Catalog: Archives (250)

Offered is an extremely rare, C1920s, Federal agency building sign denoting offices for the Bureau For Colored Children. It is quite likely that this 100+ year old sign remains the only one in existence today.

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.

There does exist in the Temple University archives, Philadelphia, a brief notation of a "Bureau for Colored Children", founded in 1927, as a shelter at 321 North 41st Street in Philadelphia, PA, for dependent and neglected African American children. It provided a foster care program as well as operation of a farm and vocational school for boys in Pomeroy, PA. The Bureau disbanded sometime after 1963, when The State Department of Public Welfare withdrew financial support for failure to meet standards for childcare agencies. This sign could have possibly come from that Pennsylvania agency.

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.

Measuring approximately 7.25 inches high, this difficult to find, 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 famous 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 selling their wares or practicing their trade - black folk performing everyday activities that would have been daily seen on the streets of the city.

While the majority of Vargas figures were sold exclusively through Harriet's, of 318 Rue Royal in the French Quarter of New Orleans, a small number of Vargas figures were also sold through Kate Latter's Candy Shop in New Orleans. The shop, opening during the Great Depression years, had significant financial difficulties and closed after only five years (1933-1938) in business. This particular Vargas figure was one that was sold there, and it retains a gold foil sticker advertising the shop underneath its wood base.

Vargas figures are completely hand-made, one-of-a-kind dolls that 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 Sugar Cane 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 Sugar Cane Seller is one of the more difficult to find of the Vargas figures. In his right hand he holds three stalks of newly cut sugar cane, and in his left hand he holds a silver-colored, light-weight, metal machete.

Vargas wax figures are distinctly characterized by their interesting but highly exaggerated facial features. This gentleman Sugar Cane Seller wears a red and yellow checked kerchief around his neck, a green shirt with yellow polka dots, black and tan striped pants, and black "leather" shoes. His costume is entirely constructed of actual cloth fabric that was coated with a fine layer of clear wax to stiffen them. The Sugar Cane Seller's wax body is internally supported by a wire frame through which the figure is securely attached to the wooden base. Underneath the wood base is found the Kate Latter's Candy Store sticker as well as an inventory sticker from the LSU Rural Life Museum.

This wonderful figure is in fine condition for his 90+ years of age with the following minor restorations likely performed by the professionals at the LSU Rural Life Museum: a restored right hand (that is presently missing a thumb), and restoration to the back of the vendor's hat, noted by the lighter colored wax. The sugar cane stalks appear to have been reattached in place, and his left hand is also missing the thumb. Due to the fragility of the wax fingers, it is not uncommon to find them missing or partially present.

The Sugar Cane Seller's light-weight metal machete was once attached to the left hand. It is my opinion that this metal machete was fashioned by professionals at the museum to replace the original cardboard version. Its weight, however, appears to be too much for the wax hand to hold, and thus, it became unattached while still in the museum's collection. As seen in the photos, the machete can be successfully rested inside the hand provided it is placed so that it is balanced, with equal lengths of the machete in front of and behind the hand.

A true must-have, rarely-found 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 inches high, this wonderful 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 famous 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 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 Banana 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 Banana Seller was one of the more difficult to find of the Vargas figures. In his right hand he holds a very large cluster of bananas that are all still attached to a tree branch, and in his left hand he holds a silver-colored, light-weight, cardboard-constructed machete. A single banana rests at his feet having fallen off the cluster.

Vargas wax figures are distinctly characterized by their interesting but highly exaggerated facial features. This gentleman Banana Seller wears a red floral kerchief around his neck, a green flowered shirt, black and tan herringbone-patterned pants, and black "leather" shoes. His costume is entirely constructed of actual cloth fabric that was coated with a fine layer of clear wax to stiffen them. The Banana Seller's wax body is internally supported by a wire frame through which the figure is securely attached to the wooden base. Underneath the wood base is stamped the following: "Genuine VARGAS New Orleans LA".

Quite interestingly, the Banana Seller is without a hat. He wears his hair very predominantly parted on one side suggesting that his carefully styled hair was meant to be displayed, and that this particular figure was never created wearing a hat.

This wonderful figure is in amazing condition for his 90+ years of age with one minor restoration likely performed by the professionals at the LSU Rural Life Museum: a repaired right hand. He appears to have lost a little bit of his hair in the back (see photo).

