Documents and artifacts from
The Freeman Institute Black History collection have been exhibited in a number
of venues around North America, including the White House
Communications, US Department of Justice, Frostburg
State University and also at the United Nations commemoration of the International
Day of Remembrance of the victims of slavery and the transatlantic
Slave Trade" Exhibition at the United Nations 20
documents & artifacts from The Freeman Institute Black History
Collection were showcased. March - May
2011 & March - May 2012
A photo of the huge area in
the main hall near the United Nations visitor's entrance
at the United Nation's "Transatlantic Slave Trade" exhibit in
NYC (March - May, 2011).
20 documents & artifacts from The Freeman Institute Black History
Collection were showcased.
More items from the Collection are exhibited behind the walls.
Fox News Channel segment about
Joel Freeman, the
United Nation exhibition, & the Black History Gallery Project
If you are interested in learning more about the Black History Gallery
Project, here is a presentation
Dr. Joel Freeman made to a group interested in establishing a Black
History gallery in their community. Before this video is over, you
will have captured a glimpse into Joel Freeman's heart and vision for
helping to establish Black History galleries in communities
across America and also in selected cities internationally.
Dr. Freeman at the United Nations "Transatlantic Slave Trade"
Twenty documents & artifacts from The Freeman Institute Black
History Collection were showcased.
Freeman giving a bit historical background on the
significance of the discovery of the famous Rosetta Stone
~ Joel A.
Freeman, Ph.D. ~
If you want to ask Dr. Freeman to
speak at a Black History or
Cultural Diversity event...or for more information about
establishing a Black History gallery in your community, his
contact information is way down at the bottom of this page.
The White House Communications Agency (WHCA), Secret
Association of International Schools in Africa (AISA),
Association for the Study of African American Life & History
Federal Executive Board, Los Alamos National Laboratory (LANL),
Maryland Association of Mental Health Counselors,
Tri Association (South / Central America & Caribbean),
European Council of International Schools (ECIS),
Montgomery County Community College, Howard County Community College,
US Army Reserves
US Dept of Justice
National Security Agency
National Science Foundation
Nuclear Regulatory Commission
Defense Threat Reduction Agency
Baltimore City Community College
Mountain States Health Alliance
Wright Patterson Air Force Base
Frostburg State University
DLA Troop Support
Some of the many organizations
who have invited
Dr. Joel Freeman to present on the topics of
Black History and/or Cross-Cultural Communication:
Click on the logo to read
an overview of
The Freeman Institute® Foundation
to the many people who have been mentors, cultural / historical guides,
and an inspiration to Dr. Freeman along the way
(in no particular order): Mark
Mitchell, Don Griffin, Jeffrey Wright, Ivan Van Sertima, Ben Carson,
Clarence Walker, Darryl Colbert, Steve Fitzhugh, Patricia Ware, Marcus
Brundage, Lenny Moore, Adrian Branch, Errol Griffith, Marcella Hinton,
and many others...
Reduction Agency Department
of Defense Ft. Belvoir, VA
I would like to personally thank you for your
interest, support, and participation in our observance of African
American History Month and for sharing your personal thoughts, and
sincere and warm concerns for the men and women in our Agency.
Your inspiring and educational speech was the highlight of this year's
observance. You were able to help us understand and feel the gandeur
and importance of the historical times in which we live. It enhanced
our comprehension of African American's participation in contemporary
society. We are indeed fortunate to have citizens such as you who are
willing to give of their personal time and lend their talents to ensure
the success of such programs. Your participation attests to your
character and professionalism.
Again, many thanks for your interest and support, and outstanding
Sincerely Willisa Donald
Chief, Equal Opportunity and
Check out the 4 minute Return To
Glory film clip (just before #11, below). Order Black History and
resources by clicking on the Return To Glory book cover to the right
(a new window will open) >>>>>>>
Some Questions -- Addressed Below
View the "You Be The Judge" mystery piece. Could this
be a lost painting of Harriet Tubman? -- a few
- What was the first book written by an
African American? -- see #1. - What was the
name of the first recorded song (1926) in which Louis Armstrong
actually sang? -- see #4.
- Was Alexander Dumas (Three Musketeers, Count of
Monte Cristo, etc.) of African descent? -- see
- Who manufactured a line of beauty products for
Black women before Madam C. J. Walker? -- see
- Who published 16 volumes of Black History comics
from 1966-1977? -- see #25.
- What was Pearl Bailey paid for her role in the
film, Porgy and Bess? -- see #27.
- What was the name of one of the Life Insurance
companies that insured the slaves brought over from Africa -- see
- What role did the Royal African Company play in
the African Slave Trade? -- see #35.
- What was Frederick Douglass doing in Dundee,
Scotland in 1846? -- see #37.
- Who were the early Lindy Hoppers? -- see #40.
- What is the oldest identifiable slave ship wreck
in the world? -- see #44.
- How did a famous British actress effect the outcome of the Civil War? -- see #61.
- Who was the emperor of Ethiopia from 1855 to 1868
and what did he accomplish? -- see #66.
- How many compositions could "Blind Tom"
play on the piano? -- see #70.
- What is the true history behind the African
American lawn jockey images? -- see #72.
- What was the primary catalyst behind the mass
exodus of Blacks from the Republican Party after 1922? -- see #76.
- What sponsored the "three-fifths"
concepts regarding slaves in the South? -- see #95.
- What slave won his freedom in a Louisville, KY
horse race...36 years before the Kentucky Derby? -- see #96.
- What US industry employed over 3,000 African
Americans (1/6 of labor force) from 1803-1860? -- see #99.
- Out 44 States reporting lynchings, how many States
reported more whites being lynched than blacks? -- see #102.
- How did George Washington's visit to Barbados
(1751-51) impact the outcome of the Revolutionary War? -- see #103.
- Who had his heart buried in Africa and his body
buried in Westminster Abbey almost a year later? -- see #105.
- Who helped the escape of the first black man to be
seized in New England under the Fugitive Slave Act? -- see #111
- How did the term "Jim Crow" get
started? -- see #113
- What is the name and story of the slave owned by a
Native American Indian in Louisiana? -- see
- Who employed Frederick Douglass as a ship caulker
in New Bedford, MA? -- see #122
- What is the oldest piece (1553) in this
collection? -- see #21
- Who was the African American juror in the 1882
trial for Guiteau, the one who assassinated President Garfield? -- see #120
- Check out the "Did You Know" segment at
the bottom of this web page.
- Much, much more...
1. Tears down barriers between Blacks and Whites, young and
2. Opens hearts and changes minds...
3. Surrounds Black people with their ancestors, giving a sense
of awe and wonderment for people of all nationalities and
4. Causes people to think and want to learn more, leading to
continuing achievement, scholarship and education...
5. Leaves a truthcentric legacy...
If you have any
relevant historic documents, artifacts, old books or photos to donate,
please email a description of the piece
and your contact information. All donations of historical artifacts,
documents, photos or books are used for educational purposes and public
display only. Donors will receive a letter of acknowledgement from The
Freeman Institute Foundation and will be recognized for their
contribution through the listing of the item when on display.
Some of the donors are:
- Robert Cornuke (set of authentic, vintage slave shackles bought
- Martha Ann Simmons (historic cards/items of African American
- Gerry Slessinger (set of authentic, vintage slave shackles from
the Congo region and also a British Slave ad)
- Mark E. Mitchell (signed Frederick Douglass document and 1748
Barbados invoice for sugar, produced by slaves, being shipped to
- Dr. Joanna Kirkpatrick (vintage sheet music copy of The
Verdict March-1882) -- (#120 below)
- Jack & Kathy Spencer (scrimshaw of four African slaves and a
slave ship on an 18th Century whale's tooth)
- Stephen Dankwah (authentic slave shackles used by his ancestors
to hold African slaves at the Slave Coast and Elmina slave castles in
Ghana) - Christian Van den Broeck (two foreign 78rpm records by
Josephine Baker and Rex Stewart and his Footwarmers) - Jon Christiana (1854 -- William A. Dearing, a
physician's hand-written ledger detailing his $2 charges for helping 5
different "negro" women)... - Gary Blevins (a plethora of "Toddy Pictures" film
company dedicated to "race" films in the 1940s) -- (#125)
World renowned motivational speaker, Les Brown, and Joel Freeman
examining an African American historical document.
MD (Press Release) -- Over the past decade, Joel Freeman has combined his
entrepreneurial skills and love for history to develop The Freeman
Institute® Black History Collection. The collection is currently
comprised of over 3,000 authentic documents and artifacts and artifacts
(oldest piece dated 1553) that communicate a story of creativity,
inventiveness and perseverance.
When Freeman makes Black History Month presentations at government
agencies, corporations, educational institutions and faith-based
organizations he generally brings 20-30 pieces from his collection to
form a small portable exhibit for...
Own a full-size, museum-quality,
3-D Rosetta Stone replica
Schedule Dr. Joel A. Freeman for your next Black
History, Diversity or Staff
would ever motivate a White Man to be interested in Black History? CLICK HERE
for a brief response.
Contact info for Dr. Freeman is at the
bottom of this page.
Joel A. Freeman and The Freeman Institute® on Facebook,
LinkedIn, Twitter, Google+, Thumbtack, and YouTube
black history, African
American, black heritage, black history month, egypt, pyramids, rosetta
stone, frederick douglass, george washington carver, booker t. washington,
slave ship, abolition, british slave trade, phillis wheatley
black history, African
American, black heritage, black history month, egypt, pyramids, rosetta
stone, frederick douglass, george washington carver, booker t. washington,
slave ship, abolition, british slave trade, phillis wheatley
"African American History and the Entrepreneurial Spirit"
There are many historical reasons why people have been and
continue to be challenged by the hardships that accompany racism, prejudice
and bigotry. Those hardships can be likened to the claustrophobic layers of
concrete that gradually seek to nullify all viable options available to an
individual under such weight.
But as Russian historian and novelist, Alexander Solzhenitsyn
once remarked, "If the whole world were covered in concrete, a single blade of grass would
sooner or later break through."
A truth-centric view of history will graphically describe the concrete of
the Slave Trade, slavery, fugitive slave laws, reconstruction, Jim Crow and
the struggle for civil rights.
However, there are many examples of people who, like blades of grass, have
broken through and defied the power of the concrete. These are the stories
we will tell.
Blades of grass cracking the mighty concrete from beneath.
Can't keep the entrepreneurial spirit down.
The Freeman Institute Black History Collection and galleries
will be dedicated to
sharing some of the most powerful wisdom lessons gleaned from the many
"blades of grass" who have patiently worked their way through the
Let's take a look below at one special blade of grass -- Phillis Wheatley
-- the first of many...
Freeman Institute Foundation wants to help establish Black
History galleries in communities across America and selected cities
internationally. Purpose: to
educate and inspire young people with the "C.P.A. CONCEPT".
P. A. Concept
the inspiration received from and knowledge contained in Return To Glory
resources (film, book, etc.). A combined strategic focus on this
step, will allow RTG to be even more deliberate in achieving its goal of
changing the distorted image of Black people by starting from their ancient
beginnings instead of the traditional starting points of slavery, colonization
or apartheid. Proving the Pointwith documents
and artifacts.Phase One has been completed by the
development of The Freeman Institute Black History Collection of 3,000+
documents & artifacts -- with many already being exhibited online. The
following, more comprehensive Phases will be implemented once a few Black
History Gallery sites are located and additional finances are secured. Verification
of the history will be established through the exhibition of genuine
historical documents and artifacts, representing the respective nation in
which the Foundation has a presence. Affecting Change & Future Life Goals is realized
through partnerships with national and community-based service
organizations with missions to impact behavior and alter life outcomes. The
Foundation's desire is to assist by providing resources to help facilitate
the kind of lasting change that will help individuals realize their true
potential, regardless of race, gender or generation.
Any ideas? email (cell: 410-991-9718) -- CPA
concept was developed by Patricia Ware
________________________________________________________________ The Freeman Institute®Black History Collection ________________________________________________________________
1. The rare
1838 edition of Phillis Wheatley's Memoir and Poems (Isaac
Knapp, Boston, 1773 was the year of the First Edition funded by Selina,
Countess of Huntingdon...see below) -- A 28 page memoir of Wheatley by
Margaretta Matilda Odell, a collection of Wheatley's poems, and perhaps
most importantly, it contains the third publication of the poems of the
North Carolina slave George Moses Horton, preceded only by a
pamphlet published in Raleigh, NC (originally entitled The Hope of
Liberty, an unobtainable volume), and a reprint in 1837 in Philadelphia
(no copies in American libraries). The first appearance together of the two
of the first three published African-American poets (separated only by
Jupiter Hammon). An exceptionally scarce title. Wheatley, born
in Africa around 1753, was enslaved and brought to America in 1761. Tutored
by the Wheatley family, Phillis was able to read the most difficult
passages from the Bible within sixteen months. She started writing poetry
at the age of twelve and by 1770 was well known in Boston and England for
her elegies. Her published poetry initiated both African-American
literature as well as the strong tradition of literature by
African-American women -- order postcard of Phillis
George Moses Horton, though of pure African parentage, was
born a slave in North Carolina in 1797. In the little spare time he had he
taught himself to read and began to compose poems, which he had to commit
to memory because he was unable to write. Though his efforts were
unappreciated by both the slave owner and his fellow slaves (who considered
him "a vain fool"), he convinced his master to send him weekly to
the nearby campus of the University of North Carolina, where he was able to
sell produce. Soon he was composing love poetry on commission (ranging from
twenty-five to seventy-five cents per poem) for students, who would claim
it as their own when wooing Southern belles. Horton's business thrived and
in a short time some of the academics helped him to learn to write and
aided in his getting published. Sadly, his master continuously refused to
allow him or others to buy his freedom. Freed by Union troops after
sixty-seven years of slavery, he spent the remainder of his life in
Philadelphia and died in 1883. Among his distinctions, he was the first
published black Southern poet, the first black male writer to have a book
published in America (Hammon's works were all published as pamphlets), the
first black poetic voice to protest against slavery, and the first black
author to earn money from his writings. A marvelous assemblage of two
seminal figures in African-American literature, whose works are preserved
for their quality as well as their historical importance.
BACKGROUND: In 1767, the Newport
Mercury published Phillis Wheatley's first poem, a tale of two men who
nearly drowned at sea, and of their steady faith in God. Her elegy for the
evangelist George Whitefield, brought more attention to Phillis Wheatley.
This attention included visits by a number of Boston's notables, including
political figures and poets. She published more poems each year 1771-1773,
and a collection of her poems was published in London in 1773. The
introduction to this volume of poetry by Phillis Wheatley is unusual: as a
preface is an "attestation" by seventeen men of Boston that she
had, indeed, written the poems herself:
WE whose Names are underwritten, do assure the World, that
the POEMS specified in the following Page, were (as we verily believe)
written by Phillis, a young Negro Girl, who was but a few Years since,
brought an uncultivated Barbarian from Africa, and has ever since been, and
now is, under the Disadvantage of serving as a Slave in a Family in this
Town. She has been examined by some of the best Judges, and is thought
qualified to write them.
The collection of poems by Phillis Wheatley followed a trip
that she took to England. She was sent to England for her health when the
Wheatley's son, Nathaniel Wheatley, was traveling to England on business.
She caused quite a sensation in Europe. On 13 May 1773 Selina Hastings,
the Countess of Huntingdon, wrote to Susannah Wheatley (Mrs. John
Wheatley), concerning religious matters -- "Your
little Poetess remember me to her may the Lord keep her & hopecomforther
heart alive with the fire of that altar that never goes out, & may all
under your roof dwell safe under the shadow of Jesus with great delight..."
She mentioned Phillis (little poetess), who sailed that month with
Nathaniel Wheatley for England. The Countess of Huntingdon (1707-1791)
was a Methodist religious leader in England, and Phillis's Poems on
Various Subjects is dedicated to her. While Phillis met many people of
interest in England, she was unable to connect with the Countess. She
had to return unexpectedly to America when they received word that Mrs.
Wheatley was ill. Sources disagree on whether Phillis Wheatley was freed
before, during or just after this trip, or whether she was freed later.
Mrs. Wheatley died the next spring.
-- An intriguing vintage "Negroe Slave Girl Appraisal"
document mentioning a girl, Phillis...dated April 14th, 1766 --
Philadelphia. A one-of-a-kind Early American document; entirely hand-penned
on laid, watermarked paper, especially since the typical spelling of the
girl's name is "Phyllis." It appears as though Dr. Robert Elton
settled the account and/or estate of Thomas Hart ---most important was the
inclusion of the appraisal of a "Negroe Girl named Phillis"
for the amount of thirty pounds. Measures about seven by twelve inches.
After cursory research it has been determined that the
"Phillis" mentioned in this document is not the
Phillis Wheatley, even though the first name is spelled the same. Our
initial thought was that perhaps John Wheatley had purchased Phillis from
the estate of Thomas Hart. Phillis Wheatley was purchased by John and
Susanna Wheatley in Boston a few years earlier. We are still researching to
determine the identity of Phillis Wheatley's seller. The same first name of
Phillis and same approximate time period of the 1760s and approximate age
are items of interest. This document gives us a glimpse into early American
life and the life of a young girl with the same first name as the famous,
-- The September 1773 edition of the Gentleman's Magazine
-- first published mention of Phillis Wheatley's book.
COUNTESS OF HUNTINGDON (1707-1791)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ -- Vintage engravings (3 copies) of Selina, Countess of Huntingdon.
She funded many organizations and people, including John Newton. Even
though the Countess and Phillis never actually met, she funded the
printing of the first edition of Phillis Wheatley's book.
-- A 1.5" brass 1937 commemorative coin of the founding of Huntingdon,
PA. On the front of the coin is a Bust of Selina Hastings
Countess of Huntingdon. On the reverse is a Quaker shaking
hands with an Indian chief at Standing Stone Monument. Around the
edge is Sesquicentennial
adoption of the constitution of the United States. Coin shows aging patina but in excellent condition.
