MISSISSIIPPI MAMMY BLACK AMERICANA MAMMY Handmade CLOTH RAG DOLL APPLIANCE COVER

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MISSISSIIPPI MAMMY BLACK AMERICANA MAMMY Handmade CLOTH RAG DOLL APPLIANCE COVER:
$9.99

sale Wizard 2000 Listing Template - AW2KLOT#:14386
MISSISSIIPPI MAMMY BLACK AMERICANA MAMMY Handmade CLOTH RAG DOLL APPLIANCE COVER
↓ DOWN TO SEE ALL PICTURES ↓ MONTH, WE ARE PLEASED TO OFFER MANY FINE ANTIQUE AND COLLECTIBLE ARTIFACTS AND RARITIES FROM MISSISSIPPI AND LOUISIANA ESTATES AND PRIVATE COLLECTIONS
PLEASE CHECK OUR OTHER items FOR MORE EXAMPLES OF EARLY ANTIQUES & AN OLD MISSISSIPPI ESTATE THIS EARLY APPLIANCE COVER IS PRESENTED IN THE MANNER OF A BLACK MAMMY DOLL.
FROM BASE TO TOP OF HEAD, STANDING CLOSE TO 10\" TALL. WHEN SPREAD TO THE MAXIMUM, THE HEM OF THE DRESS MEASURES 24\" IN OVERALL DIAMETER.
THE WOOD BLOCK BASE IS COVERED WITH THE SAME COTTON FABRIC AS THE DRESS, MEASURING 4x6x1\", SUFFICIENT FOR PLACEMENT ATOP A TOASTER OR OTHER KITCHEN APPLIANCE. THE FABRIC IS TACKED TO THE WOOD BLOCK.
THE DRESS FABRIC IS PREDOMINATELY BLUE, WITH EXTENSIVE FLORALS PRINTED DEPICTIONS OF STYLIZED CATS. AN APRON OF COTTON FABRIC IS TRIMMED WIITH LACE.
HANDS RAISED ABOVE THE SHOULDERS ~ RED STITCHED NOSE AND MOUTH, WITH WHITE BUTTON EYES AND PLASTIC LOOP EARRINGS.
CONDITION REPORT > STORED FOR YEARS IN AN OUTBUILDING ~ AS ACQUIRED, DIRTY AND DUSTY ~ HOLE TO THE DRESS ~ STAINS AND DAMAGE TO THE APRON ~ EXPECT ELEMENTS RELATIVE TO AGE AND MATERIAL ~ OVERALL FAIR, VINTAGE CONDITION, BEST DETERMINED BY EXAMINING THE IMAGES OFFERED.
HISTORY of BLACK AMERICANA DOLLS
Black cloth dolls are among the first original one-of-a-kind dolls. This is particularly true of those crafted in the homes of the young and old, usually handsewn with love, using recycled fabrics and other textiles.
Along with the multitude of handmade black dolls, manufactured dolls were also made during the 19th Century. These include dolls printed on cloth that were later handsewn in homes.
The Aunt Jemima Mills Co. offered the Aunt Jemima doll family as a product premium as early as 1910 and as late as 1949. Consumers could send in box tops from Aunt Jemima pancake mix along with a few cents or stamps in exchange for the Jemima family dolls that were ready to be stuffed and sewn closed. This family of four originated as dolls printed on oil cloth and include Mose, Aunt Jemima, Wade and Diana. referred to as pickaninnies in an Aunt Jemima doll ad. The 1949 version was made of plastic.
Other early manufactured black cloth dolls and doll patterns were often stereotypical caricatures with exaggerated facial features. Examples include Black Mammy and Child by Spring Mills Co. (1940s) printed on cloth to cut and sew, \"Piccanny\" girl and boy dolls made from Simplicity Pattern #7329, and Little Brown Koko (1940s) depicting the character from the book of the same name.
An abundance of cloth mammies, both manufactured and handmade, are among the initial American-made black cloth dolls. These also included mammy appliance covers.
COLLECTING BLACK AMERICANA
While many fear the preservation of Black Americana serves to prolong racist prejudices, others collect these objects to ensure that Americas troubled past isnt forgotten by future generations. In the words of David Pilgrim, founder of the Jim Crow Museum at Ferris State University in Michigan ~ Use items of intolerance to teach tolerance.
Black memorabilia, sometimes called Black Americana, describes objects and ephemera relating to African American and Afro-European history. Most of this material was produced from the 18th through the 20th centuries. Frequently, these household items reflect racist ideas about black people through offensive and dehumanizing caricatures. However, black memorabilia also encompasses objects with positive connotations, commemorating civil rights advances or achievements by scholars, artists, musicians, athletes, politicians, and other members of the black community.
Some of the earliest items associated with black memorabilia were actually produced in Europe. These ornamental portrayals of Africans, referred to as blackamoors or blackamores, appeared on enameled jewelry, pottery, sculptures, and other decorative arts beginning as early as the 13th century, when black servants came to represent the pinnacle of wealth.
Displaying a blend of stereotypical Oriental, Arabian, and African attributes, blackamoor objects typically feature a head or bust with dark skin, a colorful turban, and elaborate gold jewelry. The trend for these exoticized pieces peaked in the late 19th and early 20th centuries, as European countries increasingly colonized and traded with areas in Northern Africa.
Across the Atlantic, as slavery became entrenched in the American way of life, representations of African Americans helped to reinforce this inhumane system. Just as white superiority was cultivated by clergymen, politicians, and scientists, this belief system was also spread through popular culture, via theatrical performances, song lyrics, advertising imagery, and the design of household objects. After the Civil War and the end of Radical Reconstruction in the South, Jim Crow laws and public lynchings became means of subjugating black Americans. At the same time, advances in printing and manufacturing technology allowed companies to churn out products with popular caricatures of black people.