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 7.25 inches high, this magnificent 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 famous 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 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 Female Vegetable Seller Smoking a Pipe, 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 Female Vegetable Seller Smoking a Pipe was one of the most popular of the renowned Vargas figures, highly sought after by visitors to the city of New Orleans. Her vegetables were hand-sculpted with exquisite detail and coloring, and her corncob pipe evens presents a red flame in the center of the pipe's bowl, adding to the superlative character authenticity of this Vargas street vendor.

Vargas wax figures are distinctly characterized by their interesting but highly exaggerated facial features. This gentlewoman Vegetable Seller wears a yellow floral kerchief around her neck, a red patterned bandanna on her head, a red, blue, and yellow plaid shirt and skirt, a blue floral-patterned apron around her waist, and 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 Vegetable Seller's wax body is internally supported by a wire frame through which the figure is securely attached to the wooden base which, underneath, still retains its original "Harriet's" sticker.

This wonderful figure is in incredible condition for her 90+ years of age with, amazingly, only one minor restoration likely performed by the professionals at the LSU Rural Life Museum: a repaired carrot held in her right hand! It is a true rarity that the Vegetable Seller's corncob pipe and all fingers remain present given their highly delicate and fragile nature!

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 7.25 inches high, this very 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 famous 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 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 Spanish Moss Seller with Alligator, 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 Spanish Moss Seller with Alligator was one of the most popular of the renowned Vargas figures, highly sought after by visitors to the city of New Orleans. On his back he balances a very large bale of Spanish moss, while holding tight to a rope that is connected to a very young alligator perched at his feet.

Vargas wax figures are distinctly characterized by their interesting but highly exaggerated facial features. This gentleman Spanish Moss Seller with Alligator wears a red floral kerchief around his neck, a yellow straw hat on his head, a green flowered shirt, tan striped pants, and black "leather" shoes. His costume is entirely constructed of actual cloth fabric that was coated with a fine layer of clear wax to stiffen them. The Spanish Moss 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 amazing condition for his 90+ years of age with three minor restorations likely performed by the professionals at the LSU Rural Life Museum: a repaired right hand, and two re-attached feet on the alligator.

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 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 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.

Purchased approximately ten years ago from the Estate Sale at the Greenwich, Connecticut, home of the very prominent, American, CBS Television Personality, GAYLE KING, this nostalgic watercolor, reminiscent of times past, features a young black girl attentively and carefully canning strawberries in the kitchen.

This unsigned and undated piece of art was executed with very soft lines whereby no edge seems sharp- not the counter edge, or the lids of the jars, or the heavy black iron grates of the gas stove. Painted in predominantly darkened hues of blues, silvery-whites and grays, pops of red appear in the freshly canned strawberries and hints of yellow emerge in the window curtain and in earthenware bowl that the young girl works out of, all culminating in the creation of an ethereal effect of calm and serenity.

This lovely piece is generous in size with the visual dimensions of the actual watercolor measuring 15" in height x 26.75" in length. The watercolor is double-matted with an 1/8" wide interior mat in a neutral earth-tone surrounded by a cream-colored, 2 3/4" wide mat that is further complemented with an etched, earth-tone, single line simulating the demarcations of a false third mat- very clever! (see photos) The extraordinarily sturdy, warm-toned, hardwood frame measures 1 3/4" wide with the total framed measurement of this piece approximately 25" in height x 36" wide. The backside of the frame features an Estate Sale, stringed-tag stating the provenance of this piece: "From the Greenwich CT home of Gayle King".

It must be noted that all photographs were taken through the glass of this framed piece, so multiple photographic angles are provided in the attempt to reduce distortion in the photos from light reflection off the glass. Please ignore any variations in color or shading - all are strictly the result of unavoidable light reflection.

Please also note that because this item would be classified as oversized by delivery carriers due to its weight (approx 11 lbs) and its length and width measurements, this item does not qualify for free shipping.

Written by the author of "The Story of Little Black Sambo", Englishwoman, Helen Bannerman's publication of "The Story of Little Black Mingo" followed shortly thereafter, this time, featuring a brave and ingenuous female heroine. Little Mingo, with the help of a friendly mongoose, manages to outsmart both her guardian, an evil old woman who cares nothing for her, and a voracious alligator plotting to devour her! The story ends with Mingo and the mongoose living happily ever after in a nice little house by the riverside.