BACKGROUND: Selina, Countess of Huntingdon, was born in 1707, married
in 1728 and became a Christian at around the age of 32. She became a widow
seven years later and began to devote her energies wholeheartedly to the
Lord's work. Like the Wesley's and George Whitefield, she was a member of
the Church of England.
Selina used her
influence to arrange the appointment of evangelical clergymen in numerous
parishes and appointed George Whitefield and other clergy as her
chaplains, which was a way of supporting them in their ministry. The
Countess opened private chapels attached to her residences, which she was
allowed to do as a peeress of the realm. These were used for the public
preaching of the gospel, but they became a source of contention from the
local Anglican clergy, with the result that she reluctantly seceded from
the Church of England in 1781. The Countess was very interested in
missionary work towards the American Indians. (George Whitefield was
frequently in America preaching along the east coast, in particular in
Georgia, where he established the orphanage 'Bethesda', near Savannah. He
left this to the Countess in his will, when he died in 1770.) When the
slaves who fought for the British were given their freedom after the
American War of Independence, students who had been at Trevecca went to
minister to them in Nova Scotia. Some of these freed slaves returned to
Africa in 1792 - to Freetown in Sierra Leone. There they started up
churches of their original denominations. This was how the Countess of
Huntingdon's Connexion in Sierra Leone began. It was not until 1839
that the lines of communication really were established between the two
Connexions. A strong bond has existed between them ever since. When the
Countess died in 1791 there were over 60 causes associating themselves
with the Countess of Huntingdon.
Countess of Huntingdon
Selina became an heir of the (Earl of Ferrer)
fortune, along with inheriting the fortune of her husband (Earl of
Huntingdon). Selina had become a Christian in 1739 and after the death of
her husband (1741) she used the funds for the establishment of the
Methodist church and the propagation of the gospel. The Countess funded Phillis
Wheatley's book (London first edition) in 1773 without even actually
meeting Phillis during her famous trip to England in 1773. This is the
story behind the story.
-- An absolutely rare original autographed letter from
London dated December 7, 1728 and signed by Washington Shirley, 2nd Earl
Ferrers (1677-1729). Washington Shirley died on April 14, 1729. This letter
appears to be concerning estate matters. Another contemporary hand has
added a note at the top of the second page regarding the showing of this letter
to his son-in-law and daughter the Earl of Huntingdon & Selina,
Countess of Huntingdon, on October 11, 1730...which was signed Jos
Hayne. The additional writing on the top of the second page seems to
indicate that this letter was an important aspect as the estate was being
settled. In the letter is mention of Mr Shepperton, Mr Maunder, Dr Mead,
mention of Northampton....mention of Springwood, Dorchester, etc. BACKGROUND: Washington Shirley, 2nd Earl Ferrers was born on 22 June
1677.1 He was the son of Robert Shirley, 1st Earl Ferrers and Elizabeth
Washington. He married Mary Levinge, daughter of Rt. Hon. Sir Richard
Levinge. He died on 14 April 1729 at age 51, without any sons to inherit
the estate. Washington Shirley, 2nd Earl Ferrers succeeded to the title of
8th Baronet Shirley, of Staunton Harold on 25 December 1717.1 He succeeded
to the title of 2nd Viscount Tamworth, of co. Stafford on 25 December 1717.
He succeeded to the title of 2nd Earl Ferrers on 25 December 1717.
Children of Washington Shirley, 2nd Earl Ferrers and Mary Levinge: Lady
Selina Shirley+ d. 17 Jun 1791. Lady Elizabeth Shirley. Lady Mary Shirley
d. 12 Aug 1784.
-- 1851 biography page of Phillis Wheatley, with her famous image
prominently placed at the top (Illustrated Biographies)
-- 1855 wood engraving of Phillis Wheatley from Lossing's "Our
Countrymen, Brief Memoirs of Eminent Americans." It is a
half-page portrait engraving, with biography of Phillis.
-- First Edition copy (1886) of Chips from the White House
1886 by Jeremiah Chaplin. A large collection of responses from the
presidents starting with Washington to Cleveland. One response was to Phillis
Wheatley slave who wrote poetry to George Washington.
-- Vintage 1909 edition of "The Poems of Phillis Wheatley",
published by Richard R. Wright, Jr. and Charlotte Crogman Wright
(A.M.E. Book Concerns, Philadelphia)
-- A hard-to-find 1930 hardcover edition of Phillis Wheatley's book,
published by the Wrights and printed by A.M.E. Concern, Philadelphia...with
Introduction and Notes by Charlotte Ruth Wright.
-- Scarce First Edition copy of, "The Story of Phillis
Wheatley" (New York: J. Messner, 1949) by Shirley Graham Du
Bois, 2nd wife of NAACP mentor, W.E.B. Du Bois.
-- Limoges platter, upon which the SS Phillis
Wheatley ship was beautifully hand painted. It is signed on the
back of the platter by the painter, Mrs. E.F. Cantrill (Chicago, IL dated
Aug. 1921). It measures 12 inches by 17 1/2 inches and is in great
condition. There is quite a story behind this image. BACKGROUND: On September 17, 1919 the Black Star Line (run by
Marcus Garvey) signed a contract to purchase its first ship, the
"S. S. Yarmouth," later renamed the "Frederick Douglass,"
for $165,000. On November 5, 1919, plans were announced to float a
second Black Star Line ship, the "S. S. Phillis Wheatley."
Marcus Garvey was arrested and later deported for mail fraud and other
charges. In spite of all the controversy that swirls around him, Marcus
Garvey legacy is rather inspiring. Out of the destitute of a society built
on White supremacy in 19th century Kingston, Jamaica; Marcus Garvey
literally pulled himself up by the boot straps and became one of the most
recognized symbols in the fight for the liberation of Africa. Based on his
ideology, the idea of Pan-Africanism not only emerged world-wide, but
started to become a reality. His legacy provided vision to such giants as W.E.B.
Dubois, George Padmore, Kwame Nkrumah, Nnamdi Azikiwe,
and Jomo Kenyatta at the 5th Pan-African Congress which ultimately
led to the liberation from the colonization of African nations such as
Ghana and Kenya. Most importantly, Marcus Garvey’s life and philosophy is
still inspiring millions upon millions of present day freedom fighters from
Africa, America, Europe and the Caribbean to make sacrifices that will one
day in the near future make his dream of Africa for the Africans realized.
On October 3, 2002 Jamaican
Prime Minister P.J. Patterson has reiterated
his strong support for current legislation, pending in the United States
House of Representatives, that would vindicate National Hero, Marcus Mosiah
Garvey, thus clearing the way for an official absolution of the Jamaican
patriot by the American President.
-- Extremely rare 78 rpm 10" Pathe
Actuelle disc no. 032053 with blues singer Hazel Meyers in 1923
sings 'Black Star Line', a homage to Marcus Garvey's Black
Star Line, a shipping company formed by Garvey and the Universal Negro
Improvement Association for the transport of goods and people from the USA
to Africa. Garvey's plan failed for a variety of reasons, not least the
fact that Garvey was sold ships that were in very poor condition. Here
Hazel Meyers, with accompaniment by Fletcher Henderson and trumpeter Howard
Scott, dreams of 'Going home on the Black Star Line'. The reverse is 'Pipe
Here are the lyrics to "Black Star Line" (a West Indian Chant):
1. Brothers and
sisters, country man, you'd better get on board,
gwine to sail away, Lord, with a heavy load,
It's gwine to
take us all back home, yes every native style
And when we get
there what a time, down on the West Indies isle.
(chorus) Get on
board country man,
I say, get on
board, leave this land,
A-get on board,
Gwine back on be
Black Star Line.
2. Take my Bowie
knife in hand and lay around de dock,
Jump right in
the deep blue sea, pick fights with the sharks,
I'm gwine see
Brother Abraham, go catch that "Sly Mongoose,"
I'm going down
to see my downtown gal, and then we'll raise the deuce.
3. We'll eat
monkey hips and rice, tomato, garlic, too
Then we'll grab
out favorite sport, child, chasing monkey, too,
I done put my
last dime down on dis great steamship,
Lord, I hope
that it won't sink, I wanna take this trip.
writer, John Cowley, states that references in "Black Star Line"
to the song, "Buddy Abraham," recorded by the Banda
Belasco, Trinidad (1914) and "Sly Mongooses" (1923) -- together
with the derogatory comments regarding "monkey chasers" --
exemplifies antagonism between elements in black North America and migrant
workers. The description "country man" is an allusion to Garvey's
followers and his avowed intention of organizing the repatriation of black
people to their place of origin, Africa.
~~~~~ A N I N T R I G U I N G M Y S T E R
Y P I E C E ~~~~~ Y O U B E T H E J U D G E Is this a long lost painting of the conductor of the
Underground Railroad, Harriet Tubman?
the body structure
the facial features
the lips and chin
the nose and cheeks
19th Century painting of a
corn-cob-pipe-smoking African American woman who bears a
remarkable resemblance to the five-foot-tall "Moses" of
the Underground Railroad -- Harriet Tubman. ( more comparative photos of the real Harriet Tubman below )
A large (18" wide x 24"
tall), unsigned 19th century oil painting of an American Slave woman, most
likely painted during her life. Though we are not experts on paintings we
feel this is realism. Realists render everyday characters, situations, dilemmas,
and objects, all in a "true-to-life" manner. Realists tend to
discard theatrical drama, lofty subjects and classicalforms
of art in favor of commonplace themes. We are not sure who painted this
woman, but we can see for certain this portrait was meant to be very
In person, this artwork is compelling,
a viewer cannot help but feel the meaning in this work. We are
intrigued by the similarities between this oil painting and the famous
Harriet Tubman. We researched artwork and famous women slaves of that era
in America and found many characteristics are shared between the woman in
the painting and Harriet herself. Learn more here...
Large 19th Century painting (18" x 24") that
experienced some water damage on the middle right-hand side. The painting
a remarkable resemblance to Harriet Tubman.
Judge for yourself...
Could this be a lost, genuine painting
of the real Harriet Tubman? Intrigued? Curious? Before
reviewing the rest of the Black History Collection, read more details here.
Freeman discussing the painting at a
US Department of Justice Black History Month event
jasperware Abolitionist, Anti-Slavery cameo medallion (3 medallions
in collection), with the bound slave on the front, and the words "Am
I Not A Man and A Brother?" around it. From 1787 until his
death in 1795, Josiah Wedgwood actively participated in the British
Abolition of Slavery cause. Josiah’s most important contribution to the
movement for the Abolition of Slavery, the so-called Slave Medallion, was
one which brought the attention of the public to the horrors of the Slave
trade. (There are varying views on the portrayal of bound slave and
Josiah Wedgwood sent a large number of cameos to
Benjamin Franklin in Philadelphia who also remarked on the value of the
medallion as a means of bringing awareness of the existence if slavery to
the public. What is particularly amazing is that the climate of the
Revolutionary War was hostile to good British/American relations. In this
context the abolitionist movement was born and people came together to
fight the evils of the Slave Trade.
-- Also, an absolutely rare mid-1800s antique bronze figure of man
(weighs 18 oz.) pictured to the right -->
BACKGROUND:Josiah Wedgwood (1730-1795) is
considered by many as one of the most influential figures in the history of
Western civilization ceramics, and was a successful and renowned innovator,
scientist and businessman. He was also a supporter of the 18th century
Anti-Slavery Committee and designed a cameo medallion depicting a slave
kneeling in chains surrounded by the inscription, “Am I not a man and a
brother?” Benjamin Franklin said of Wedgwood’s tokens, “they may have an
effect equal to that of the best written pamphlet.” Although thousands were
freely given to anyone who shared Josiah’s sentiments on slavery, thousands
more were manufactured and sold. Wedgwood showed that one could promote
social change while building a business. Doing good while doing well. This symbol was the first and most
identifiable image of the 18th century abolitionist movement: a kneeling
African man. Members of the Society of Friends, informally known
as Quakers, were among the earliest leaders of the abolitionist
movement in Britain and the Americas. By the beginning of the American
Revolution, Quakers had moved from viewing slavery as a matter of
individual conscience, to seeing the abolition of slavery as a Christian
duty. Quakers, who believe in simplicity in all things, tended to view
the arts as frivolous; but when the Quaker-led Society for Effecting the
Abolition of the Slave Trade met in London in 1787, three of its
members were charged with preparing a design for "a Seal to be
engraved for the use of this Society." Later that year, the society
approved a design "expressive of an African in Chains in a
Supplicating Posture." Surrounding the naked man was engraved a
motto whose wording echoed an idea widely accepted during the Enlightenment
among Christians and secularists: "Am I Not A Man and A Brother?"
The design was approved by the Society, and an engraving was commissioned.
ADDITIONAL BACKGROUND: The design was symbolic both artistically and
politically. In addition to evoking classical art, the figure's nudity
signified a state of nobility and freedom, yet he was bound by chains.
Black figures, usually depicted as servants or supplicants, typically knelt
in the art of the period, at a time when members of the upper classes did
not kneel when praying; this particular image combined the European theme
of conversion from heathenism and the idea of emancipation into a posture
of gratitude. In 1788, a consignment of the cameos was shipped to Benjamin
Franklin in Philadelphia, where the medallions became a fashion
statement for abolitionists and anti-slavery sympathizers. They were
worn as bracelets and as hair ornaments, and even inlaid with gold as
ornaments for snuff boxes. Soon the fashion extended to the general public.
Although the intent and the effect of the emblem was to focus public
opinion on the evils of the African slave trade (which it did accomplish),
its ultimate effect was to underscore the perception of black
inferiority. The supplicant posture of blacks persisted as a standard
feature of Western art long after slavery was abolished. Ironically,
although the image became the emblem of the anti-slavery movement, the
Society for Effecting the Abolition of the Slave Trade was emphatic that
its only goal was the abolition of the slave trade, not of slavery
itself. That position was vigorously protested by individual members
such as Granville Sharp, the most influential abolitionist of his time.
-- Unique vintage brass door knocker with an image of William
Wilberforce on the knocker. On the part affixed to the door is an image
of the African slave with the words, "Am I Not A Man and A Brother?".
-- Deluxe Ruskin Folio Limited Edition JMW Turner R.A. - The Slave Ship -- Fine Laid
Paper with full Intaglio plate mark ~ VERY RARE 1 of only
160 published plates. Beautiful JMW Turner R.A. illustration from the work in the
Collection of the Museum of Fine Arts, Boston, U.S.A." published in
1900 as one of only 160 de-luxe
folio edition illustrations compiled by Frederick Wedmore as an "Exposition of the Work of
Turner from the Writings of Ruskin" and
published by George
Allen, Charing Cross, London.
figurines of Tom Molineaux and Tom Cribb (repros of Straffordshire --
3 sets). Born 1784, Tom Molineaux was the first unofficial American
Boxing Champion. Tom Molineaux was born a slave but fought his way to
freedom and ultimately a shot at the heavyweight title. He began boxing
other slaves while plantation owners wagered on the bouts. Finally after
defeating a slave from a rival plantation, he was given his freedom and
$500. He traveled to New York and then, in 1809, he left for England and
began boxing. Molineaux was trained by Bill Richmond, another freed
American slave who became a notable prize fighter in England. Molineaux
won two bouts in England and the ease with which he won quickly lined him
up for a title shot against British heavyweight champion Tom Cribb.
In December 18th, 1810, Molineaux challenged Crib in a classic
encounter. After some 39 rounds of give and take, Molineaux finally
collapsed from exhaustion. The great Pierce Egan, who described the
American as "The Tremendous Man of Colour," wrote of the
contest: "Molineaux proved himself as courageous a man as ever an
adversary contended with ... [Molineaux] astonished everyone, not only by
his extraordinary power of hitting and his gigantic strength, but also by
his acquaintance with the science, which was far greater than any had
given him credit for." The two Cribb fights made Molineaux a
celebrity in England. But he fought only sporadically, opting to engage
in numerous sparring exhibitions. In 1818, he died in Dublin, Ireland.
-- October 13, 1818 edition of the New-York Spectator
reporting the death of Tom Molineaux, the celebrated pugilist at Galway,
Ireland. Tom was the first American boxer to fight for the London
Prize Ring championship. A former slave, Molineaux reportedly got his
freedom after winning a boxing match on which his owner (Algernon
Molineaux) had placed a large bet.
Boxing champions of this era were
England’s very first sport stars; hitherto only exceptional animals had
been household names in the sporting world. Boxing (or milling, as it
was commonly called) was patronized at the highest level of society, but
it appealed to all classes because fights indulged the national
propensity to gamble.
Boxing matches were illegal in the
early 19th century. The ideal site was a remote outdoor location that
accommodated thousands of spectators and eluded magisterial detection.
The boxing ring was a roped-off area,
usually from twenty to forty feet square, and it was surrounded by an
outer ring accessible only to umpires, officials, select friends, and
those charged with keeping the crowd at bay. A sea of standing
spectators surrounded the outer ring, and carriages and wagons circled
the field to form a grandstand of sorts. Sometimes crowd control
necessitated constructing an elevated wooden stage for the ring.
Boxers did not wear gloves. Each boxer,
stripped to the waist, was assisted by only his bottle-holder and his
second. The latter lent his knee as a seat, offered advice, administered
ringside surgery, and generally did whatever it took—biting ears was
common—to keep his man conscious.
Unlike today’s fights, matches were
unlimited in length, and rounds ended only when a boxer went down. A
downed boxer had a thirty-second count, and then he had to be at the
scratch, the name given a square chalked in the ring center. If he could
not make it, he was defeated. Fights were protracted slugfests in which
men pummeled away at each other interminably. Blood flowed freely as
bare fists shredded faces, swelled eyes shut, and reduced hands and
knuckles to painful pulp, despite careful pre-fight “pickling” in
astringent. Matches could last very many rounds, very many hours. Boxers
fought relatively few times in their lives because the human body can
only take so much.