Much of this racist imagery perpetuated the association between African Americans and household servitude, like the smiling cook used in Cream of Wheat ads. Others aimed to get a laugh with depictions of simple-minded oafs obsessing over watermelon or being attacked by alligators. Caricatures of black people appeared on every imaginable product, although skin color was used especially often as an advertising punchline for goods like ink, tooth paste, shoe polish, washing powder, and house paint.
While this packaging documented existing opinions about African Americans, it also influenced cultural norms moving forward: Even as progressive groups questioned the ethics of racial prejudices, popular depictions of black Americans as subhuman often undermined their efforts. Sheet music for vaudeville tunes known as coon songs ~ which described black men as uppity, shiftless, razor-wielding, drunken, gambling, and lecherous fools ~ were also wildly popular at the turn of the century.
During the 19th century, several offensive stereotypes became commonplace, including male savages or brutes, subservient Toms and mammies, sexualized Jezebels, pickaninny children, and ignorant coons. Most of these featured the same physical traits ~ very dark skin, oversize red lips, and bulging eyeballs.
Eventually, familiar characters like Aunt Jemima and Little Black Sambo were created as amalgamations of various racial stereotypes to market all manner of toys and household products, along with rag dolls, postcards, clocks, pottery, and wallpaper.
At the time, the dominant representation of black children were exhibited as what came to be known as pickaninny kids, who were dirty, unkempt, and barely clothed ~ almost animal in their wildness. These portrayals were seared into the collective imagination with the 1922 arrival of the popular Our Gang film series that would eventually become The Little Rascals. Characters like the infamous Buckwheat epitomized the bumbling, poorly dressed pickaninny.
Perhaps the most popular version of the pickaninny caricature was introduced with Helen Bannermans 1899 book, Little Black Sambo. The Black Sambo childrens story follows a young black boy as he outwits a series of tigers, and is finally rewarded with tiger-striped pancakes. Though the tale itself was not inherently racist, the name Sambo was a common epithet for a lazy servant, and the books illustrations reinforced a variety of negative stereotypes about black people. Additionally, the immediate popularity of Little Black Sambo resulted in a proliferation of knock-off versions, many of them incorporating more offensive storylines and imagery.
Though Aunt Jemima is most famously associated with the Quaker Oats pancake mix, her character was originally based on a minstrel song from 1875 called Old Aunt Jemima. In her apron and polka-dotted kerchief, Aunt Jemima became the familiar face of the mammy stereotype, a motherly and overweight black woman who is visibly happy in her subservient position. The mammy caricature is one of the most enduring black stereotypes, and was often used as proof that servitude was a mutually beneficial arrangement. Mammy caricatures appeared on a wide variety of household objects, especially kitchen-related items like cookie jars, dish towels, pitchers, string holders, salt and pepper shakers, tea tins, and detergent boxes.
In the face of such negative portrayals, African Americans pushed for change, creating their own representations and making strides towards greater equality in the public sphere. Some of the most coveted items of Black Americana are connected to the civil rights movement of the 1960s, like comic books that captured the story of Dr. Martin Luther King or newspaper clippings covering Rosa Parkss trial. Political icons ranging from Frederick Douglas to Malcolm X have been commemorated with collectible objects like silver spoons, decorative plates, and ceramic figurines.
Memorabilia connected with all types of black celebrities is highly valued, from tickets for Josephine Baker performances to signed photographs of Muhammad Ali, original Duke Ellington records, and Jackie Robinson baseball cards. Other names are less recognizable to modern ears, but represent equally important milestones for black Americans, such as Madam C. J. Walker, whose popular hair tonic made her one of Americas first female millionaires.
Products targeted toward African American consumers make up another important segment of Black Americana, like Walkers Wonderful Hair Grower or early issues of groundbreaking publications like Ebony and Jet. Original Patty-Jo dolls also fall into this category: Launched by the Terri Lee doll company in 1947, Patty-Jo was created explicitly for black children by African American illustrator Jackie Ormes.
Even some offensive objects of Black Americana celebrate the successes of African Americans. For example, black jockey figurines, common to white suburban communities during the mid-20th century, arent only a reminder of black servitude. Rumor has it that George Washington commissioned the first statue of a black jockey holding a lantern after his black groomsman, Tom Graves, who froze to death while lighting the way for revolutionary troops crossing the Delaware River. In fact, black jockeys were some of Americas first sports stars, as slaves represented their masters teams in southern races beginning as early as mid-1600s. A black jockey named Oliver Lewis won the first-ever Kentucky Derby in 1875, and African American athletes dominated the sport well into the 20th century.
Today, historic artifacts connected to slavery are among the most desirable pieces of Black Americana, which include trade documents, shackles, and identification tags, as well as abolitionist circulars and books. Other signs of institutionalized racism, like signs from the Jim Crow era designating separate spaces for colored and white, are also sought by collectors, typically found during the era in railroad depots, bus stations, restaurants, cafes and other establishments.
In many ways, modern attempts to achieve a more equitable society have served to whitewash over these painful realities. Few realize that Agatha Christies best-selling mystery novel of 1939, And Then There Were None, was originally titled Ten Little Niggers, after a popular nursery rhyme that recounts the deaths of ten black children ~ the poem is called ~ Ten Little Indians ~ in the American USE THE \"CONTACT SELLER\" FUNCTION TO CONTACT US AND RESOLVE ANY QUESTIONS BEFORE offerDING
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