Helen Bannerman was inspired to write these stories for her two young daughters while the family lived in India; Mingo and Sambo were Indian children and not African-American. They were converted over time to this race, however, by subsequent story tellers and illustrators.

A mini book measuring 4" x 5.75", this cloth-bound hardcover was published by Frederick A. Stokes Company, New York, with 64 pages of vividly colored illustrations, and no copyright date. Research indicates this version was published circa 1902.

Condition is a 9 out of 10! This 120+ year old book has seen little use with just a teeny bit of wear to book edge points and age-related staining with some minor paper loss to the original, overlay-ed paper cover. Some soiling to interior pages here and there, but otherwise, intact and tight with no tears, creases, pen/pencil markings! Amazing condition for a book of this age!

A simply wonderful story, truly a fairy tale of sorts, that is seldom found in this lovely, original, early edition! To see the Little Black Sambo items currently available for sale, simply type “Sambo” 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.

Offered is an exquisite, Victorian era, barber shop shaving mug sporting a highly decorated label-under-glass owner's nameplate, which has been recently acquired from a South Carolina estate.

This exceptional, shield-shaped label is executed in a rare and strikingly colorful design that was certainly a special order item for its owner, JOHN E. MATTES.

The condition of the porcelain mug is excellent! It is embellished with mildly worn gold gilt paint on the rim that coordinates with the gold adornment also on the label. This visually-striking label has mild loss, tiny chips and subtle cracks as noted in the photos. The shaving mug measures 4 inches tall x 3.5 inches in diameter at the top. A gem that is worthy of the most advanced barber shoppe collection!

Offered is a wonderful, circa 1920s, hanging, Apothecary Show Globe fashioned in the Art Deco style, complete and all-original. Very often hung in the front window of the local drug store to attract customers, these show globes were frequently filled with colored water to add extra depth and interest to their sculpted appearance.

Condition of this fabulous piece is quite fine. The interior of the globe and finial note some faint, scattered, age-related haziness. While the large globe has absolutely no damage, the decorative finial has a few mild chips to its ground glass base as noted in the photo, that are completely invisible when the finial rests perfectly in place inside the neck of the globe.

For perspective, the globe with finial in place measures about 16 inches tall. The total height as measured from the globe base to the point where the 3 chains terminate at the bracket is 32 inches. An additional 19 inch chain was added by the previous owner.

A noted feature of this globe is the original and very handsome, decorative, metal bracket which supports the globe in a fancy, Art Deco style frame. The delightful hanger rounds out a wonderful example of the "architecture" of pharmacy history of the 1920s. The condition of the globe frame, chains and support bracket is good with the light wear and mild loss of finish expected of an approximately 100 year old piece. The wall hanger is in excellent condition with minimal surface imperfections.

An exceptional opportunity to purchase a visually striking, Art Deco styled Apothecary Show globe in complete and all original, an advertising piece of a bygone era certain to become a central focal point of any apothecary, pharmacy or drug store collection!

Offered for sale is a choice 19th century apothecary medicine bottle marked "P.IPEC-OPII" ! This 6.5 inch tall bottle produced by the Whitall Tatum Company of Millville, New Jersey, additionally has the patent date and manufacturer's initials embossed on the base, “W.T.CO. – Pat. 1889”.

This label-under-glass (LUG) wide mouth apothecary bottle is in fine condition and sports ground glass construction to the stopper. The label is complete, undamaged and displays very nicely. Note that the reverse side of the label, viewed only through the back of the bottle, has an unusual, stylized "WT&Co" circular trademark label in place.

Of note, the medicine this bottle once contained was a syrup of powdered OPIUM as well as IPECAC, which is an expectorant/emetic. Ipecac was used to induce sweating, treat colds, and reduce fever in adults and children. Opium had been used for centuries as a sedative and to relieve pain. Beginning in the early 19th century, it became a common treatment in the US for an alarmingly wide range of ailments in both children and adults, quickly leading to an addiction epidemic which peaked in 1895. Advances in medicine during this time period and education of doctors via medical instructors and textbooks vehemently warned against the overuse of opium, leading to a drop-off in common use. Regulations were also passed during this time period which restricted access to opiates formerly available "over-the-counter" to access via valid prescription only. A bit of brief history of the medicine once contained in this bottle.

A rarely found narcotic bottle in superb condition!