Joe Louis, The Brown Bomber Little Big Book, dated 1936, is
approximately 3 1/8" x 4 1/2" and it has 238 pages. There are many
photos of Joe in training, talking with his manager, being certified
medically fit, fight scenes, etc. These old books of sports figures like Joe
Louis do not come along very often.
vintage, original 1935Joe Louis vs. King
Levinsky boxing poster. Poster measures approx. 6"x
12" and is printed on pulp paper.
-- Boxing gloves personally signed by Muhammad Ali, Joe Frazier,
George Foreman, Mike Tyson, Sugar Ray Leonard &
Negro Actor's Guild
One-of-a-kind signed letters/albums/contracts/sheet music from Nat
King Cole, Dizzy Gillespie, Duke Ellington, Lionel Hampton, Louis
Armstrong, B. B. King, Ethel Waters, Pearl Bailey, Miles Davis, Lindy
Hoppers, Sarah Vaughan, Fats Domino, Quincy Jones, Earl Hines, Etta James,
S. Coleridge-Taylor, Ella Fitzgerald, Sammy Davis, Jr., Grover Washington,
Jr., Count Basie, Mills Brothers, Ozzie Davis, Lena Horne, Four Tops,
Cicely Tyson, James Brown, Charley Pride, Bo Diddley, Bobby Blue, Chubby
Checkers, and others...Negro Actor's Guild 1945 Program (NAG, with
Noble Sissle as president) is pictured to the left.
-- AFTRA Contract signed by Cicely Tyson for her appearance on the Nancy
Wilson Show pilot, Mar. 18, 1973. Paid $181.
-- AFTRA Contract signed by Lena Horne for her appearance on Kraft
Music Hall, Nov. 17, 1969. Paid $7500 and $50 per diem, plus 2 First Class
R/T air tickets from LA to NY.
-- AFTRA Contract signed by the Four Tops for their appearance on
Kraft Summer Music Hall, signed April 10, 1968. Paid $2500 for show to be
aired August 21, 1968.
-- Waiver for late AFTRA filing signed by Diahann Carroll on Dec. 9,
-- Employment contract signed by Ella Fitzgerald on October 31,
-- 1989 NBC contract signed by Lionel Hampton, no compensation for
appearance. November 15, 1989.
Federation of Musicians contract signed by Bo Diddley for his
appearance in Jacksonville, Orlando, and Tampa Feb. 20 - March 1, 1970.
-- American Federation of Musicians contract signed by Duke Ellington
and his Orchestra for appearance in Shrine Auditorium, LA on June 4th,
1960. Headline billing, paid $3000, but paid an extra $1000 if promoter
grosses over $10,000.
-- Original signed engagement contract for jazz legend Lionel Hampton
at Mansfield State College, PA on March 9, 1963 (band was paid $2000 for
-- KABC radio contract for the Michael Jackson Show, signed by Robert
Guillaune, states that "he discussed his career as Benson in
Soap and as Benson in his own sit-con, Benson." No compensation
for his appearance. November 19, 1979.
-- American Federation of Musicians contract signed by Charley Pride
for an event at the Ozark Mountain Amphitheatre in Branson, MO. Rider
states that he is to receive 100% top billing and that his name is to be
spelled correctly (Charley). Paid $20,000 plus 60/40 split over $55,000.
Neal McCoy is opening act. June 25, 1988.
-- Original 4-Page contract (1935) between the Lindy Hoppers
and Samuel Goldwyn. Signing twice are George "Shorty"
Snowden, Freddie Lewis, Madeline Lewis, Beatrice Gay,
Beatrice Elam and Leroy Jones. They were paid $2500 for a
week's service. Research has determined that this document is most probably
the contract for the film short, "Ask Uncle Sol".
-- Actors Television Motion Picture contract signed by Leslie Uggams
for her role as "Amanda Price" in the movie "Hotel --
Discoveries." Paid $10,000. October 13, 1986.
-- Standard AFTRA Engagement Contract for Single TV Broadcast signed by Leslie
Uggams for her appearance on the Glen Campbell Show. Paid $7500.
December 20, 1968. Show aired March 2, 1969.
-- American Federation of Musicians contract signed by jazz great, Donald
Byrd (Blackbyrd Productions), to appear at the Great American Music
Hall, San Francisco. Ticket price, $6, paid $3,000 against the rights to
70% of the gross. July 30, 1979.
-- Standard AFTRA Exclusive Agency Contract (1 year) with CNA &
Associates, signed by Richard Roundtree (Shaft). June 6, 1989.
-- Contract signed by Sarah Vaughn for performing 100% Sole Star
Billing at the Van Wezel Performing Arts Cebter, Sarasota, FL. Paid $20,000.
Includes stage plot. May 1, 1987.
-- Standard AFTRA exclusive agency contract (3 years) with The Artists
Agency signed by Ossie Davis. May 4, 1987.
-- American Federation of Musicians contract by blues great B.B. King
for his appearance at Shea's Buffalo Theater, Buffalo, NY. Paid a flat
$7500, with 100% top billing. Signed July 30, 1976. Show was March 19,
1977. Rider, with letter and check receipt included.
-- Standard AFTRA Network TV contract for the Harlem Globetrotters
TV Special shot at The Forum in LA, signed by Pearl Bailey. Paid
$1000. Jan. 28, 1972.
-- Agency For The Performing Arts agreement signed by Isaac Hayes
for his appearance on the "Sonny and Cher Comedy Hour." July 16,
-- William Morris Agency contract (10%) signed by Pearl Bailey to
represent her in relation to the motion picture industry and the Screen
Actor's Guild (SAG). March 30, 1945.
Aftra Engagement Contract, signed and agreed to by
Pearl Bailey and Roncom Productions. Perry Como was producer of the
Pearl Bailey Show. Pearl Bailey was paid $7,500 plus $2,500 in expenses for
this show. The contract is dated Jan 28, 1971. Signed in blue ink by Pearl
Bailey, (Pres). Exc. cond. This contract was part of the archives from the
office of Perry Como.
- William Morris contract signed by Earl "Fatha" Hines
vintage and dated January 15, 1941. Earl Hines was known as one of the most
famous jazz pianist's of the 20th Century and created many standards of
today. This vintage signed contract is in excellent condition with a bold
autograph of Earl Hines in vintage fountain pen. The contract is also
signed by Charles Carpenter sometimes known as Charlie Carpenter who
wrote and worked closely with Earl Hines on many songs including the famous
song "You Can Count On Me". He has signed under Earl Hines
as Witness. The contract is actually signed by two famous Jazz musicians which makes this contract very rare and unique.
-- William Morris Agency contract, signed by Earl
"Fatha" Hines (10% -- representing him from 10/1943 - 1/1948).
Signed 10/12/1943. Signed contracts by Earl Hines are very rare.
-- AGVA Standard Form for Artists Engagements Contract, signed by Eartha
Kitt (Catwoman) for an appearance in San Bernardino, CA on March 20,
1964. Paid $1500. This contract would've been cancelled if Las Vegas event opened up for her on the same
-- WPIX "Clay Cole's Diskotek Program" NY appearance signed by
the Shirelles, Addie Harris (3/27/1967)
-- An historical 33 page recording contract (1983) between Jennifer
Holliday and David Geffen. This was at the height of her career...for a
six year period. The contract stated seven years, but Jennifer changed it
to six years and initialed it in three different places. The contract
discusses the number of masters Jennifer must complete and the payment from
the Geffen Group. In 1979 Jennifer joined the Broadway show, Dreamgirls
on its successful four year run...winning a Tony Award. Dreamgirls
was followed by the Broadway show, Mahalia, and a Number One charted
hit, And I Am Telling You. Jennifer won multiple Grammys as well as
Tony Awards. She had many hits in the 1980s, including five Number One Billboard
hits. Jennifer boldly signs on the last page of the contract.
contracts for the Detroit music scene from 1956-1971 (R&B, Soul,
Jazz and Blues): Ron Butler and the Ramblers (1971), James
Holland and The Holidays (1971), Lloyd Sims & The Untouchables
Promo Kit/Contracts (1961), Sammy Bryant Group Press
Kit/Photo/Contract (1966)...Roulette recording artists, Lonnie Woods
(1965), Jon Bartel & Soul Masters (1968), Jesse Ullmer
(1966), Dwight (Jon D) Pettiford (1971), Billy Allyn
"Laff of the Party" on Dooto Records, with appearances on Sanford
& Son (1961), Bill Murry, Comic (1966), Tommy Hunt and The
Flamingos (1956-1960), Albert King Promotional Lot -- Stax
T E S T P R E S S I N G
S -- 78 rpm R E C O R D S (vintage,
The following 78s came
from the private collection of Mr. Rudy May who was an employee of Decca
Records for about
40 years. During that time Rudy was involved in nearly every aspect of
recording and record manufacturing at Decca.
A test pressing was generally heard
by the artist and key decision-makers to determine if
the song was viable as the final take -- to be mass-produced for the
general public. The
Freeman Institute Black History Collection owns well over 100 original
original one-sided test pressing (10" 78rpm) of Louis Jordan
& his Tympany Five, "I Like 'Em Fat Like That."
Decca #71819, recorded March 15, 1944 in New York. Jordan's name
and song title are hand-written in period ink. Louis Jordan and
his Tympany Five: Eddie Roane, tp; Louis Jordan, as, voc; Arnold
Thomas, p; Al Morgan, b; Wilmore "Slick" Jones, d. BIO: Louis Jordan (1908-1975) was one
of the most successful African-American musicians of the 20th century,
ranking fifth in the list of the all-time most successful black
recording artists according to Billboard Magazine's chart methodology.
Lyrics: Let the cats all criticize, joke about my baby's size, she's
reet with me because you see, I likes 'em fat
When she bounces down the street, she's a whole heap of honey and ain't
she sweet, feels so fine to know that she is mine,
I likes 'em fat like that. You can have all those lean chicks tender
and tall, but when it comes to mean kicks,
a big fat momma's the best of all, after I get through working well I
reach and grab my hat, and I hurry home, don't want her to be alone,
coz I likes 'em fat like that. >>>A genuine Decca 78rpm record (#71819) with "I
Like 'em Fat Like That" by Louis Jordan and His Tympany
Five. Part of the Decca Personality Series #23810. LOUIS JORDAN
& ELLA FITZGERALD ~~~~~~~~~~~~~~~~~~~~~~~~~ ---One-of-a-kind,
genuine double sided acetate test pressing (10" 78rpm) of Louis
Jordan and Ella Fitzgerald, "Baby, It's Cold Outside" and
"Don't Cry Baby." Decca #unknown, recording date is 1949.
Jordan's name and Fitzgerald's name and song title are hand-written in
period ink. Possibly a unique item! The a-side is the classic "Baby,
It's Cold Outside". I'm not sure what the standard version of
this tune sounds like but this one is nearly all vocal with very
subdued instrumental accompaniment barely audible through most. Piano
is really the only instrument we can make out. The b-side has regular
instrumental accompaniment. These could be alternate takes - We have no
way of knowing for sure. One-of-a-kind? We think so! MAURICE ROCCO
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---Test pressing
(10" 78rpm) of Maurice Rocco's song "Little Rock
Getaway" Decca #93584A -- recorded March 11, 1941.
Rocco's name and song title are hand-written in period ink. >>>A genuine Decca 78rpm record (#8544) with "Little
Rock Getaway" by Maurice Rocco. BIO: Born in Oxford, Ohio, Maurice
Rockhold (1915-1976) later became known as a jazz musician who played
the piano while standing up. He performed briefly with Duke Ellington
before adopting the stage name Maurice Rocco. COLEMAN HAWKINS
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---Pre-war test
pressing (10" 78rpm) of Coleman Hawkins with The Ramblers
-- song "What Harlem is To Me." Decca #AM 179. Date
of recording is August 26, 1935. Coleman's
name and song title are hand-written in pencil. Here are the musicians on
this song: George Van Helvoirt, Jack Bulterman (tp), Marcel Thielemans
(tb), Wim Poppink (cl, as, bar), Andre Van Den Ouderaa (cl, ts, vn),
Coleman Hawkins (ts), Nico de Rooy (p), Jack Pet (g), Toon Diepenbroeck
(sb), Kees Kranenburg (dm). Casino Hamdorff, Laren, BIO:
Coleman Randolph Hawkins (1904–1969), nicknamed "Bean," or
simply "Hawk," was the first important tenor saxophonist in
jazz. Sometimes called the "father of the tenor sax," Hawkins
is one of jazz's most influential and revered soloists. An improviser
with an encyclopedic command of chords and harmonies, Hawkins played a
formative role over a 40-year (1925-1965) career spanning the emergence
of recorded jazz through the swing and bebop eras. JIMMIE LUNCEFORD
& HIS ORCHESTRA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---Pre-war test
pressing (10" 78rpm) of the song "For Dancer's Only"
by Jimmie Lunceford & his Orchestra. Decca #62263, dated 1937. Lunceford's name and song
title are hand-written in period ink. One-sided. ---Scarce smaller
master recording (8" 33 1/3rpm) of the songs "T'aint What
You do, It's the Way Cha Do It" (Uptown Blues, Pro-533) and
Dancer's Only, Pro-534) by Jimmie Lunceford & his Orchestra.
Capitol, dated 1-24-1958. Lunceford's name is listed on both
sides. ---Three test
pressings (12" discs) of the song "Blues in the Night"
aka "My Mama Done Told Me" by Jimmie Lunceford
& his Orchestra for the Jerry Lawrence Show...to be aired on
Saturday, August 20, 1955.
* Disc #1 -- (12" 78rpm) Part 1 Taped August 6th, 1954 and
aired August 7th, 1954. #4932-S2 -- metal disc
* Disc #2 -- (12" 78rpm) Part 2. Taped on August 6th and
aired August 7th, 1954 -- metal disc
* Disc #3 -- (12" 33rpm). Taped on August 19, 1955 and
aired Saturday, August 20, 1955. #6110 (S411-HWB) acetate disc BACKGROUND: Jerry Lawrence, early radio and
television quiz show host, disc jockey and announcer of such shows as
"Truth or Consequences. Born in Rochester, N.Y., and brought up in
Long Beach, CA, Lawrence developed his radio career in the 1930s at New
York City radio stations WOR, WNEW and the CBS network. During World
Was II he was recognized for hosting the music and interview show
"Moonlight Savings Time," broadcast to troop ships and war
industry workers from 2:30 a.m. to 5 a.m. As a disc jockey, he promoted
the music of a young singer named Frank Sinatra and was an early
announcer on "The Frank Sinatra Show" in 1944. Lawrence
returned to the Los Angeles area in 1945 and worked in radio and early
television at KTLA, KCOP and KFWB. He hosted CBS' "The Spade
Cooley Show" featuring the orchestra leader in 1951, and helped
develop local quiz shows, including "Play Marco" for KTLA. He
was an announcer for television's popular game show "Truth or
Consequences" when it was hosted by Jack Bailey on NBC in 1954
and 1955. ---Pre-war test
pressing (10" 78rpm) of the song "My Blue Heaven"
by Jimmie Lunceford & his Orchestra. Decca #60277, dated 1935. Lunceford's name and song
title are hand-written in period ink. One-sided. ---Another
pre-war test pressing (10" 78rpm) of the song "The Melody
Man" by Jimmie Lunceford & his Orchestra. Decca #60277, dated 1935. Lunceford's name and song
title are hand-written in period ink. One-sided. ---Yet another
pre-war test pressing (10" 78rpm) of the song "Organ
Grinder's Swing" by Jimmie Lunceford & his Orchestra.
Decca #61246A, dated 1936. Lunceford's
name and song title are hand-written in period ink. One-sided. >>>A genuine Decca 78rpm record (#61246) with "Organ
Grinder's Swing" by Jimmie Lunceford and His Orchestra.
BIO: James Melvin
"Jimmie" Lunceford (1902–1947) was
an American jazz alto saxophonist and bandleader of the swing era.
Lunceford was born in Fulton, MO, but attended school in Denver and
earned a Bachelor of Arts degree at Fisk University. In 1927, while
teaching high school in Memphis, TN, he organized a student band, the
Chickasaw Syncopaters, whose name was changed to the Jimmie Lunceford
Orchestra when it began touring. The orchestra made its first recording
in 1930. In 1947, while playing in Seaside, Oregon, Lunceford collapsed
and died from cardiac arrest during an autograph session. Allegations
and rumors circulated that Jimmie had been poisoned by a
fish-restaurant owner who was unhappy at having to serve a
"Negro" in his establishment. LIONEL HAMPTON ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---Test pressing
(10" 78rpm) of the song "Pink Champagne" and
"Oh Well Oh Well!" by Lionel Hampton & his
Orchestra. Decca #5758, date is unknown. Lionel Hampton's name and
song titles are hand-written in period ink. Rare and possibly one of a
kind acetate test pressing of this jazz great! Label on the a-side only
states the artist and the title "Oh! Well Oh!
Well". "Pink Champagne" is written but has
been crossed out. The b-side label states the title and a portion of it
has been torn off. FLOYD RAY &
shellac test pressing (10" 78rpm) of the immensely popular song
"Skeleton in My Closet" recorded and released in 1939
by Floyd Ray and His Orchestra (1885-1941). Floyd Ray
(1909-1985). Test pressing of Decca 2618-B, matrix 65393-A. Floyd Ray and his Orchestra formed
and played around 1925-1950. There were 3 female singers (The V's),
from whom it is said that the Andrew Sisters derived their singing
style. Floyd Ray's son, Stephen Ray, recalls their names: Lavern (Vern)
Whittaker; Willie Lee (Von) Floyd, and (Ivy) Jones. Floyd's first band
was called "The Harlem Dictators". Floyd played saxophone and
bass, but not in his bands. He was primarily the leader, arranger and
songwriter. During the years 1918-1930, they played at New York's famed
Apollo Theater and also at the Cottonwood Club, among other places. LOUIS ARMSTRONG
& HIS HOT FIVE ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---AN ABSOLUTELY UNIQUE ITEM! --A single-sided acetate test
pressing (10" 78rpm) of Louis Armstrong and His Hot Five,
"Georgia Grind." This song is Louis Armstrong's
first genuine vocal performance. No record matrix present, but it
was listed as 9533A. The date February 26, 1926 is hand written
on the label.
