top and bottom edges are subtly frayed.
This book is in truly remarkable condition for its age and in consideration of its all-cloth construction. This title is very RARELY found in today's market and is the first I have ever had the pleasure of offering for sale in my nearly 40 years dealing in this field! This is an absolute cornerstone piece to any serious Black Memorabilia collection!
The piece is signed in the lower right hand corner by LISTED American artist, Olga Lea Rosenson, who was born September 10, 1892, in Brooklyn, New York (died 1959). She was best known for her work capturing town and city landscapes as well as portraiture. This portrait intimately captures the soul of its subject as he pensively awaits his next customer, and it is supposed to have been inspired by a young man whom Ms. Rosenson frequently observed on the streets of Brooklyn.
Painted in 1934, the framed piece measures 20" x 26.5"; the watercolor, 13” x 19.5 “. It is completed in various subtle tones of blue, gray, green, and brown, and it is double-matted in cream with a subtle gray under-mat.
This watercolor remained in the same collection for over 60 years and was professionally re-framed by the original owner in 1987, with information on this re-framing taped to the back side of this piece. The wood frame is in very good condition with a couple of small, age-related areas of wear that are minimally noticeable. There is a 5 inch vertical tear to the paper backing as seen in a photo that was taped closed by the earlier owner; there is no damage to the foam-core backing underneath. To the left of this tear, is cut-out information on the artist that was also taped on back by the earlier owner.
Ms Rosenson's works are owned both privately and by museums around the world, including Washington D.C.'s National Gallery of Art.
The needlework measures approximately 15 by 14 inches and is in good condition overall, given its 120+ years of age! The central design is superb with no problems, but the two upper corners show evidence of some unraveling, particularly the upper right, which has a small hole. This little hole could be repaired, or if the piece was framed, it could be visually eliminated; however, it truly does little to detract from the central focal point of the children on the seesaw, when viewed in its entirety. The piece does show subtle evidence of typical, age-related discoloration.
An utterly wonderful and scarce example of 19th century Black Americana themed Needlework!