Offered is an extraordinarily rare, 1787, Fairfield, Connecticut, Bill of Sale for five SLAVES owned by Ephraim Willard of Fairfield, sold in November 1787 to two brothers, Ebenezer Whiting of Savannah, Georgia, and Bradford Whiting of Fairfield, Connecticut. The two Whiting brothers then resold these five slaves three months later in February 1788, to Thomas Cumming of Savannah, Georgia.

Also included with the 1787 Bill of Sale are three other Cumming's family documents, two measuring approximately 2"L x 8" W, and one 14"L x 8"W (see photos for condition). They are: an 1815 Receipt from Thomas Cumming to Richmond County, GA, for a $25 payment in taxes; a Dec 8, 1848, Receipt from Henry Cumming of Augusta, GA, a son of Thomas Cumming and a very prominent figure in 19th century Georgia politics, to George W. Crawford, Agent of the Bank of Augusta and Henry's law practice partner, a promise to pay on "the first day of January, 1849,"..."one hundred and three dollars for value received in house rent"; a 28 page 1812 Land Dispute document, Superior Court of Chatham County, GA, executed by Thomas Cumming btwn J. Knowle Fanning and the Joseph Clay Sr estate (Thomas Cumming's father-in-law).

The 1787 Bill of Sale is a single page, 7.5" wide x 12" long document, with text written on both sides of the document. Condition is quite remarkable given its 235 years of age!(see photos) Expected age-related discoloration of paper and some very slight paper loss in center of document ONLY noticeable when doc is held up to light.

The text of the 1787 document reads as follows, Paragraph one:
“Know all Men by these Presents that Ephraim Willard of Fairfield and State of Connecticut for and in Consideration of one Hundred and Sixty Eight Pounds Lawful Money Rec. (Received) to my full Satisfaction Of Eben,, (the double comma “,,”representing an abbreviation for Ebenezer) Whiting of Savannah of the State of Georgia & Bradford Whiting of Fairfield and the State of Connecticut do give, grant, bargain sell & Deliver unto them the said Eben,, Whiting and Bradford Whiting One Negro Man Named Peter Aged about Twenty one Years old, and his Wife Named Cate about Twenty Six years old, and her Two Children one a Girl about Five Years old, and the other a Boy about Eighteen Months old, and one other Negro Woman Named Vilot about Twenty One Years old.”

“To have and to hold the above granted the Bargainer Premises with the appurtenant thereof unto them the Said Eben,, & Bradford Whiting their Theirs Executors And Administrators and the Said Ephraim Willard do for myself my heirs Executors and Administrators Covenant with the Said Eben,, & Bradford Whiting their heirs Executors and Administrators that I am Now the Soul and Lawful Owner of the above Granted and Bargained Premises, and That I have said Right to Sell the Same as aforesaid, and that the same are free of all Incumbrances whatsoever -and I do by these Presents bind myself my Heirs Executors and administrators and assign forever against all claims and Demands whatsoever in Witness whereof I have hereunto Set my hand and Seal in Fairfield this Twenty first Day of Nov,, (November) in the Year of our Lord One Thousand Seven Hundred and Eighty Seven~ Ephraim Willard”
(Witnesses?)
Jonathan Mattbig
Ebenezer Dimon

“Savannah, February 23 1788. I have Sold the five Negroes, mentioned in this Bill of Sale to Thomas Cumming of Savannah, for which I have received a consideration to my satisfaction~”
Ebenezer Whiting
Bradford Whiting

A bit of History-
Slavery in Connecticut:Connecticut, in 1848, was the last New England state to abolish slavery. The state's city of New London was one of the New England port cities that was an integral trading partner in what is generally referred to as “The Triangle Trade”- between New England, the West Indies, and the African Gold Coast. In this triangular trade, molasses produced in the West Indies from sugar cane was sent to New England, New England sent rum made from this molasses to Africa in exchange for enslaved people, and the enslaved were sent to the West Indies to work the sugar cane plantations that produced the molasses, maintaining the prosperity of the northern colonies through the 18th century and into the 19th.

Thomas Cumming: Thomas Cumming, to whom the above five slaves were sold in Savannah, Georgia, in 1788, was born in Frederick, Maryland, having moved to Georgia as an adult. In 1787, the year before this purchase, he married Ann Clay, the daughter of Joseph Clay, a wealthy owner of multiple Savannah-area rice plantations. It is hypothesized that Thomas purchased these slaves in conjunction with or for his father-in-law. At some point in the 1790s, he moved his wife and children to Augusta, and served as Augusta’s first mayor upon its incorporation in 1798. From 1819 until his death at age 68 in 1834, Thomas Cumming was President of the Bank of Augusta.