Armstrong recorded this song with the Hot Five in Chicago on this
date. This is the first line-up featuring Kid Ory, Johnny
Dodds, Johnny St. Cyr, and Louis' wife, Lil Armstrong.
Armstrong's name and song title are hand-written in period ink on a
blank white label. The entire album that was produced around that
time had a great set of great recordings including Louis' first
genuine vocal performances on Georgia Grind and Heebie Jeebies.
Armstrong's wife Lil also does vocal work on Georgia Grind.
Following this day's work, four two-sided discs are ready for
release. Oriental Strut / You're Next and Muskrat Ramble /
Heebie Jeebies are given consecutive release numbers by OKeh; Georgia
Grind is paired with Come Back, Sweet Papa (from February
22); and Cornet Chop Suey finds its mate with My Heart,
recorded back in November. This group of songs includes some truly
landmark recordings, especially Kid Ory's Muskrat Ramble,
which immediately takes its place as a jazz standard. >>>A genuine Hot Jazz Club of America 78rpm record
(#HC21) with "Georgia Grind" by Louis Armstrong
and His Hot Five.
to "Georgia Grind"
---A two-sided acetate test pressing (10" 78rpm) of Louis
Armstrong and His Hot Five, "You Made Me Love You"
and "Irish Black Bottom." No record number is listed
and no matrix present, but it is listed as 9980A and 9981A. The date
November 27, 1926. Armstrong recorded these songs with the Hot
Five in Chicago on this date. These songs featured Louis Armstrong
(Cornet, Vocal), Henry Clark (Trombone), Johnny Dodds
(Clarinet), Johnny St. Cyr (Banjo), and Louis' wife, Lil
Armstrong (piano). LOUIS
Eatmore's Sermon on Throwing Stones
------- Single-sided test pressing (10" 78rpm) of Louis
Armstrong & his Orchestra, "Mahogany Hall Stomp."
Decca #6111A, recording date is January 28, 1933 (Chicago).
Armstrong's name and song title are hand-written in period ink. ------- A genuine (British) Parlaphone
78rpm record (#01691B) with "Mahogany Hall Stomp" by
Louis Armstrong and His Orchestra. ------- Original one-sided test pressing
(10" 78rpm) of Louis Armstrong & his Orchestra,
"Elder Eatmore's Sermon on Generosity." Decca
#64437, recording date is August 11, 1938. Armstrong's name
and song title are hand-written in period ink. This song was on the Louis
and the Good Book album. ------- One-sided test pressing (10"
78rpm) of Louis Armstrong & his Orchestra, "Elder
Eatmore's Sermon on Throwing Stones." Decca #64436A,
recording date is August 11, 1938. Armstrong's name and song
title are hand-written in period ink. This song was also on the Louis
and the Good Book album.
---Single-sided test pressing (10" 78rpm) of Louis
Armstrong & his Orchestra, "She's the Daughter of a
Planter from Havana." Decca #62335, recording date is July
7, 1937 (New York City, Chaplin; Kahn). Armstrong's name and song
title are hand-written in period ink. ---Single-sided test pressing (10" 78rpm) of Louis
Armstrong & his Orchestra, "Yours and Mine."
Decca #62329, recording date unknown. Armstrong's name and song title
are hand-written in period ink. LOUIS
ARMSTRONG & HIS FIRST APPEARANCE IN FILM ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
---A GROUND-BREAKING ITEM!--A single-sided acetate test
pressing (10" 78rpm) of Louis Armstrong, "Skeleton
in The Closet." This song is Louis Armstrong's first
featured role in a Hollywood musical -- alongside Bing Crosby.
No record matrix present, but it was listed as Decca DLA 539-A. The
date August 7, 1936. Louis Armstrong with Jimmy Dorsey and his Orchestra.
Louis Armstrong plays trumpet and does the vocals.
BACKGROUND: Armstrong plays Henry, a hired
musician at the Haunted House Cafe. Servants and subserviant roles
were pretty much the only options available to blacks in the
pre-civil-rights Hollywood - even for as big a star as Armstrong.
The song comes from Pennies From Heaven, Armstrong’s first
major studio picture. He was hired for the film at the insistence
of its star, Bing Crosby, a lifelong student, friend, collaborator
and admirer of Pops. When the film came out, Armstrong got his own
credit during the main titles, making him the first
African-American to get featured billing alongside white actors. So
Pops was pioneering, though some critics have frowned upon the way
Armstrong was used in the film.
the movie clip
Playing a bandleader who is hired by
Crosby to perform at his nightclub, Armstrong’s “role, as written,
makes one cringe,” according to Lawrence Bergreen. Bergreen quotes an
exchange between Armstrong and Crosby in the film, comedically
playing on the ignorance of Armstrong’s character, who asks for seven
percent instead of accepting Bing’s offering of ten percent because
his is a seven-piece band, “And none of us knows how to divide ten
percent up by seven.” Bergreen writes that this banter dwells “on
black inferiority and subservience” but what he doesn’t mention is
that Pops legitimately loved this scene, quoting it in front of
friends on one of his later private tapes. One of Armstrong’s last
television appearances was made with Crosby on the David Frost
Show from February 10, 1971. During the interview portion,
Armstrong talks about how much fun they had making the film and
though 35 years had gone by, Armstrong quotes the entire “percent”
scene, line by line, as it originally appeared in the film. Thus,
it’s easy for us to “cringe” while watching Pennies From Heaven
but for Pops, funny was funny and he cherished the gags he was asked
to deliver. Armstrong gets one music number to himself in the film
and it’s a great one.
“The Skeleton in the Closet” was written by Arthur
Johnston and Johnny Burke, the same two men wrote the rest of the Pennies
From Heaven score. Filmed in California, Armstrong was seen
leading a contingent of some of the finest west coast jazzmen,
including trumpeter (and Armstrong disciple) Teddy Buckner,
saxophonist Caughey Roberts, future Nat Cole bassist Wesley Pince and
as already advertised, the grand reunion of Armstrong and Lionel
Hampton. Hampton was in the midst of a steady engagement as a leader
at the Paradise Nightclub in Los Angeles and was just about to
explode. Pennies From Heaven was filmed in August 1936 and
while out there, Armstrong asked Hampton to sit in on drums and vibes
on two Hawaiian cuts made with “The Polynesians” on August 18. One
week later, on August 24, Hampton took part in a Teddy Wilson session
with Benny Goodman on clarinet and just a few months later, in
November, Hampton joined Goodman’s Quartet and, well, you know the
rest! But for “Skeleton in the Closet,” Hamp sticks to the drums,
wearing a mask to keep the whole “haunted house” motif going. This is
Armstrong at his finest: storytelling, acting, singing, swinging and
playing beautifully. On January 14, 1937, Armstrong underwent a
throat operation, spending the next two weeks in the hospital.
Satchmo was having throat issues (perhaps polyps?) because he sounds
a hundred times more raspy later than he did
on the original “Skeleton” record of just a few months earlier. The
surgery might have been a success but when he returned, Armstrong’s
voice was still pretty raspy and well, that was pretty much it for
that. The rasp turned to gravel over the years, resulting in the true
Satchmo voice most of the human race associates with Armstrong. ---WINIFRED ATWELL
- "Piano Liner's Boogie" was a ragtime piece
recorded in London by Winifred Atwell in 1956 (one-sided, 10"
78rpm shellac test pressing -- #F10681, Decca Records). BACKGROUND: Born in Trinidad (1914), Winifred Atwell was an
accomplished and versatile pianist who was idolized by the British
public throughout the 1950s. She had studied the piano since she had
been a small child although she later became trained as a dispenser
in the expectation that she would be employed in her father's
pharmacist shop. By the age of 30 she became aware that other local
musicians had gained further musical training abroad and, encouraged
by this, in 1945 she left for the USA. By the late 1940s she had
gained a place at London's Royal Academy of Music with ambitions of
becoming a concert pianist. However, in order to finance this
initiative she worked during the evenings at London's clubs playing
piano rags. By 1950 her popularity had spread nationally and she
began recording with Decca during 1951- before the advent of any
record sales 'chart'. Her music also worked well on TV where she made
regular appearances. She would normally start her act by playing a
classical piece on a grand before transferring herself to what she
called 'my other piano' which was an old 'honky tonk' upright. It was
on this that she recorded many of her most successful numbers
including her two #1's and the now legendary 'Black And White Rag'
which has been used as the signature tune of BBC's 'Pot Black'
snooker program for several decades. ---JIMMY
RUSHING with COUNT BASIE & HIS ORCHESTRA -
"The Blues I Like to Hear" (one-sided shellac test).
This song was recorded in New York City with Jimmy Rushing on vocals
-- November 16, 1938 (released on Decca 2284, Matrix #64748. Composed
by Jimmy Rushing and arranged by Buster Smith. Count
Basie and his Orchestra : Ed Lewis, Harry Edison, Buck Clayton, tp;
Dicky Wells, Dan Minor, BennyMorton, tb; Earl Warren, as; Lester
Young,Herschel Evans, ts; Jack Washington, bs, as; Count Basie, p;
Freddie Green, g; Walter Page, b; Jo Jones, drums. BACKGROUND: Born James Andrew Rushing on August
26, 1903, in Oklahoma City, OK; died June 8, 1972, in New York, NY.
Jazz vocalist. Pianist. Played in Southern California with Jelly Roll
Morton, Harvey Brooks, and Paul Howard, 1920s; member of Walter Page
Blue Devils band, 1927-29; joined Bennie Moten's orchestra, 1929-35;
member of Count Basie Orchestra, 1935-50; toured with his own septet,
1950-52; as a solo act, 1952-72; Europe with Humphrey Littleton, Buck
Clayton, Benny Goodman, 1961; Japan and Australia with Eddie Condon,
1964; appeared in film The Learning Tree, 1969; appeared at
the Half Note in New York City playing with Al Cohn and Zoot Sims,
early 1970s. Jimmy Rushing, also known as "Mr. Five by
Five," (short height and wide girth) possessed ajoyous,
booming voice that could be clearly heard over the swinging jazz
orchestras of the big band era and beyond. He began his career as a
piano player in the 1920s, but soon found his voice. He made his name
with the Count Basie Orchestra in the 1940s, and enjoyed an active
career singing solo and with jazz and big-band greats such as
Humphrey Lyttleton, Buck Clayton, Benny Goodman, Eddie Condon, Al
Cohn, and Zoot Sims, among others. He toured the United States and
abroad, and his voice can be heard on countless recordings, including
the most recent compilations The Essential Jimmy Rushing
(1978), Mister Five by Five (1980), and The Classic Count
(1982). LOUIS ARMSTRONG & HIS APPEARANCE IN THE FILM, NEW
ORLEANS ~~~~~~~~~~~~~~~~~~~~~~~ ---Acetate test pressing (10" 78rpm) of the classic Louis
Armstrong song, "When The Saints Go Marching In."
This song is for Louis Armstrong's role in the film, New Orleans.
Record matrix number is C-19, with C. Webb (Chick Webb) hand written
on the label. Record Disc corporation recording disc is used. The
date 1947. There have been over 1,000
recorded versions of this famous song, but Louis Armstrong's version
is the best. BACKGROUND: This version
of "When The Saints Go Marching In" was for
the motion picture New
Orleans, a piece of Hollywood fluff that purported to
tell the story of the origins of jazz in the titular city.
It’s a mess of a movie but Pops lights up the screen and the music is
often good. Three short takes of “The Saints” exist, all strictly
instrumental and featuring Pops mainly playing the melody in a band
that featured his former boss Kid Ory on trombone and future All Star
Barney Bigard on clarinet. Armstrong sounds in wonderful form but the
large group doesn’t exactly swing, instead marching along on top of
heavy tuba beats. Armstrong sounds great riding over the ensemble. By
April of 1947, New
Orleans was getting ready to make its debut so Armstrong
did a lot of promotion including an appearance on Rudi Blesh’s WOR
radio show This is
Jazz. The broadcast reunited Armstrong with many of his
New Orleans cohorts, including clarinetist Albert Nicholas, bassist
Pops Foster and drummer Baby Dodds. The song hadn’t exactly become a
staple yet and Armstrong doesn’t seem to have played it much since
the original recording nine years earlier. Thus, the arrangement
follows the Decca record to a tee.
TEST PRESSINGS FROM OTHER LABELS =================
NAT KING COLE TRIO
---One-of-a-kind, historic test
pressing (10" 78rpm) of Nat's first big hit "Straighten
Up and Fly Right" (sold over 500,000 copies) and on the other
side, I Just Can't See For Lookin'by the Nat King Cole
Trio. Recorded in Los Angeles on the brand new label, Capital
Records (CAP 142A / CAP 123B), date is November 30, 1943.
BACKGROUND: Nathaniel Adams Coles (March 17, 1919 – February 15, 1965), known
professionally as Nat "King" Cole, was an African
American musician who first came to prominence as a leading jazz
pianist. Although an accomplished pianist, he owes most of his
popular musical fame to his soft baritone voice, which he used to
perform in big band and jazz genres. He was one of the first
African Americans to host a television variety show, and has
maintained worldwide popularity since his death; he is widely
considered one of the most important musical personalities in
United States history.
to Nat King Cole sing this song
Nat King Cole's first mainstream vocal
hit was his 1943 recording of one of his compositions, "Straighten
Up and Fly Right,"based
on a black folk tale that his father had used as a theme for a
sermon. Johnny Mercer invited him to record it for the fledgling
Capital Records label. It sold over 500,000 copies, proving
that folk-based material could appeal to a wide audience. Although
Cole would never be considered a rocker, the song can be seen as
anticipating the first rock and roll records. Indeed, Bo Diddley, who
performed similar transformations of folk material, counted Cole as
RACISM: Cole fought racism all his
life and refused to perform in segregated venues. In 1956, he was
assaulted on stage during a concert in Birmingham, AL, (while singing
the song "Little Girl") by three members of the North
Alabama White Citizens Council (a group led by Education of
Little Tree author, Asa "Forrest Carter, himself not among
the attackers), who apparently were attempting to kidnap him. The
three male attackers ran down the aisles of the auditorium towards
Cole and his band. Although local law enforcement quickly ended the
invasion of the stage, the ensuing melée toppled Cole from his piano
bench and injured his back. Cole did not finish the concert and never
again performed in the South. A fourth member of the group who had
participated in the plot was later arrested in connection with the
act. All were later tried and convicted for their roles in the crime.
In 1956 he was contracted to perform in Cuba and wanted to stay at
the Hotel Nacional de Cuba, Havana, but was not allowed to
because it operated a color bar. Cole honored his contract, however,
and the concert at the Tropicana was a huge success. The following
year, he returned to Cuba for another concert, singing many songs in
Spanish. There is now a tribute to him in the form of a bust and a
jukebox in the Hotel Nacional.
test pressing (10" 78rpm) of the songs, "Recess in
Heaven" and"Why I Must Adore You"
by Dan Grissom -- Matrix #JRC 275 and JRC 276, on the
relatively new label, Columbia Records.Recorded
in Los Angeles on December 13, 1947. On the songs are Bumps Myers (ts), Sylvester Scott (p), Buddy
Harper (g, hca, ldr), Joe Comfort, and (b) Earl Hyde (d) -- with
Dan Grissom on vocals. >>>Two
genuine Columbia Records 78rpm record (#38351) with "Recess
in Heaven" and "Why I Must Adore You" by Dan
Grissom. BACKGROUND: Dan Grissomis
best-known as a vocalist and alto sax player with the Jimmie
Lunceford Orchestra, but also sang with Duke Ellington for a half-dozen years and released an
occasional single under his own name on labels such as Imperial. He was
rather uncharitably nicknamed “Dan Gruesome” by jazz fans who were less than enamored by his song
stylings. From 1945 onwards he made records as a vocalist for
various small labels in Los Angeles. Actually, Grissom represented a
new type of jazz vocalist who came about more because of
technological innovations than progressive musical thinking.
Around 1933, microphones came into use, allowing singers such as
Dan Grissom or the Claude Hopkins frontman Orlando Robeson to carry
on over the sound of a full band; neither man had the lungs to belt
out lyrics over the top of the band the way pre-microphone
"blues shouters" did. There was nothing loud about
Grissom's singing style, described in a survey of Ellington
vocalists as displaying "pinched-tones and heavy vibrato."
Actually, he wasn't the only big-band singer in the Grissom
lineage. His uncle Jimmy Grissom also sang with Lunceford, and was
just about as busy on records as his nephew, with somewhat less
negative critical feedback. Dan Grissom joined the Lunceford band
in 1935 and stayed on through the early '40s. The Sy Oliver
arrangement of "By the River Sainte Marie" was
supposedly Grissom's personal favorite amongst the stacks of songs
he interpreted for Lunceford, though that might not mean it is any
less gruesome. It was roughly a decade later that Grissom joined
Ellington, staying through 1957, and among other accomplishments,
recording a version of Ellington's tune "Love (My
Everything)," also known as "My Heart, My Mind, My Everything." Vocal wonder boy Johnny
Mathis was reportedly influenced by Grissom from this period.
Under his own name, Grissom pitied the "Poor Butterfly"
in the mid-'40s with backing from the Flennoy Trio, a combo led by
Lorenzo Flennoy on piano. Dan Grissom & the Ebb Tones put out a
single on Million in 1955 featuring the same song on this test
pressing "Recess in Heaven," and there is also a
rare Imperial single featuring Grissom's tribute to the
"King of Fools."
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---A British
test pressing (10" 78rpm) of the song "The Boll
Weevil" (side A)and "The Bourgeois Blues"
(side B) by blues musician, Huddie Ledbetter...better known as
Leadbelly (1885-1949), October 15, 1934, Both songs were
written and performed by Leadbelly. Working as a driver and field
assistant, Leadbelly recorded the song, Boll Weevil for Alan
Lomax in Shreveport, LA and again the following year in Wilton, CT.