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)

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.

Measuring approximately 7.25 inches high, this highly sought after Black Vargas wax female figure selling vegetables 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 Female Vegetable Seller, is one of the more difficult to find of the New Orleans street character wax dolls. Vargas wax figures are distinctly characterized by their interesting but highly exaggerated facial features. This female Vegetable Seller wears a multi-colored kerchief on her head, a red and cream polka dot scarf around her neck, a cream shirt decorated with red flowers, a blue and white polka dot apron and pale blue skirt decorated with a sea of multi-colored flowers - all constructed of actual cloth fabric that was coated with a fine layer of clear wax to stiffen them. Balanced on her arm is a removable, wax, wicker-look basket filled with cabbage, carrots and rhubarb. The Vegetable 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 amazing condition for her 75+ years of age with no apparent or visible imperfections other than two missing fingers on her left hand, a condition which is quite commonly found in Vargas figures. A highly collectible piece representing 1920s New Orleans's African American culture. Vargas figures are becoming increasingly more difficult to find!!

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

Pickaninny Brand Peanut Butter was produced in the 1920's by the F.M. Hoyt Company of Amesbury, Massachusetts, that guaranteed the quality of its peanut butter. Its sales slogan was: "Packed For Those Who Appreciate Quality".

The company's logo featured a very young, African-American girl in a red dress, eating peanut butter out of the tin pail while her cloth doll rested on her lap. The words: "A.C. CO OF MASS." appear in the tiniest letters below the words "Peanut Butter" on one side of the pail, likely the local manufacturer of the tin pail for the F.M. Hoyt Company. Impressed into the base of the tin is the word: "CANCO".

Measuring 3 3/8" tall x 3.75" wide, this highly collectible, 1 pound size, Black Americana tin scores an 8 out of 10 condition rating. The tin features two very strong images on front and back and retains both its original cover and bail handle. The tin evidences various areas of slight paint loss and surface wear. There are no dents or cracks, the cover has a few subtle dings (indentations) on its top, and light tarnishing is evident on the tin base and interior along with faint superficial rust. Overall great condition with wear to this tin quite commensurate with its 100+ years of age.

This tin also was produced in a 3 pound size intended for commercial use. Both sizes are equally scarce and sought after! A wonderful addition to an advanced Black Memorabilia collection!

An interesting historical side-note: a member of this same Hoyt family, John, was among the first eighteen settlers of the area which came to be known as Amesbury, Massachusetts, back in 1654!

Offered are 3 nice hand forged golf clubs sporting hickory shafts. Included are clubs from Nicolls of Scotland, Hillerick and Bradbys Co. from the USA, and G. Schmidt. All 3 clubs date to the 1920s and are in good condition.

The first club is from George Nicolls and is stamped on back as follows: "HAND FORGED IN SCOTLAND" - '2 IRON' - 'CARRYING POWER 150/70Yds - and in a circular stamp 'NICOLLS INDICATOR'". The stamp of a hand palm also embellishes this nice Scotland created club. The INDICATOR model was introduced in 1926 and became very popular. The face is DOT stamped and there is a small ding on the leading edge close to the heel. Measures 36.5 inches from then end of shaft to the heel. There is slight gap between the hosel and shaft connection and ancient crimp marks on the hosel are noted. This may indicate that the shaft, while appearing period, may be an early replacement. The leather grip is in very good condition and overall the club sports a nice patina.

The second club is stamped on back with the following information: "Hillerick and Bradbys Co. Louisville, KY 'GRAND SLAM' and a stamp of a hand hold playing cards with an 'A' on the front. It is stamped with the number '5' on the sole. The 36.5 inch shaft is stamped "Made by Hillerick and Bradbys Co. Louisville, KY". A small gap is noted between the shaft and hosel. The club has a wonderful surface patina throughout and the grip is solid. The face sports a square stamped pattern.

Club number 3 is stamped on the back with the following: "G. Schmidt - NIBLICK - FORGED and the letter 'W'". The 'W' may be the owners mark. This 36.5 inch club sports a nice patina, and a good complete grip. The shaft has a barely noticeable split by the hosel. The large face has 'line' pattern stamping and the leading edge shows two honorable dings. A neat club to display!