This version has since been covered by dozens of artists, from Tex
Ritter to Woodie Guthrie to the White Stripes, who ended almost
every live performance with the tune. A 1961 version by Brook
Benton became a #2 pop hit.
to "The Bourgeois Blues"
>>>A genuine Musicraft 78rpm record with "The
Bourgeois Blues" and "The Boll Weevil" by Leadbelly.
"The Bourgeois Blues" was written after Lead Belly
went to Washington, DC at the request of Alan Lomax, to record a
number of songs for the Library of Congress. After they had finished,
they decided to go out with their wives to celebrate, but were thrown
out of numerous establishments for being an interracial party. The
song rails against racism, classism, and discrimination in general,
with such verses as "The home of the Brave / The land of the
Free / I don't wanna be mistreated by no "bourgeoisie." Lyrics: Me and my wife
went all over town, And everywhere we went people turned us down.
Lord, in a bourgeois town. It's a bourgeois town, I got the bourgeois
blues. Gonna spread the news all around. Well, me and my wife we were
standing upstairs, We heard the white man say'n I don't want no
niggers up there. Lord, in a bourgeois town. Uhm, bourgeois town. I
got the bourgeois blues. Gonna spread the news all around. Home of
the brave, land of the free. I don't wanna be mistreated by no bourgeoisie. Lord, in a bourgeois town. Uhm,
the bourgeois town. I got the bourgeois blues. Gonna spread the news
all around. Well, them white folks in
Washington they know how To call a colored man a nigger just to see
him bow. Lord, it's a bourgeois town. Uhm, the bourgeois town. I got
the bourgeois blues. Gonna spread the news all around. I tell all the
colored folks to listen to me. Don't try to find you no home in Washington,
DC, 'Cause it's a bourgeois town. Uhm, the bourgeois town. I got the
bourgeois blues. Gonna spread the news all around. ---Test Pressing (10" 78rpm) of Lead Belly's "Frankie and Albert (Part One)"
and the acapella version of "Looky, Looky, Yonder / Black
Betty / Yellow Woman's Doorbell" medley. 1939.
Lyrics: Looky looky yonder, Looky looky yonder, Looky looky
yonder, Where the sun done gone. The cap'in' (captain) can't hold 'em
("him" or "them"),
Cap'in' can't hold 'em, Cap'in' can't hold 'em, The way I do. Yes
Addie gotta (got a) gold mine, Addie gotta gold mine,
Addie gotta gold mine, Way above her knee.
"Frankie and Albert" tells the story of a woman,
Frankie, who finds that her man Johnny was "making love to"
another woman and shoots him dead. Frankie is then arrested; in some
versions of the song she is also executed. The first published
version of the music to "Frankie and Johnny"
appeared in 1904, credited to and copyrighted by Hughie Cannon. At
least 256 different recordings of "Frankie and Johnny"
have been made since the early 20th century, including the Leadbelly
version with "Frankie and Albert." BIO:
Ledbetter, born on Jan. 29, 1885 on the Jeter
Plantation near Mooringsport, La., would spend several stints in
jail, once reportedly lived as a recluse from the law under an
assumed name, and was known to resolve every-day conflict with
violence right up until his early passing on Dec. 6, 1949. He had a
huge impact upon British rock-n-roll musicians. LIONEL HAMPTON & LOUIE JORDAN
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---Extremely rare test pressing (10" 78rpm) of the
song (unissued take) "On The Sunny Side of the Street" by
Lionel Hampton & his Orchestra and on the other side
"Ain't That Just Like a Woman" by Louie Jordan &
his Tympany Five, which was #4 on the "Most Played Juke Box
Race Records" Billboard charts in 1947. Recorded on Duo Disc,
date is March 29, 1947. Lionel Hampton and Louie Jordan's
names and song titles are hand-written in period ink. Rare and
possibly one of a kind acetate (aluminum) test pressing of two jazz
greats on one test pressing! Acetate only has a certain number of
plays before it becomes unsable. >>>A genuine RCA/Victor 78rpm record (#25592) with "On
The Sunny Side of the Street" by Lionel Hampton and His
Hampton: “On the Sunny Side of the Street” appeared on the
pop charts first by Ted Lewis and His Orchestra in February of 1930.
Shortly after, Harry Richman’s recording (which had “Exactly Like
You” on the B-side) climbed to number thirteen. The strength of “On
the Sunny Side of the Street” is its surprising and inventive
melody. Regardless of who wrote the music, there is no denying the
song’s tone is cheerful, buoyant, and bouncy. With Dorothy Fields’
casual, optimistic lyrics, “On the Sunny Side of the Street”
was a perfect pick-me-up for depression-weary listeners. In spite of
its occasional characterization as a bumptious novelty song, “On
the Sunny Side of the Street” has been a favorite of jazz greats,
musicians and instrumentalists since its publication -- including
Lionel Hampton! Louie Jordan: His first recordings were released
under the name "Louie Jordan and his Elks Rendez-vous Band"
but by the time of the next recording session, the name became "Louis
Jordan and his Tympany Five" This
new name maintaining the misspelling of "tympani" from
their club billing. From this time forward, his band was always
known as the "Tympany Five" regardless of the actual number
of members. As early as 1946 Jordan was adding electric guitar to the
mix resulting in songs such as "Ain't That Just Like a Woman."
The humor and energy that permeates so many of Jordan's recordings is a hallmark of the early Rock 'n' Roll sound. SARAH VAUGHAN ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---Scarce one-sided test pressing (10" 78rpm) of the
song, "Make Yourself Comfortable," #10745 Mercury
Records. Sarah Vaughan with orchestra conducted by Hugh Peretti,
dated September 24, 1954. Recorded in New York City. Vaughan's
commercial success at Mercury began with this particular song...one
of her biggest hits. >>>A genuine Mercury 78rpm records with "Make
Yourself Comfortable" by Sarah Vaughan. SARAH VAUGHAN with the GEORGE TREADWELL BAND
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---Acetate test pressing (10" 78rpm) of one of her
signature tunes of surrender, "Everything I Have Is Yours,"
#C-19 Musicraft Records. Sarah Vaughan with the George Treadwell
Band, dated November 8, 1947. Matrix #5615. George was
Sarah's first husband and she was married to him from 1946-1957. This
song was recorded during their first year of marriage. >>>Two genuine Musicraft 78rpm records (#5615) with
"Everything I Have is Yours" by Sarah Vaughan.
Possessor of one of the most wondrous voices of the 20th century,
Sarah Vaughan ranked with Ella Fitzgerald and Billie Holiday in the
very top echelon of female jazz singers. She often gave the
impression that with her wide range, perfectly controlled vibrato,
and wide expressive abilities, she could do anything she wanted with
her voice. Sarah Vaughan's legacy as a performer and a recording
artist will be very difficult to match in the future.
Her parents were Asbury, a carpenter, and Ada, a laundress. She began
studying music when she was seven, taking eight years of piano
lessons (1931-39) and two years of organ. As a child, she sang in the
choir at the Mt. Zion Baptist Church in Newark, and played piano and
organ in high school productions at Arts High School. She
developed into a capable keyboardist. After she won an amateur
contest at the Apollo Theater, she was hired for the Earl Hines big
band as a singer and second vocalist. Unfortunately, the musicians'
recording strike kept her off record during this period (1943-44).
When lifelong friend Billy Eckstine broke away to form his own
orchestra, Vaughan joined him, making her recording debut. She loved
being with Eckstine's orchestra, where she became influenced by a
couple of his sidemen, Charlie Parker and Dizzy Gillespie, both of
whom had also been with Hines during her stint. Vaughan was one of
the first singers to fully incorporate bop phrasing in her singing,
and to have the vocal chops to pull it off on the level of a Parker
and Gillespie. Other than a few months with John Kirby from 1945-46,
Sarah Vaughan spent the remainder of her career as a solo star.
Although she looked a bit awkward in 1945 (her first husband George
Treadwell would greatly assist her with her appearance), there was no
denying her incredible voice. ELLA FITZGERALD with CHICK WEBB
& HIS ORCHESTRA
~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---Single-sided test pressing (10" 78rpm) of the
song "All My Life" by a very young 18-year-old Ella
Fitzgerald with Chick Webb and His Orchestra (1905-1935). Recorded
in New York City on March 17, 1936. The orchestra included Mario
Bauza, Bobby Stark, Taft Jordan, tp; Sandy Williams, Nat Story, tb;
Pete Clark, Edgar Sampson, as; Teddy McRae, ts; Wayman Carver, ts;
fl; Don Kirkpatrick, p; John Trueheart, g; Bill Thomas, b; Chick
Webb, d; Ella Fitzgerald, voc. BIO: Ella Fitzgerald (1917-1996). A
performance at the Apollo Theater’s famed Amateur Night in 1934 set
Fitzgerald’s career in motion. Over the next seven decades, she
worked with some of the most important artists in the music industry
including Duke Ellington, Louis Armstrong, Dizzy Gillespie and Frank
Sinatra. She was dubbed “The First Lady of Jazz” for her mainstream
popularity and unparalleled vocal talents—even though her
less–than–svelte appearance and upbeat singing style was in contrast
to the sultry and bluesy female singers of her day. Her unique
ability for mimicking instrumental sounds helped popularize the vocal
improvisation of “scatting,” which became her signature technique.
Ella recorded over 200 albums and around 2,000 songs in her lifetime,
singing the works of some of the most popular composers such as Cole
Porter, Gershwin and Irving Berlin. Ella Fitzgerald died in 1996 at
the age of 79, and is remembered as one of the most influential jazz
artists of the 20th century. ELLA FITZGERALD with RANDY BROOKS & HIS ORCHESTRA
~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---Single-sided test pressing (10" 78rpm) of the
song "A Kiss Goodnight" by Ella Fitzgerald with
Randy Brooks and His Orchestra (MX #73020 Decca, Label #18713).
This song was recorded on August 29, 1945. There is a slight hairline
crack on one half of the disc, but it still playes. MORTON'S RED HOT PEPPERS
test pressing (10" 78rpm) of the songs, "Beale Street
Blues" and"The Pearls" --
#20948-A & #20948-B, Victor Records. Morton's Red Hot
Peppers, dated July 10, 1927 Recorded in Chicago. The
recordings made in Chicago featured some of the best New Orleans
sidemen like Kid Ory, Barney Bigard, Johnny Dodds, Johnny St. Cyr
and Baby Dodds. A native of New orleans, Jelly Roll Morton was the
first great composer and piano player of Jazz. He was a talented
arranger who wrote special scores that took advantage of the
three-minute limitations of the 78 rpm records. But more than all
these things, he was a real character whose spirit shines brightly
through history, like his diamond studded smile. ---Two-sided
test pressing (10" 78rpm) of the songs "Beale
Street. Blues" and "The Pearls" (vinyl
test for a HJCA reissue)
Morton's Red Hot Peppers
test pressing (10" 78rpm) of the song "Black Gal (What
Makes Your Head So Hard?)" by Leroy Carr
(1905-1935), blues singer, songwriter and pianist, best known for
his first release on Vocalion in 1928 at 23 years of age. Bluebird
#15646, 1934.Joe Pullem wrote this particular song and
recorded it first, but Leroy came out with his own version that
very same year -- a year before he died. Lyrics: Black gal,
black gal, What makes yo' head so hard? Black gal, woman, What
makes yo' head so hard? Lord, I would come to see you, But your bad
man has got me barred. BENNIE
MOTEN'S KANSAS CITY ORCHESTRA
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---Very rare
acetate test pressing (10" 78rpm) of the unreleased tune
"My Old Flame" by band leader Bennie Moten
(1894-1935), noted American jazz pianist and band leader born in
Kansas City, MO. Dated May 15, 1946. On the label is written that
the other players on this song are: Ben Webster, Barney Bigard, Ben
Webster and the super bassist, Israel Crosby (Ahmad Jamal and
George Shearing fame). ---Hard-to-find
single-sided vinyl test pressing (10" 78rpm) of the song,
"South" by Bennie Moten's Kansas City Orchestra
(1894-1935). Bennie was a noted American jazz pianist and band
leader born in Kansas City, Missouri. Moten's popular 1928
recording of "South" (V-38021) stayed in Victor's
catalog over the years (as #24893) and became a big jukebox hit in
the late 1940s (by then, reissued as #44-0004). It remained in
print (as a vinyl 45) until RCA stopping making records. >>>A genuine
Victor 78rpm record (#24893) with "South" by
Bennie Moten's Kansas City Orchestra.
BIO: Bennie Moten led the Kansas City Orchestra, the most important
of the itinerant, blues-based orchestras active in the Midwest in
the 1920s, and helped to develop the riffing style that would come
to define many of the 1930s Big Bands. His first recordings were
made (for Okeh Records) in 1923, and were rather stiff
interpretations of the New Orleans style of King Oliver and others.
They also showed the influence of the Ragtime that was still
popular in the area. His OKeh sides (recorded 1923-1925) are some
of the more valuable acoustic jazz 78's of the era and continue to
be treasured records in many serious jazz collections. They next
recorded in 1926 for Victor Records in NJ, and were influenced by
the more sophisticate style of Fletcher Henderson, but more often
than not featured a hard stomp beat that was extremely popular.
Moten remained one of Victor's most popular orchestras through
1930. By 1928 Moten's piano was showing some Boogie Woogie
influences, but the real revolution came in 1929 when he recruited
Count Basie, Walter page and Oran "Hot Lips" Page. Walter
Page's walking bass lines gave the music an entirely new feel
compared to the 2/4 tuba of his predecessor Vernon Page, colored by
Basie's understated, syncopated piano fills. REV. J. M.
single-sided test pressing (10" 78rpm) of the sermon "Scat
to the Cat and Suie to the Hog" recorded in 1930 by Rev.
J. M. Gates (1885-1941), Master test pressing of Okeh matrix
480014-A, which is a transfer of matrix 403932-B. It was issued on
Okeh 8844. Why did
the curiously titled "Scat to the Cat and Suie to the Hog"
get such a limited release? Perhaps it was too much comedy and
charm to match Okeh's idea of even a rustic sermon? The main
message of the sermon was simply that people ought not to snap,
nark, and claw at one another. BIO: The Baptist preacher J. M. Gates
was one of the most prolifically recorded black artists of the
early century, with over 200 sides on wax between the mid-'20s and
his death in 1940 (he once recorded 23 titles in a week, at just
two sessions). His sermons and musical numbers appeared on a
variety of labels (Victor, Bluebird, Okeh, Gennett), though Gates
often re-recorded his most popular sermons — "Death's Black
Train Is Coming," "Oh Death Where Is Thy Sting,"
"Goin' to Die with the Staff in My Hands" — for multiple
labels. Gates ministered at Atlanta's Calvary Church and
first recorded in 1926. Beginning in April, he recorded almost 100
sides by the end of the year. Understandably, his output slowed
slightly during the rest of the late '20s, and the advent of the
Great Depression resulted in a four-year period off records. He
returned in 1934, and recorded about 20 more sides until his death
in 1941. Experts estimate that Gates recorded at least a quarter of
all the sermons that appeared before 1943. Gates is credited with
introducing the gospel music of former blues artist, Thomas A.
Dorsey, into the black gospel market via his crusades. His funeral
drew the largest crowd of any memorial service in the city before
Martin Luther King, Jr.
WILLIAMS' BLUE FIVE ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---Single-sided
test pressing (10" 78rpm) of the song "Thriller
Blues" by Clarence Williams' Blue Five. (1893 -
1965), with wife, Eva Taylor on vocals. RCA/Victor
#BS-071199-1, 1941. >>>A
genuine Bluebird 78rpm record (#11368) with "Thriller
Blues" by Clarence William's Five, with vocals by
Eva Taylor. BIO: Although he was quite spirited
playing jug, Clarence Williams was a decent pianist, composer and
dancer. He was a likable but limited vocalist. He was also a
business manager for other Black entertainers, and an independent
entrepreneur (who had his own Music Publishing firm). A
fascinating figure and one of the most successful black
businessmen of the era, Clarence Williams had a real ear for
talent. During 1923 to 1928, he was the artist and repertoire
director for Okeh Records. Before he was in his teens, he had
decided upon a career in show business and ran away from home to
work with a traveling minstrel show. By the time he was 21 he had
started composing, formed his first publishing company, and was
married to Blues singer Eva Taylor (1923).
At the height of his power in the early
'30s, Clarence Williams' importance waned as the decade continued
and swing took over. After 1937, he only appeared on one final
session (two songs in 1941), concentrating on the business side of
music. In 1943, he sold his company to Decca and became a
shop owner in Harlem. Williams was seriously injured when hit by a
taxi in 1956 and passed away in 1965.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---Fascinating single-sided test
pressing (10" 78rpm) of the song "Rosetta" by
Earl "Fatha" Hines. (1903 - 1983),RCA/Victor #BS-040480-3, 1939. Pianist/composer/bandleader Earl “Fatha” Hines
first recorded “Rosetta” with his orchestra on October 21,
1939. The lyrics were written by his band’s arranger Henri Woode.
Western swing bandleader Bob Wills contributed to the popularity
of “Rosetta,” which he first recorded in 1938 and which
became the theme song of his Texas Playboys as well as the name
of his daughter, born in 1940. As the simple
lyric attests, “Rosetta” is a love song: Rosetta, my Rosetta,
In my heart, dear, there’s no one but you. You made my whole life
a dream, and I pray you’ll make it come true...
Earl Hines plays "Rosetta"
RCA/Victor 78rpm record (#040480-3) with "Rosetta"
by Earl "Fatha" Hines. TITUS TURNER ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---Scarce double-sided test
pressing (10" 78rpm) of the songs "Jambalaya" (side
A)and "Please, Baby" (side B) by Titus
Turner (1933 - 1984), with Danny Kessler orchestra while he
was only 19 years of age. Okeh #4-6907, 1952.
Turner – though no slouch in the performing
department – made his mark as a writer of some of absolutely
dynamite songs, among them ‘Sticks and Stones’, ‘All
Around the World’ (aka Grits Ain’t Groceries), and ‘Leave
My Kitten Alone’. Turner himself had a two decade long career
as a recording artist, spending most of the 50s recording mostly
for Okeh and King, and then the 60s recording for no less than a
dozen different imprints. Turner originally recorded ‘People
Sure Act Funny’ for the Enjoy label in 1962. MERLINE JOHNSON "THE YAS YAS GIRL" ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---An almost-impossible-to-find
single-sided shellac test pressing (10" 78rpm) of the song
"Squeeze Me Tight" by Merline Johnson "The
Yas Yas Girl" (1912 - ?), with
George Barnes (el guitar) prob. Blind John Davis (piano)
and unknown (bass) Apparently made by or for
Vocalion #C-2170-1, 1938. BIO:During the late '30s, one Chicago-based blues woman
cut more records than either Memphis Minnie or Georgia White, and
even edged in on Blue Lu Barker with a smart cover of her most
famous hit, "Don't You Make Me High." The aunt of R&B
vocalist LaVern Baker, Merline
Johnson was usually billed as the Yas Yas Girl, a bawdy
nickname that utilized a favorite early blues euphemism for your
butt. Little is known of this singer's origins, her life during a
brief but productive heyday, or her eventual fate. Legend has it
she first saw the light of day somewhere in the state of
Mississippi during the year 1912. After making her way to Chicago,
she established herself as a sanguine, straightforward blues
vocalist whose backup bands were often peppered with seasoned jazz
musicians who were capable of swinging hard when necessary, and
sometimes launched into full-strength boogie-woogie. After cutting
six sides as Merline Johnson for Bluebird in May 1937, she
commenced recording for the American Record Corporation a few weeks
later as the Yas Yas Girl, already demonstrating an innate ability
to put across blues and jazzy dance tunes convincingly, with a
combination of honesty and warmth that is still very effective.
Between 1938 and 1941 Merline Johnson waxed more than 50 titles for
Vocalion and OKeh, covering the standard topical range of Chicago
blues. She sang of passionate and at times turbulent interpersonal
relationships, of unencumbered sexuality, and of unapologetic
alcohol consumption. Her accompanists, drawn from a pool of experts
from New Orleans and Chicago, included trumpeters Punch Miller and
Lee Collins; saxophonists Buster Bennett and Bill Owsley;
guitarists Big Bill Broonzy, George Barnes, and Lonnie Johnson;
Vocalion's resident steel guitarist Casey Bill Weldon; pianists
Blind John Davis, Black Bob Hudson, and Aletha Robinson; string
bassists Ransom Knowling and Bill Settles; an interesting character
named Alfred Elkins who carried a bassline really well using only
his voice; and a rock-solid drummer by the name of Fred Williams.
Aside from one final session in 1947, most of this woman's recorded
legacy dates from the years and months prior to the U.S.A.'s direct
involvement in the Second World War. ERNIE WILKINS & HIS ORCHESTRA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---Test pressing (10" 78rpm)
of the song "Blue Jeans Blues" (side A)and
"Have You Ever Been Lonely?" (side
B) by Ernie Wilkins & his Orchestra. Savoy #1524, September
6, 1957, recorded in New York City. Ernie's orchestra members:
Jim Dahl, Al Grey, Rod Levitt, Melba Liston (tb) Ernie Wilkins (as,
arr, dir) Don Abney (p) Al Lucas (b) Charlie Persip (d) 6 unknown
(vo) DUKE ELLINGTON & HIS ORCHESTRA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---Extremely rare test pressing
(10" 78rpm) of the song, "Blue Ramble,"
#B11866B. Duke Ellington and his orchestra, dated May 18,
1932. Columbia. MARVIN GAYE & SISTER SLEDGE ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---Test pressing remix import
(12'' LP) B-Boy House edit #HEDIT001A. Side A: Marvin Gaye
-- "Too Busy Thinking About My Baby." Side B: Sister
Sledge -- "All American Girls." ANITA BAKER
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---One-sided test pressing
(12" LP) of "Watch Your Step" by Anita
Baker. Specialty Records #ED-5132, dated February 4, 1986. BILLIE HOLIDAY & HER ORCHESTRA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---Extremely rare test pressing
(10" 78rpm) of the song "All of Me" (side A)and "Romance in the Dark" (side B) by Billie
Holiday & her Orchestra. Okeh #6214, 1941, written
by Gerald Marks and Seymour Simons. Lyrics: You took my
kisses and all my love. You taught me how to care. Am I to be just
remnant of a one side love affair. All you
took, I gladly gave, There is nothing left for me to save. All of
me, Why not take all of me, Can't you see I'm no good without you.
Take my lips, I want to loose them. Take my arms, I'll never use
them. Your goodbye left me with eyes that cry. How can I go on dear
without you. You took the part that once
was my heart, So why not take all of me. ETHEL WATERS
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---One-of-a-kind test pressing
(10" 78rpm) of the song, "Come Up and See Me Sometime,"
Brunswick #6885, Matrix: B-14956-C. Ethel Waters and the
Brunswick Studio Band, in New York City, dated March 16,
1934. Brunswick. Frank Guarante or Charlie Margulis, Bunny
Berigan (tp), Frank Luther Trio (Frank Luther, Zora Layman, Leonard
Stokes). BIO: Ethel Waters was
one of the most popular African-American singers and actresses of
the 1920s. She moved to New York in 1919 after touring in
vaudeville shows as a singer and a dancer. She made her recording
debut in 1921 on Cardinal records with "The New York Glide"
and "At the New Jump Steady Ball," but switched
over to African-American owned Black Swan label, and recorded
"Down Home Blues" and "Oh Daddy"
the first Blues numbers for that company. She frequently sang with
Fletcher Henderson during the early 1920s, but by the mid-1920s
Waters had became more of a pop singer. She performed in a number
of musical revues throughout the rest of the decade and appeared a
couple of films, including "Check and Double Check" with
Amos 'n' Andy and Duke Ellington. By the end of the 1930s she was a
big star on Broadway. In 1949, she was nominated for an Oscar for
best supporting actress in the film "Pinky", and the next
year she won the New York Drama Critics Award for best actress.
Waters became a Christian in the late Fifties and performed and
toured with evangelist Billy Graham until her death in 1977. TINY BRADSHAW, HIS PIANO AND BAND ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---Test pressing (10" 78rpm)
of the jazz/blues songs, "Powder Puff," and "Ping
Pong" #4687, Matrix #K9320. Tiny Bradshaw, his Piano
and Band, dated 1950s. Dee Jay King Special. Sylvester
Austin on tenor sax. LOUIS ARMSTRONG & HIS ORCHESTRA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---Extremely rare master
single-sided test pressing (11" 78rpm) of the song "Home
(When Shadows Fall)" by Louis Armstrong & his
Orchestra. Columbia control #405132, January 27, 1932,
recorded in Chicago, IL. with Louis
Armstrong (Trumpet, Vocal). Zilner Randolph (Trumpet), Preston
Jackson (Trombone), Lester Boone (Clarinet, Alto Saxophone), George
James (Reeds), Albert Washington (Clarinet, Tenor Saxophone),
Charlie Alexander (Piano), Mike McKendrick (Banjo, Guitar), John
Lindsay (Bass) and Tubby Hall (Drums).
RUSSELL'S HOT SIX ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
---Scarce double-sided test pressing (10" 78rpm)
of the songs "Sweet Mumtaz" (side A)and
"Dolly Mine" (side B) by Luis Russell and his
Hot Six. Okeh
#8454, November 17, 1926. Turner – though no slouch in the
performing department – made his mark as a writer of some of
absolutely dynamite songs, among them ‘Sticks and Stones’,
‘All Around the World’ (aka Grits Ain’t Groceries),
and ‘Leave My Kitten Alone’. Turner himself had a two
decade long career as a recording artist, spending most of the
50s recording mostly for Okeh and King, and then the 60s
recording for no less than a dozen different imprints. Turner
originally recorded ‘People Sure Act Funny’ for the Enjoy
label in 1962.
BACKGROUND: The Luis
Russell Orchestra started in Chicago and then moved to New York.
They were one of the most innovative bands of their day, but
never had the commercial success that they deserved. They are
generally considered to be one of the first Swing bands. The
outfit featured some of the best hot musicians from New Orleans,
such as Barney Bigard, Omer Simeon and Pops Foster. The band
first backed up Louis Armstrong in 1929 on the record
"Mahogany Hall Stomp" -- which this collection also
owns (see above).
SUGAR RAY ROBINSON
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---One-sided audio test pressing
(10" 78rpm) of the famous boxer, Sugar Ray Robinson's
appearance in "Excursion" an NBC TV series of 26
shows for young people ages 8-16, designed to give them
stimulating views of world literature, science, sports, art,
theater, career-building, and government, with Americans who have
made distinguished contributions in these fields acting as guests. This particular show aired during the week of August
25th, 1953. Dick Charles Recording Studios, located at 729 Seventh Avenue, New York. These were test scenes for the 1953 TV Episode of Huckleberry
Finn, which co-starred boxing champion Sugar Ray Robinson as
Jim. Sugar Ray Robinson was expanding on his career by branching
out in print advertising, television and film. Mr. Robinson was a
handsome natural, that the cameras adored.
from professional boxing in December 1953 to become a dancer. DICK CHARLES RECORDING STUDIOS:By the 1950s, Dick Charles had opened a recording
studio on Seventh Avenue in New York City, a block away from
Broadway. It was here that a good number of demos of up and coming
stars were cut before the stars were signed by the big record labels.
Here, both Dick Charles (Richard Krieg and Richard Waldspurger)
worked with many famous and not quite so famous musicians and
performers. FATS WALLER
---Scarce double-sided Gramophone
test pressing (10" 78rpm) of the songs "Breakin' The
Ice" (side A)and "Honeysuckle Rose"
(side B) by Fats Waller and His Rhythm (1904 - 1943). A British test
pressing. Brunswick #24826, November 7, 1934. BACKGROUND: Born in New York City with the given name
Thomas Wright Waller, "Fats" Waller was the son of a
churchman. He learned how to play the organ in church with his
mother, Adeline Waller, who gave him a background in classical
music. Fats' first musical experience was playing harmonium for
his father's Abyssinian Baptist Church at 10 years of age. The
music which Fats later picked up around Harlem was viewed by his
father as "music from the Devil's workshop."
Waller singing "Honeysuckle Rose"
In 1918 Waller won a talent contest playing James
P. Johnson's "Carolina Shout" which he learned from
watching a pianola play the song. Later, when Johnson met Fats
for the first time and heard him play the pipe organ, he told his
wife, "I know I can teach that boy." So Johnson
took Waller under his wing and within months had improved his
play and introduced him to his first Harlem rent party. Waller
was such a diligent and lonesome pupil that he would practice on
the Johnson's piano until 3 or 4 o'clock in the morning--when
Mrs. Johnson would finally order him to go home. In 1922, Johnson
had been asked to take over the piano at Leroy's, a club at Fifth
Avenue and 135th Street where Willie the Lion Smith had been
playing. But Johnson was going out of town with a show and he
recommended his 18 year old protégé for the job. This was
Waller's night club debut. But he was ready because by this time,
Fats had developed into an all-around keyboard dynamo who was
playing theater organ for silent movies and stage shows (at
Harlem's Lincoln Theater), accompanying singers, backing up
dancers in chorus lines, vaudeville revues and nightclubs, and
playing blistering stride piano at rent parties. Though his
skills on the piano introduced him to fame, it wasn't until after
Fats started to sing that he became famous. From 1930 to 1943,
Fats made over five hundred recordings and he was recognized from
the streets of Harlem to Danish nightclubs as he toured
extensively and appeared on numerous radio broadcasts as well as
in some Hollywood feature films. Fats unexpectedly died on board
a train near Kansas City, Missouri of pneumonia on Dec 15, 1943.
Usually remembered as a genial clown, he is of lasting importance
as one of the greatest of all jazz pianists and as a gifted
songwriter, whose work in both fields was rhythmically
~~~~~~~~~~~~~~~~~~~~ MANY MORE "TEST PRESSING" RARITIES ~~~~~~~~~~~~~~~~~~~~
BYAS & HIS RE-BOPPERS - "How High the
Moon" and "Dynamo A" (#ST1896 &
ST1900, by Don Byas -- white label two-sided shellac
test of recordings made on January 27, 1947 at Studio
Technisonor in Paris). Peanuts Holland (tp) Don Byas (ts)
Billy Taylor (p) Jean-Jacques Tilche (g) Jean Bouchety (b)
Buford Oliver (d).
BOSTIC - Sleep (#4444 single-sided vinyl test pressing recorded in 1951). Earl
Bostic (1913-1965) was an American jazz and rhythm and
blues alto saxaphonist, and a pioneer of the post-war American
Rhythm and Blues style. He was a major influence on John
Coltrane. He had a number of popular hits such as "Flamingo",
"Harlem Nocturne", "Temptation",
"Sleep" and "Where or When",
which showed off his characteristic growl on the horn. Bostic
recorded for Cincinnati-based King Records, a small label that
was well known for releasing "R and B" and Bluegrass
records. In fact, the biggest star on the King label was
"the Godfather of Soul," James Brown. Bostic was
also popular among R&B and jazz followers in the United
Kingdom, thanks to his records that were released on the
Parlophone label. King Records was rewarded for its devotion
to Bostic and his music in 1951, when “Sleep” (a song
from the 1920s) went to Number Six on the R&B chart.
TEAGARDEN & ORCHESTRA - "River Home"
(#ST1867-1, white label one-sided shellac test of recordings
made on July, 1940. In 1940, Jack Teagarden recorded
sixteen sides for Varsity, which were
reissued in 1986 by Savoy Jazz. During these sessions, his
orchestra included Nat Jaffe on piano. BACKGROUND:
(Weldon Leo Teagarden), 1905–1964, American jazz trombonist
and singer, b. Vernon, Tex. One of the earliest White
bluesmen, he came from a jazz-playing family and was mainly
self-taught. He sometimes played with his brothers, trumpeter
Charlie and drummer Cub, and sister, pianist Norma. In his
twenties Teagarden wandered across America's Southwest,
playing in several jazz groups, and arrived in New York in
1927. He played in bands led by Ben Pollack (1928–33), Paul
Whiteman (1933–38), and Louis Armstrong (1947–51),
and also led his own groups (1939–47; 1951–57). He began
recording in the late 1920s and made many albums throughout
his career. Teagarden was one of the great horn players of the
mid-20th cent.; his trombone playing, seemingly effortless yet
extremely accomplished technically, was uniquely smooth and
lyrical. In addition, his somewhat gruff, drawling voice was
ideal for singing the blues.
DEX on DA SET - "Dee Dottie Day" Test
pressing (AV8 Records) by Davey Dex of this and other
rap/hip hop songs (1996). Instrumental Cut-up/DJ. He
is a producer, DJ from NYC. A DJ for 20 years, He plays
Hip-Hop/R&B, Reggaeton Classic House, Classic Freestyle,
Smooth Jazz. As a Producer, He produces mostly Hip-Hop Beats
and Party Records but has produced House as well. With over 30
records under his belt. He has produced records since 1990.
"TUT" SOPER - "Right Kind of Love" by Oro
Spher.(Steiner-Davis acetate recorded in Jack
Gardner's apartment with drummer Warren "Baby" Dodds
on January 31, 1944 in Chicago). John Steiner and Hugh Davis
teamed Soper up with Dodds in pianist Jack Gardner’s apartment
for the session. Gardner owned a particularly fine piano,
which is why the session was held in his place, at 102 East
Bellevue, a basement apartment located in the same apartment
complex as John Steiner. Jazz fans tend to revel in
improvisation, and Down Beat columnist George Hoefer
loved the idea at how "impromptu" the recording was,
as Soper and Dodds had never met before, and had feel each
other out in the recording process. Little is known about Tut
Soper, and he seems to have made very few recordings. Tut
proceeded to develop his career as a popular solo act. He
found additional work with reedmen Bud Freeman, Boyce Brown,
and Orville "Bud" Jacobson, and with trumpeter
Johnny Mendel. Tut also performed with drummer Danny
Alvin and with Frank Snyder, who played drums with the New
Orleans Rhythm Kings in 1922. While hot jazz was artistically
rewarding, Tut found greater monetary security working with
popular hotel-orchestra leader George Olsen. The great
recorded legacy of this grievously overlooked pianist consists
of six duets he recorded with master percussionist Warren
"Baby" Dodds. Five of these sides, recorded January
31, 1944, can be found on Jazz & Blues Piano Vol. 2:
1924-1947. With Tut sounding at times a bit like Earl Hines,
these tasty stomps provide a tangible context for his reputation
as a mainstay of traditional Chicago jazz. The only other
session involving this pianist that has come to light is a
1957 Dixie revival date led by guitarist/vocalist Marty Grosz,
released on Riverside as Hooray for Bix! and reissued in 2000 on the Good Time
Jazz label. Tut's impact upon the evolution of jazz in
Chicago was greater than this handful of obscure phonograph
records can ever demonstrate. His story serves as a reminder
that the real history of this music is a mosaic of many
individual lives; it runs much deeper and is far more
intricate than the standard pantheon of famous names and
BAILEY - "Eccentric Rag"
(single-sided shellac test recorded in New York, dated 1940). Buster
Bailey (1902-1967) was a brilliant clarinetist who, although
known for his smooth and quiet playing with John Kirby's
sextet, occasionally really cut loose with some wild solos.
Expertly trained by the classical teacher Franz Schoepp (who
also taught Benny Goodman), Bailey worked with W.C Handy's
band in 1917. Eccentric Rag was the first big hit
written by J. Russel Robinson in 1912.
BROTHERS - "Caravan" (single-sided
vinyl test pressing recorded in 1942) by the Mills Brothers.