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!

This wonderful, 19th century, Whitall Tatum, hanging, apothecary show globe measures approximately 33 inches from top of chain to bottom of fixture. This egg-shaped, 3 1/2 gallon globe dates to circa 1895 and was manufactured at the Whithall Tatum Company in Millville, New Jersey.

The blown-glass globe is in very good condition with the expected and minor, age-related scratches and imperfections of antique glass. There are no cracks, and the globe holds water just fine!

The lovely and decorative, iron supporting frame sports an early, gold-painted finish which is quite appealing. (The original, factory-manufactured finish was completed in brass plate.) The interior of the globe's metal crown has minimal, superficial rust as seen in the photo.

This globe displays quite nicely and is ready for exhibit in your collection!

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

THIS ITEM ON HOLD 12/16/2020,

Early laboratory equipment is a challenge to find but search no more! Offered is an exceptional, very scarce, mid-Victorian, wooden, laboratory funnel stand. This circa 1870s funnel stand is constructed entirely of hardwood sporting a wonderful surface patina.

This fully-adjustable stand measures 17 inches high and can be completely disassembled for storage and transport. The base measures 9 inches long x 4.25 inches wide and has a beveled edge.

The condition of the stand and screw mechanism is very good with some stains and honorable wear commensurate with the age and use of a 150 year old, scientific antique.

*****PLEASE NOTE THAT THE EARLY GLASS FUNNEL PICTURED IS FOR DEMONSTRATION PURPOSES ONLY AND IS NOT INCLUDED IN THE OFFERING AND/OR SALE OF THIS LABORATORY FUNNEL STAND*****

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!

Offered is this 1927 copyright, LITTLE BLACK SAMBO published by Rand McNally Company, Chicago. Hardcover, 64 pages.

Little Black Sambo is the featured story in this book with the short stories, "The Gingerbread Man" and Titty Mouse and Tatty Mouse", added in as extras. While the illustrator in unnamed in the book's credits, all illustrations are executed by the same hand and are either initialed MEP" or signed "Margaret Evans Price".

A much-beloved children's classic written in the early 1900's by Englishwoman, Helen Bannerman, for her two daughters while they lived in India, Sambo, in the original tale, was an Indian boy and not an African-American child. He was soon converted 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!

The book exterior has seen much wear as evidenced in the photos, with significant wear to all edges, which amazingly, has had no effect on the sturdy structure of this book! The interior of the book remains in absolutely perfect condition, with an undamaged, very tight binding, and not an imperfection to be found-- no rips, stains, creases--only the inked inscription of the last name, "Meyere" on the upper right corner of the title page (see photos).

Illustrations are lovely and have that timeless yet nostalgic look of fine work produced in the Art Deco era!

Little Black Sambo books from this period are infrequently found!

Offered is a circa 1920s, four-tier, clear glass Apothecary Show Globe. Stacking show globes such as this have always been a highly sought after apothecary artifact for those building a venerable collection of old pharmacy items. This lovely, 26 inch tall example is a visual statement piece- one to be admired for years to come.

Each individual globe sports ground glass construction and each fits into position with perfection. The interior of all sections is sparkling clear with almost no trace of staining, a problem which is often seen in such pieces, but not here.

The only flaw is a very small surface crack in the large globe as seen in the photos. This does not effect structural integrity as the globe holds water with no leakage whatsoever. This imperfection, in fact, is not visible when the globe is filled with water. It can also be easily hidden by positioning this side of the globe facing towards the back of one's display. Simply a faulous piece!

Offered is a C1950-60s, vintage package of Zulu Lulu Swizzle Sticks, Novelty Party Bar-ware that has never been opened. The plastic swizzle sticks on a colorful cardboard display remain sealed within their original clear plastic packaging. Never Used! Perfect condition! Measures 11 inches wide x 8.5 inches high.

JASBO BROWN AND SELECTED POEMS.

Author: Heyward, DuBose.
Title: JASBO BROWN AND SELECTED POEMS.
Subject: African-American Experience and Culture of Charleston, South Carolina Publication: New York: Farrar & Rinehart, (1931)
Edition: First Edition

Description: First edition. Hardcover, gilt-stamped brown cloth. First printing. 96 pages. A tight very good plus copy with a partial, former ownership bookplate with minor writing, some tiny chipping to the spine ends. No dust jacket.