Music reviewer, Paghat writes about
this song and arrangement that can be seen here. >>>
"Offensive to a forgiveable degree, the Mills Brothers
perform this song in the garb of hillbillies as they vocally
recreate Duke Ellington's classic instrumental Caravan (1942).
It's doubtful the brothers had anything to do with the costuming,
but had done their arrangement of the swing tune strictly in
honor of Ellington, thus sophisticated rather than hick imagery
would've been more apropos. To recreate a big band swing sound
with just their mouths is damned clever, but they've also given
us a very fine piece of classic harmony. Given the sophistication
of Ellington's composition and the cosmopolitan wittiness of the
Mills Brothers' vocal arrangement, dressing them up in a hick
setting seems hardly to fit the music. To heighten the
unfortunate stereotype there are three 'lazy darkies' lounging
nearby, a guy and two gals. These lazy persons have complained
that a dance band was supposed to show up for a dance, but isn't
going to make it. Only when the Mills Brothers recreate the band
vocally does everyone perk up."
Read review by Paghat & then watch "Caravan"
continues, "Slowy one and then the other two and then
additional dancers from off screen all get up to dance to
"Caravan." It pretty much turns into a 'dancie' instead
of a soundie, and if you overlook the stereotyping costuming, this
is pretty fine performing, including some breakdance moves from the
guy who wins a trophy, though he has to stop eatin' dat watermelon
to receive it. Director Josef Berne worked with many black
entertainers and should've known better. But in the context of
soundie content of the time, one of the most popular 'thread' of soundies content was fake hillbilly
music by the likes of the Korn Kobblers and scores of others. So
rather than thinking 'lets have some lazy rural darkies with
watermelons' I'm sure the point was to have black entertainers horn
in on the generally popular honky-hillbillie imagery in many a
soundie. And without the weight of history of such imagery crushing
down upon it, it would've been no worse (but also no more clever)
than when white performers did such acts. The music at least is
good, and the later Mills Brothers soundies to come would forgo
storytelling in favor of recording the performance." (review
WASHINGTON - "Cat On a
Hot Tin Roof" and "The First Time" by
Dinah Washington (1924-1963) -- both songs recorded in
1956 with Mercury Records(Matrix #70868)
white label two-sided test pressing. Dinah was a
blues, R&B, and jazz singer. She is a 1986 inductee of the
Alabama Jazz Hall of Fame. Washington was well known for
singing torch songs. Recordings by Dinah Washington were
inducted into the Grammy Hall of Fame, which is a special
Grammy award established in 1973 to honor recordings that are
at least twenty-five years old, and that have
"qualitative or historical significance.
CURTIS - "Games
People Play" by King Curtis (real name Curtis Ousley,
1934-1971) -- one-sided 45 test pressing recorded in 1969 with
Atlantic/Atco Records(Mono, Matrix
#69-C-16320-1, #6664). In 1970, Curtis won the
Best R&B Instrumental Performance Grammy for this song,
"Games People Play." >>>A
genuine Atlantic/Atco 45rpm record (#69-C-16320) with "Games
People Play" by King Curtis. BACKGROUND: Saxophonist, songwriter and producer.
Successful both as a solo artist (best known for his 1967 hit Memphis
Soul Stew) as well as a session musician and producer.
Curtis mainly played and composed rhythm and blues or soul but
also some Rock and roll and great bop or soul jazz. He was
inducted into the Rock & Roll Hall of Fame in 2000. Around
midnight on August 13, 1971 Curtis was lugging an
air-conditioning unit towards his brownstone apartment on West
86th Street in New York City when he noticed two junkies were
using drugs on the steps to his home. When he asked them to
leave, an argument started. The argument quickly became heated
and turned into a fist-fight with one of the men, 26-year old
Juan Montañez. Suddenly, Montañez pulled out a knife and
stabbed Curtis in the chest. Curtis managed to wrestle the
knife away and stab his assailant four times before
collapsing. Montañez staggered away from the scene and Curtis
was taken to Roosevelt Hospital, where he died from his wounds
less than an hour later. Montañez was arrested at the same
hospital Curtis had been taken to. When police officers
investigating the murder learned that another man had been
admitted to Roosevelt hospital with stab wounds around the
same time as Curtis, they quickly realized that the two events
were connected. Montañez was charged with Curtis' murder and
subsequently sentenced to a term of imprisonment.
CHALONER - "Answer
My Prayer" by Sue Chaloner (born 1953) -- one-sided
33 test pressing recorded in 1991 with Pulse-8 Records(UK).
Sue is an English-Dutch pop
singer, best known for the '70s duo Spooky and Sue. She
is living in Holland these days and tours Europe constantly.
STEWART - "Jug Blues" ("ST 2219-2",
"M3-113850", "PART 5196" by Rex
Stewart -- white label one-sided original shellac test
pressing. Recorded at Studio Technisonor, Paris, France on December 9
& 10, 1947. Rex Stewart (1907-1967) liked to experiment with his cornet, creating different
sounds. He popularized the half-valve technique and was quite
adept at playing just his valve. Both are employed on "Jug
Blues," backing the rough-and-ready vocalizing of
bass player Wilson Myers. On the song: Rex Stewart (cor) Sandy
Williams (tb) George Kennedy (as, cl) Vernon Story (ts) Don
Gais (p) Ted Curry (d).
SMITH - "There'll Be a Hot Time In Town
Tonight" (Matrix #21840) white label
one-sided original 78 shellac test pressing, with hand-written
information about the "Empress of the Blues," Bessie
Smith (1894-1937). Recorded in 1927 by Columbia Records. BACKGROUND: Bessie Smith's magnificent voice, sense of
the dramatic, clarity of diction (you never missed a word of
what she sang) and incomparable time and phrasing set her apart
from the competition and made her appeal as much to jazz
lovers as to lovers of the blues.
Her voice was remarkable, filling the largest hall
without amplification and reaching out to each listener in
beautiful, earthy tones. Born into poverty in Chattanooga, TN,
Bessie Smith began singing for money on street corners and
eventually rose to become the largest-selling recording artist of
her day. So mesmerizing was her vocal style - reinforced by her
underrated acting and comedic skills - that near-riots frequently
erupted when she appeared. Those outside the theaters clamored to
get in; those inside refused to leave without hearing more of
Smith. Guitarist Danny Barker as saying: "Bessie Smith
was a fabulous deal to watch. She was a large, pretty woman and
she dominated the stage. You didn't turn your head when she went
on. You just watched Bessie. If you had any church background
like people who came from the [U.S.] South as I did, you would
recognize a similarity between what she was doing and what those
preachers and evangelists from there did, and how they moved
people. She could bring about mass hypnotism." With her
earnings, Smith was able to purchase a custom-designed railroad
car for herself and her troupe in 1925. This luxury allowed her
to circumvent some of the dispiriting effects of the racism found
in both northern and southern states as she traveled with her own
tent show or with the Theater Owners' Booking Association (TOBA)
shows, commanding a weekly salary that peaked at $2,000. Twice she
was instrumental in helping save Columbia Records from
---KID ORY - "The
World's Jazz Crazy, Lawdy So Am I" and
"Creole bo bo" (two-sided shellac test pressing
recorded October 21, 1946 by Columbia #37276 and #37277). As a
prime surviving trombonist from the dawn of recorded jazz, Edward
"Kid" Ory served as the eye of a hurricane
driving the resurgence of traditional New Orleans
entertainment during the mid-'40s. His radio broadcasts and
the excellent studio recordings he cut during the second half
of the 1940s helped to repopularize old-fashioned jazz and
paved the way for a full-blown Dixieland revival during the
1950s. The "Creole Bo Bo" ("Bo Bo"
being a sort of dance) was one of his popular selections,
along with "The World's Jazz Crazy," which
sounded a lot like "Ballin' the Jack."
PARKER - "Big Foot" Part I&II. recorded on December 11, 1948 at the Royal
Roost. (two-sided shellac). This
is a very nice, near mint 10" (78rpm). Miles
Davis and Kinny Dorham are on trumpet, with
pianist Al Haig, bassist Tommy Potter and
drummer Max Roach. BACKGROUND: Arguably the greatest saxophonist of all time,
Charlie "Bird" Parker was one of a handful of
artists who permanently changed jazz. The altoist's phenomenal
technique, ability to play perfectly coherent solos at
blinding speeds, array of fresh ideas and phrases and his
genius at improvising over chord changes have inspired and
been emulated by a countless number of musicians from 1945 up
to the present. Most of Bird's most famous solos were made in
the studio either for Savoy, Dial or Verve. However, when his
band was captured live at clubs, the results were even more
stunning. Parker was able to take lengthy solos and his string
of ideas never seemed to run out of creativity or excitement.
From the Royal Roost with his regularly working quintet. ROYAL ROOST: 1580 Broadway (at 47th Street). Peak
years: 1946 to mid-’50s. In 1942, a new sound began to be
heard in New York City: snappy, staccato phrasing, harmonic
leaps and rhythmic elasticity all taken at a breakneck tempo
that favored 8th notes (and sometimes 16th notes) for maximum
effect. By 1944, this sound that defined a doorway into the
modern era of jazz had its heroes—Charlie Parker, Dizzy
Gillespie—and a name: bebop. Sept. 1948-March 1949—Bird’s
quintet featured weekly at Royal Roost Club in NYC, dubbed the
"Metropolitan Bopera House;" stellar sessions
taped off radio broadcasts by Boris Rose, others during
recording ban by American Federation of Musicians; broadcasts
flavored by colorful deep-voiced musings of legendary jazz
disc jockey "Symphony Sid" Torin.
HENDERSON ORCHESTRA - "Tidal Wave" (single-sided
vinyl test pressing recorded on September 12, 1934 in New York
by Decca). The Fletcher Henderson Orchestra was the
most popular African-American band of the 1920s. The smooth,
carefully arranged sound of Henderson's orchestra was a huge
influence on the Swing style of the next decade. The Orchestra
played at the Club Alabam on West 44th Street in New York from
1922 to July of 1924 and then moved to the Roseland Ballroom
when Armand J. Piron's Orchestra vacated the job and returned
to New Orleans. In 1924 Henderson
hired Louis Armstrong to replace Joe Smith on trumpet.
Armstrong's thirteen months in the band caused quite a stir
among New York Jazz musicians who had never heard anything
like him. The orchestra also featured Coleman Hawkins on tenor
saxophone, Buster Bailey on clarinet and Don Redman on alto
saxophone and also contributing arrangements. When Armstrong
left the band to return to Chicago to join Erskine Tate's
Vendome Orchestra a succession of fine cornet and trumpet
players played in the band.
HARRIS - "Bill Harris and His Guitar"
(two-sided vinyl advance/test pressing,
recorded in 1956 by Mercury). EmArcy
# MG 36097 from Mercury. This EmArcy Solo Guitar from
1956 is considered to be the first album of solo jazz
guitar ever released. The song titles are typewritten on
the label...Selections are: Stompin' at the Savoy,
Moonglow, Cherokee, Out of Nowhere, Ethel, Possessed, Perdido,
I Can't Get Started, Dreaming, K.C. Shuffle, Ivanhoe, and Lover.
BACKGROUND: Guitarist Bill Harris was one of the
finest solo guitar players to take on classical guitar,
jazz and blues. He was lead guitarist, composer/arranger and
singer with The Clovers in the early 1950's. Bill
Harris was a professor of music at Howard University.
During the '70s, Harris operated Pigfoot, a Washington,
D.C., restaurant, nightclub, and art gallery.
GODDARD of the Foreman Banks - "Heav'n
Heav'n" and "Lucky Jim" (very rare
two-sided shellac white label pressing of otherwise unreleased
1930 Brunswick masters) by Jim Goddard. Adapted by
Harry Thacker Burleigh in 1921 as "Heav'n Heav'n
(Gonna Shout All Over God's Heav'n)"
LIGGINS & HIS HONEYDRIPPERS
Liggins (1915 - 1987) with "Little Willie" and
"Think of Me" (very rare two-sided Exclusive
sample copy (EXC-1139, Master Series: 252, Hollywood, CA).
Songs featured "Little" Willie Jackson on alto and
baritone; James Jackson on tenor; Joe Liggins on piano; Frank
Pasley on guitar; Eddie Davis on bass; Peppy Prince on drums. BACKGROUND: Joe was an American R&B, jazz, and
blues pianist, who was the frontman in the 19402 and 1950s
with the band, Joe Liggins and the Honeydrippers. His
band was often the staple on the US Billboard R&B chart in
those years, with their biggest hit logging a reported 2
1930s ORCHESTRAplaying W.C. Handy's "Big Stick Blues"
(single-sided Metropolitan Recording Studios acetate which
seems to be from a radio program on the life &
compositions of W.C. Handy -- an announcer speaks at the
beginning --- note that "Big Stick Blues" was
never recorded prior to this recording and this seems to be a
"SCRATCH" PHILLIPS - "Mary Jo" (by
the Four Blazes) and "Fancy Meeting You" (by
Count Basie) -- two-sided 10" shellac KCOR radio
pressing, hand written on the label and signed by Scratch. Albert
"Scratch" Phillips was a legendary African
American disc jockey in San Antonio, Texas. Hired by KCOR on
May 25th, 1951, Scratch hosted a nightly two-hour R&B
radio show on KCOR. The listeners were treated to Jackie
Wilson, Ray Charles, Bo Diddley, James Brown and many other
entertainers. In 1953 KCOR opened up a cafe. Scratch installed
a broadcasting booth in the cafe, from which he originated his
nightly program. He later hosted a KCOR TV (channel 41) show.
Scratch died in December, 2004.
ARMSTRONG - "Big Butter and Egg Man" and
"When it's Sleepytime Down South" (two-sided
shellac test). "Big Butter and Egg Man" was a
1926 jazz song written by Percy Venable. Venable was a record
producer at the Sunset Cafe and wrote the song for Louis
Armstrong and singer May Alix. The song is often played by
Dixieland bands, and is considered a jazz standard. According
to pianist Earl Hines, Alix would often tease the young
Armstrong during performances. Armstrong was known to be
timid, and had a crush on the beautiful vocalist. At times,
Armstrong would forget the lyrics and just stare at Alix, and
band members would shout "Hold it, Louis! Hold it."
Armstrong's utterly confident cornet solo on the 1926
recording is one of his most highly acclaimed performances.
The song name was a 1920s slang term for a big spender, a
traveling businessman in the habit of spending large amounts
of money in nightclubs. The song is also known as "I
Want a Big Butter and Egg Man" or "Big Butter
and Egg Man from the West". >>>A
genuine Decca 78rpm record with "When it's Sleeytime Down South" by Louis Armstrong
and His Orchestra.
-- In 1931, Armstrong first recorded "When It's Sleepytime Down South," the
tune that became his theme song.
ARMSTRONG - "I'll Walk
Alone" and "Kiss of Fire" --
two-sided shellac test pressing, with "Kiss of Fire"
adapted from 'El Choclo' (Lester Allen–Robert Hill)
Decca 28177, [Master 82703]. Recorded April 19, 1952, Denver,
Colorado -- I touch your lips and all at once the
sparks go flying, Those devil lips that know so well the art
of lying. And though I see the danger, still the flame grows higher, I know I must surrender to your
kiss of fire. In anyone else's hands, the ancient tango Kiss Of Firewould
have sounded ludicrous, but Satch gives it the same
light-hearted treatment Fats Waller might have given it. Had
he heard it, Waller would have nodded in approval of Louis'
tag: 'Ah, boin (burn) me!'
-- "I'll Walk Alone" is recorded the same
date (April 19, 1952) in Denver, CO (Styne; Cahn) [master
82702] -- Decca 28177. Armstrong, Louis (Trumpet, Vocal),
Phillips, Russ (Trombone), Bigard, Barney (Clarinet), Ruffell,
Donald (Clarinet, Tenor Saxophone), Napoleon, Marty (Piano),
Jones, Dale (Bass), Cole, Cozy (Drums).
ARMSTRONG - "I Dream of Jeanie" and
"Indian Love Call" (two-sided shellac
test). "I Dream of Jeanie" was written by
Stephen Foster, originally titled "I Dream of Jenny
with the Light Brown Hair." Jenny was the nickname of
Stephen Foster's wife to whom - with whom he had an unhappy
on-again marriage. And he wrote this when they were estranged,
or - it's a little bit unclear - or possibly, just gotten back
together again. I dream of Jeanie with the light brown
hair. Borne like a vapor on the summer air. I see her tripping
where the bright streams play, happy as the daisies that dance
on her way. Many were the wild notes her merry voice would
pour. Many were the blithe birds that warbled them o'er. >>>A
genuine Decca 78rpm record with "Indian Love Call"
and "Jeanine" by Louis Armstrong and His
-- "Indian Love Call" was
recorded by Louis Armstrong and Gordon Jenkins & his
Orchestra. Written by Rudolf Friml, Herbert Stothart, Otto
Harbach and Oscar Hammerstein II. Recorded on November 28,
1951 in Los Angeles: Louis Armstrong, trumpet, vocal; Chris
Griffin, George Thow, Bruce Hudson, trumpet; Eddie Miller,
Dent Eckels, tenor saxophone; Charles LaVere, piano; Allan
Reuss, guitar; Phil Stephens, bass; Nick Fatool, drums;
Unknown strings, Gordon Jenkins (arranger, conductor).
Originally released on Decca 28076. "Indian Love Call"
wasn't the type of song Louis was going to start performing
live with the All Stars. Also, it doesn't appear to have made
any waves on the charts, either. But on June 8, 1952, over six
months after the studio recording, Louis performed it on
"The U. S. Royal Showcase," an NBC television show
with a studio band conducted for the occasion by Gordon
Jenkins. This performance was never issued commercially but it
is a fantastic little rarity.