Farrar & Rinehart, Inc. indicated their First Editions by the small oval logo forming the letters F an R immediately above the copyright line on the back of the title page.

The 1924 date is for the copyright date of the poetry, the 1931 is the date of first publication in book form.

Edwin DuBose Heyward (August 31, 1885 – June 16, 1940) was an American author who was born and raised in Charleston, South Carolina. He is best known for his 1925 novel Porgy. He and his wife Dorothy, a playwright, adapted it as a 1927 play of the same name. The couple worked with composer George Gershwin to adapt the work as the 1935 opera Porgy and Bess. It was later adapted as a 1959 film of the same name. Heyward also wrote poetry and other novels and plays, and this book of selected poems reflected his observations of and experiences with black culture in Charleston during his childhood.

Each measuring approximately 7 inches high, these highly sought after Black Vargas wax figures which are mounted on their original wooden platforms, are two 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.

The female figure is known as the Praline Seller as her business was to sell freshly made Pralines, a candy confection composed of Louisiana cane sugar and pecans. Her straw, woven basket contains four Praline cookies or flatbreads.

The male figure is known as the grapevine and/or alligator seller. The grapevines are tied in a large bundle on his back which he also supports using the rope in his right hand, while leading a young alligator along in his left.

Vargas wax figures are distinctly characterized by their interesting but highly exaggerated facial features.

The Praline Seller wears a vividly colorful array of different pattern fabrics which work to comprise her eye-catching costume. Atop her head, she wears a large, green and red polka dot bandanna that allows a bit of her wildly-curly, dark hair to peek through, with a solid yellow bandanna tied around her neck. Her her red, cream and blue patterned blouse and skirt are partially protected by a rather sedate, cream-colored apron. All of her clothing is constructed of actual cloth fabric that was coated with a fine layer of clear wax to stiffen it. She carries her basket of pralines on her right arm, while holding a piece of paper in her right hand. A written price list, perhaps? In her left hand she carries a reed duster to keep the flies off of her confections!

The Grapevine/Alligator also wears fabric clothing coated in wax. His pink, white and blue patterned bandanna is tied around his neck and worn over a red, blue and yellow plaid shirt and blue denim pants. He is missing his hat-- perhaps, the alligator ate it?! He holds onto the gator's rope in his left hand while trying to balance the huge mound of grapevine on his back via a rope end clutched in his right hand.

The figures' wax bodies are internally supported by wire frames through which the figures are securely attached to the wooden base. The bottom of each base retains its original stamp which reads, "Genuine VARGAS New Orleans, LA".

These wonderful figures are in near mint condition for their 75+ years of age. The Praline Seller perhaps has lost a couple of her pralines from her basket over the years, an insignificant detail, or perhaps her basket was never meant to be filled to indicate that she had already successfully made some sales! The Grapevine/Alligator is missing his hat as noted earlier, as well as two of his fingers on his left hand, a common injury as they are so very, very thin and inherently fragile. The young Alligator is missing the tip of his tail and the tip of the top of his mouth, again, two very thin pieces of wax which were vulnerable to easily breaking off.

Please note that the Vargas figures are priced $795.00 EACH.

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 a very scarce, 1870s, Scotland Maker, Long Nose, Mid Spoon, Wood Golf Club with original finish!

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!

This amazing club sports its original varnish surface and is offered in "as found" condition. The top of the club shows some loss of finish that is commensurate with an antique golf club. The darkening of the finish results a wonderful patina. The club displays a lovely elegance owing to the gently-sculpted angling of the face. The sole of the club shows signs of mild use with linear scuff marks beginning at the front portion of the inlaid horn. It measures a formidable 41 inches from the heel.

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, Scottish club makers of the 19th century. The lead has been expertly applied to the back of the club, and the original twine adds to the club's character. The hickory shaft is undamaged and sports a warm, honey-colored surface. The leather grip was expertly replaced many years ago and has signs of gentle use.

A phenomenal, rarely-found example of 19th century craftsmanship! A tangible example of exemplary golfing history!

Offered is an extremely scarce, 1870s, Scotland Maker, Long Nose, Mid Spoon, Wood Golf Club with original finish!

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!

This amazing club sports its original varnish surface and is offered in "as found" condition. The darkening of the finish results a wonderful patina. The club displays an enchanting elegance owing to the gently-sculpted angling of the face. The sole of the club shows signs of mild use with linear scuff marks beginning at the front portion of the inlaid horn. It measures a formidable 42 inches from the heel.

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, Scottish club makers of the 19th century. The lead has been expertly applied to the back of the club, and the original twine adds to the club's character. The 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 gentle use.

A phenomenal, rarely-found example of 19th century craftsmanship! A tangible example of exemplary golfing history!

Offered are two absolutely wonderful, cast iron, still, penny banks manufactured by the AC Williams Company of Ravenna, Ohio, manufactured in the first quarter of the 20th century.

The banks may be purchased as a pair for $425.00, or they may be separately purchased as follows: Mammy with Spoon $295.00 and Black Man Darkey Sharecropper $225.

The Mammy with a Spoon measures 5 7/8 inches high and was produced between 1905 and 1930. She retains much of her original paint and exudes a warm, rich patina commensurate with a well-loved antique of approximately 100 years of age. She wears a blue dress, black shoes, a silver apron and a red kerchief that still retains some of its white polka dots. Mammy holds a gold-colored spoon in her right hand while placing her left hand firmly on her hip. Mammy means business!

The Black Man Darkey Sharecropper measures 5 1/2 inches high and was manufactured from 1901 to 1930. He retains most of his original paint showing less paint wear than Mammy and also exudes a very warm, rich patina. He wears black pants with red suspenders and a gold hat and gold shirt with red collar. He wears black shoes; however, his left black shoe is worn through at the toes, resulting in all five toes peeking out! He stands casually with his hands in his pocket. His back screw, while an old one, is a replacement.

Mammy and the Darkey Sharecropper were clearly manufactured as companion pieces given their similar size and stance. Both stand freely and would make wonderful additions to the well-curated, antique, Black Americana collection.

Offered is a fabulous and scarce, 19thC, tin, CANNABIS, apothecary storage container with hand-painted, gold gilt label and a decorative and stylized floral, front embellishment. The label is likely one-of-a-kind, ordered by an early pharmacist!

The tin sports an early and original, hand-painted, mustard-colored surface, and it measures approximately 7 inches high x 4 inches wide x 5 inches deep (front to back including the distinctive front floral embellishment).

Structurally, the canister is a solidly crafted container, with a slanted, well-fitting, hinged cover that snaps into place when closed. The right top portion of container is slightly bent, and the finish shows modest wear and paint loss. The condition is commensurate with a 19th century well-loved and well-used, dispensary antique.

Offered is an outstanding, Art Deco era, circa 1920-1930s, hanging, drug store, apothecary show globe in impeccable condition!

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 water. The frame is embellished with a buffed 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. This fabulous apothecary showpiece measures 29 inches from the top of its fancy hanger to the base.

The condition is absolutely excellent. The globe glass is clean and clear with a perfectly fitting, ground-glass stopper. The interior globe rim has an extremely shallow, minute, surface chip that is insignificant and is very difficult to see and photograph. The finial base has two practically undetectable, teeny, flea bites that cannot be seen when the finial is inserted into the globe rim, and which also, are too tiny to photograph.

The take away of this offering, this outstanding piece of nearly 100 year old, American pharmacy history, is both its exquisite Art Deco styling with extraordinary visual appeal, and its utterly excellent condition, making it a true rarity among extant Apothecary antiques and collectibles!

Offered is a 1910 PISO'S Cough Cold Remedy CANNABIS Patent Medicine Bottle recently acquired at a local estate sale in Myrtle Beach, SC.

This is an investment caliber specimen in original packaging that is unopened, unused and full.

The contents include Extract Cannabis Indica and Chloroform and are clearly marked on the bottom of the packaging front. The FOOD & DRUG ACT of June 30, 1906, is noted on a side panel with information also printed in German on the opposite side panel.

The paper label packaging is mostly complete with some fading, wear, minor loss and aging commensurate with an antique bottle. It measures almost 6"H x 2"W x 1". There are no signs of content leakage or staining. The fancy Victorian images and script found on the label are more pronounced on the front panel. The top appears to sport a small tax stamp printed, "THE PISO COMPANY - WARREN, PENNA".

The last photo (photo #6) shows the back side of packaging.

This is an antique collectible item and contents are not for consumption.