ARMSTRONG - "I Get Ideas" and
"It's All in the Game" (two-sided
shellac test). The song, "I Get Ideas" was
originally a tango-cancion (music with lyrics) called "Adios,
Muchachos", composed by Julio Cesar Sanders
(often credited in the U.S. as "Lenny Sanders"). The
recording by Louis Armstrong was
recorded on July 24, 1951 and released by Decca Records as
catalog number 27720. It first reached the Billboard
magazine charts on August 24, 1951 and lasted 16
weeks on the chart, peaking at #13. It was the flip side to
"A Kiss to Build A Dream On."
-- "It's All in the Game" was a jazz
arrangement was recorded by Louis Armstrong (vocals) and
arranger Gordon Jenkins, with "some of Armstrong's most
honey-tinged singing." Carl Sigman composed the lyrics in
1951 to a wordless 1911 composition entitled "Melody
in A Minor," written by
Charles Dawes, later VP of the United States under Calvin
Coolidge. It is the only #1 pop single (a 1958 #1 hit for
Tommy Edwards) to have been co-written by a U.S. Vice
---DEEP RIVER BOYS - "What Did He
Say?" (The Mumbles Song). This is a rare original
10"/78 RPM test pressing of the famous "Mumbles
Song" by the Deep River Boys on RCA Records -- serial #
D7-VA-2057-1A. This recording was found in a storage facility not
far from the original recording studio in Camden, NJ. BACKGROUND: The Deep River Boys had their genesis on the
campus of Hampton Institute in Virginia in the mid thirties. They
found their first success in winning radio's "Amateur
Hour" competition. This notoriety led to opportunities to
appear on stage and in radio. During the Second World War the
group did extensive touring for the USO and provided
entertainment for American troops overseas. The members for most
of the life of the group were Harry Douglas, Jimmy Lundy, Ed
Ware, and Vernon Gardner.
In 1948 they released two songs for RCA -- "I'm Sorry
I Didn't Say I'm Sorry" and “What Did He Say,”
written by Cy Coben. Could this have been the first rap song ever
ROBESON - "De 'Old Ark's A-Movering" and
" Ezekiel Saw de Wheel" were recorded as
Echantillon Invendable "Sample Unmarketable"
Spirituals by Rapport (Report) de Fusins in Paris, France on
March 3, 1927 (one-sided, 10" 78rpm shellac test
pressing) --K7825, MX #38420, XREF #MW6068. BACKGROUND: In 1925 the baritone Paul Robeson became
the first major singer to perform Lawrence Benjamin Brown's
spiritual arrangement in concert. Robeson also was the first
solo singer to offer an entire concert of spirituals
SINGERS with CLIFFORD KEMP, CONDUCTOR - "Ave
Maria" (Villa-Lobos) was recorded by the
International Singers (with Clifford Kemp, conductor) at
Carnegie Hall in New York on April 7, 1949 (one-sided,
10" 78rpm shellac test pressing -- #H1, Carnegie Hall
Recording Co.). BACKGROUND: THE INTERNATIONAL SINGERS, with Clifford
Kemp as their conductor appeared at Carnegie Hall in concert
on April 7, 1949. Under the energetic and sensitive direction
of Mr. Kemp, the International Singers are rapidly becoming
known as the group likely to bring us realistic interpretations
of folk songs from many countries. Consisting of forty voices
with as many nationalities represented, the singers were
exceptionally persuasive in their rendition of songs like
"Ave Maria" and many others. Clifford Kemp
once stated, "Music can iron out misunderstandings better
ELLINGTON - "Blue Skies" and
"Squeeze Me But Don't Tease Me" (two-sided
shellac). This is a very nice, near mint 10" (78rpm)
Mid-1940s era air check of Duke Ellington. Can't tell
much more about it, except that the record came from the
collection of an advanced Ellington collector. BACKGROUND: “Blue Skies” was covered by well over
100 artists, including Duke Ellington. The song was born of
more desperation than inspiration. It was introduced in 1926
by well-known vaudeville star Belle Baker in the Broadway
musical Betsy, but that doesn’t begin to describe the saga of
how an Irving Berlin song ended up in a Richard Rodgers and
Lorenz Hart musical. The young songwriting team of Rodgers and
Hart had written the score for Betsy in the new fashion
sweeping Broadway musicals, that of integrating songs into the
characters and dramatic context of the story rather than
stringing together a series of song and dance numbers in the style
of a revue, often with little connection to the plotline.
Betsy, produced by Florenz Ziegfeld, was scheduled to open on
Broadway in December of 1926 after its Boston tryout, where it
was moderately well received but was far from being a hit.
Berlin’s first child had been born in November of 1926, and
the song he had started but not finished was to be gift to his
new daughter. All he had was the first eight bars of the
refrain, but with the help of Baker and her husband, Maurice
Abrahams, working through the night he finished the song,
lyrics and all, and it became “Blue Skies.” Herbert Baker
recalls, “It’s now about seven in the morning and the show is
due to open that night. My mother gets on the phone and calls
Florenz Ziegfeld. She wakes him up and she tells him that
Irving Berlin has been up all night working on a song for her,
and it’s finished, and it’s great, and she wants to sing it
tonight, and if she can’t sing it tonight she doesn’t want to
open in the show. When Baker sang “Blue Skies” she stopped the
show and had to sing twenty-four encores. On the twenty-third
time, overwhelmed by the response, she forgot the lyrics, and
Berlin, who was in the audience, stood up and gave her the
words. They finished the next chorus singing together.
ELLINGTON - "Just Good Fun" was
recorded by Duke Ellington (piano solo) at an ARC-Brunswick
recording session in New York on March 8, 1939 (one-sided,
10" 78rpm shellac test pressing) -- mx #MW-990-1, issued
on LP only; FDC-1003.
RUSHING with COUNT BASIE & HIS ORCHESTRA
Blues I Like to Hear" (one-sided shellac test). This
song was recorded in New York City with Jimmy Rushing on
vocals -- November 16, 1938 (released on Decca 2284, Matrix
#64748. Composed by Jimmy Rushing and arranged by Buster
Basie and his Orchestra : Ed Lewis, Harry Edison, Buck
Clayton, tp; Dicky Wells, Dan Minor, BennyMorton, tb; Earl
Warren, as; Lester Young,Herschel Evans, ts; Jack Washington,
bs, as; Count Basie, p; Freddie Green, g; Walter Page, b; Jo
Jones, drums. BACKGROUND: Born James Andrew Rushing on
August 26, 1903, in Oklahoma City, OK; died June 8, 1972, in
New York, NY. Jazz vocalist. Pianist. Played in Southern
California with Jelly Roll Morton, Harvey Brooks, and Paul
Howard, 1920s; member of Walter Page Blue Devils band,
1927-29; joined Bennie Moten's orchestra, 1929-35; member of
Count Basie Orchestra, 1935-50; toured with his own septet,
1950-52; as a solo act, 1952-72; Europe with Humphrey
Littleton, Buck Clayton, Benny Goodman, 1961; Japan and
Australia with Eddie Condon, 1964; appeared in film The
Learning Tree, 1969; appeared at the Half Note in New York
City playing with Al Cohn and Zoot Sims, early 1970s. Jimmy
Rushing, also known as "Mr. Five by Five," (short
height and wide girth) possessed ajoyous, booming voice
that could be clearly heard over the swinging jazz orchestras
of the big band era and beyond. He began his career as a piano
player in the 1920s, but soon found his voice. He made his
name with the Count Basie Orchestra in the 1940s, and enjoyed
an active career singing solo and with jazz and big-band
greats such as Humphrey Lyttleton, Buck Clayton, Benny
Goodman, Eddie Condon, Al Cohn, and Zoot Sims, among others.
He toured the United States and abroad, and his voice can be
heard on countless recordings, including the most recent
compilations The Essential Jimmy Rushing (1978), Mister
Five by Five (1980), and The Classic Count (1982).
BASIE and ORCHESTRA - "I'm Going to Move Way Out On the
Outskirts of Town" was recorded for Columbia Records
in Chicago on April 3, 1942 (one-sided, 10" 78rpm shellac
test -- #C-4226-1, Columbia Records). Count Basie is on the
piano and Jimmie Rushing is on vocals.
BASIE and ORCHESTRA - "Farewell Blues" was recorded
for Columbia Records 1942, released in May 1944
(one-sided, 10" 78rpm shellac test -- #36712 HCO-7877-1,
Columbia Records). is a
1922 jazz standard written by Paul Mares, Leon Roppolo and
Elmer Scoebel. The song was originally recorded on August 29,
1922 in Richmond, Indiana. Count Basie recorded this smooth
blues instrumental in 1942.
WHITE - "Cashmere Sweater" and
"The River, The Moonlight and
You" were recorded in NYC with an unidentified
orchestra (Hal Mooney, conductor) on November 9, 1956
(Whitehall Music, Record #70817two-sided, 10" 78rpm
shellac test -- Master #12452 & #12453).
VAUGHN - "Easy Come Easy Go Lover" was
recorded in NYC with the Don Costa Orchestra on March 29, 1954
(Mercury Records, Midway Music, #70299, one-sided, 10"
78rpm shellac test.
DAVIS - "Lullaby of Birdland" was
recorded by the Bill Davis Trio on January 8th, 1953 (Columbia
Records, Okeh label, #6946, one-sided, 10" 78rpm shellac
test, Matrix CO486771. Songf was written by George Shearing. Birdland was a
famous jazz club in New York City located at 1678 Broadway at
44th Street. It had previously been the Clique Club where
pianist George Shearing, composer of “Lullaby of Birdland,”
first played in 1949 with clarinetist Buddy De Franco. Later
that year owner Morris Levy renamed the club Birdland in honor
of Charlie "Bird” Parker. -- BACKGROUND: In his
of Birdland: The Autobiography of
George Shearing, Shearing says that there was
nothing special about the small club which seated a maximum of
175 when packed. But it became famous because of the live
broadcasts which originated there. In 1952 Levy decided to
have station WJZ in New York broadcast a disc jockey program
from there, and he asked Shearing to record a theme song for
the show. But Shearing didn’t like the song that Levy gave
him, so he offered to write one especially for the show. Levy
finally agreed with the stipulation that he be given
publishing rights while Shearing retain composer rights. For weeks Shearing
tried to come up with something but to no avail. Suddenly one
night in the middle of dinner he jumped up, went to the piano
and wrote the whole thing in about ten minutes. The pianist
explains, “Actually quite a lot of my compositions have come this
way--very slow going for a week or so, and the finished piece
comes together very rapidly, but as I say to those who
criticize this method of working, it’s not that I dash
something off in ten minutes, it’s ten minutes plus umpteen
years in the business.” Shearing recorded his instrumental for
the radio show and ultimately adopted it as the theme song for
his quintet. Somewhat later
George David Weiss added lyrics to the tune, and Sarah Vaughan
recorded it in December, 1954, for Mercury with trumpeter Clifford
Brown. It was one of her biggest hits and became a standard in
her repertoire. In 1956 a Parisian vocal group called the Blue
Stars took the song to the charts where it rose to #16. In
1962 Bill Haley and His Comets recorded a version of the tune
which they called, “Lullaby of Birdland Twist.” -- NOTE: On Feb 14, 2011.
George Shearing, the British piano virtuoso who overcame
blindness to become a worldwide jazz star, and whose
composition, "Lullaby of Birdland" became an
enduring jazz standard, died in Manhattan. He was 91.
DARNELL - "I'll Be Sittin' I'll Be
Rockin'" and "Crazy She calls Me" were
recorded with orchestra (Leroy Kirkland, conductor) in 1953
(Columbia Records, Okeh label #6954 two-sided, 10"
78rpm shellac test -- Master #CO48077 & #CO48060).
Composers for I'll Be Sittin': S. Wyche & L
Kirkland. Composers for Crazy She Calls Me: C. Sigman
& B. Russell.
-- BACKGROUND: This great R & B performer started out in
1950 with two well received recordings on the Regal label. Number 3236 - "I'll Get Along Somehow" and soon after #3240 -
"For you My Love". "I'll Get Along" is an
immediate hit on the West coast. In January of 1953
singer Varetta Dillard joins the tour with Darnell and the two
Harris blues men. In April "I'll Be
Sittin' and I'll Be Rockin'" and "Crazy She
Calls Me" is released on Okeh #6954. The famous R
& B popularity poll held by the Pittsburgh Courier places
Larry Darnell third among all male performers attesting to his
lasting appeal despite slumping record sales. Some of the
shows on tour offer an all out "Battle Of
The Blues" between Wynonie Harris and Larry
MURPHY - "Our Song and "What Can I
Do?" were recorded with Norman Leyden in January
1953 (Columbia Records, Okeh label #6954 two-sided,
10" 78rpm shellac test -- Master #CO48077 &
#CO48060). Composers for I'll Be Sittin': S. Wyche
& L Kirkland.
DAVIS - ""Nina Never Knew" and
"Rhapsody in Blue" were recorded in 1953
(Columbia Records, Okeh label #6965 two-sided, 10"
78rpm shellac test.
ROY & the COLLEGIANS - "The Leaf" and
"You Made a Fool of Me" were recorded with
the Ray Ellis Orchestra in March, 1953 (Columbia Records, Okeh
label #6954 two-sided, 10"
78rpm shellac test.
BOY WILLIAMSON - "Sonny Boy's Cold Chills" was
recorded in Chicago on August 6, 1946 (RCA Victor, Record
#20-2184, one-sided, 10" 78rpm shellac test.
Willis Lacy on guitar, Ransom Knowling on string bass, and
Blind John Davis on piano. Aleck "Rice" Miller
(December 5, 1899? – May 25, 1965) was an African American
blues harmonica player, singer and songwriter. He was also
known as Sonny Boy Williamson II, Sonny Boy Williams,
Willie Williamson, Willie Miller, Little Boy
Blue, The Goat and Footsie.
DIXIE STARS - "Sweet Mandy" and
"Henry Jones" were recorded on May 10, 1927
by Al Bernard and Russel Robinson (Brunswick Records, #E-23069
& #E-23064, two-sided, 10" 78rpm shellac test. Al
Bernard was born in New Orleans, he
became a blackface singer in minstrel shows before starting
his recording career around 1916. He was one of the first
white singers to record blues songs. W.C. Handy credited
Bernard with helping his own career by recording a number of
ARMSTRONG & HIS HOT FIVE - "You Made Me Love
You" and "Irish Black Bottom" were
recorded on November 27, 1926 (two-sided, 10" 78rpm
shellac test -- #09981A & #09980A). The song, "Irish
Black Bottom" was all the
craze in Ireland.
MARLEY & THE WAILERS - "Babylon By Buss" and "It's All in
the Game" (two-sided 12" 2LP test --
ISLD-11). Babylon By Bus is a
live album released by Bob Marley & The Wailers in 1978.
The album was recorded mostly at the Pavillion de Paris in
June 1978, during the Kaya Tour. Like the 1973 album Catch A Fire, the first release had something of
a novelty cover. The windows of the bus on the front cover
were cut out, revealing part of the inner sleeve. The listener
had a choice of four different scenes to view through the
RARE: V-Disc ---JIMMY
LUNCEFORD & HIS ORCHESTRA ("THE JIMMIES") -"I
Need a Lift" (extremely rare 12" one-sided
V-Disc 78rpm shellac test -- VP-1590, No. 568A). This song
featured Kirtland Bradford on alto sax, with vocals by
"The Jimmies" band. BACKGROUND:V-Disc ("V" for Victory) was
a morale-boosting initiative involving the production of
several series of recordings during the World War II era by
special arrangement between the United States government and
various private U.S. record companies. The records were produced
for the use of United States military personnel overseas. Many
popular singers, big bands and orchestras of the era recorded
special V-Disc records. These 12-inch,
vinyl 78 rpm gramophone recordings were created for the army
between October 1943 and May 1949. Navy discs were released
between July 1944 and September 1945. Twelve inch discs were
used because, when 136 grooves per inch were used, they could
hold up to six and a half minutes of music. The V-Disc project
actually began in June 1941, six months before the United
States' involvement in World War II, when Captain Howard
Bronson was assigned to the Army's Recreation and Welfare
Section as a musical advisor. Bronson suggested the troops
might appreciate a series of records featuring military band
music, inspirational records that could motivate soldiers and
improve morale. By 1942, the Armed Forces Radio Service (AFRS)
sent 16-inch, 33 rpm vinyl transcription discs to the troops
from eight sources: special recording sessions, concerts,
recitals, radio broadcasts, film sound tracks and commercial
There are two types of 78 pressing: Stock Shellac
and Laminated::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: ---Stock shellac pressings are those produced from a shellac and filler mix
(the fillers were put in to both increase the resistance to wear
and to keep the price down - shellac was and is expensive!).
Because of the quantity of filler used, stock shellac surfaces tend
to be noisy and prone to grittiness, e.g. Victor, Brunswick,
Vocalion, Decca etc. Most records pressed in the US, Europe and
Britain were stock shellac. ---Laminated pressings used a low quality filler core but then had a high
quality playing surface bonded to it. This playing surface was
shellac rich which meant that the surface noise was reduced
massively. The main users of Laminated Pressings in the US were
Columbia (1923-33 and again in the 1940s) and OKeh (1926-33 and
again later in the 1940s). In Britain Columbia (1923-31)and Parlophone (1928-31) used laminated
pressings until the merger with HMV into EMI in 1931. Thereafter
all EMI records were produced on stock shellac. In continental
Europe many Columbia and HMV (1928-1940s) pressings were also
laminated. The most interesting exception was Australia, where
laminated pressings were the rule rather than the exception from
1923 (Columbia) and 1931 (HMV) right through to the end of 78s.
Because of limited pressing facilities, even labels such as Decca
appeared as laminated pressings. The superior surfaces of the
Australian laminated pressings have thus long been prized by
5. 1829 newspaper from Bermuda - The Royal Gazette - Bermuda
Commercial and General Advertiser and Recorder - Hamilton, Bermuda: Donald
McPhee Lee (first editor) - No. 37 - Vol. 2, dated Tuesday, September 15,
1829 - this paper was started in 1828 and is still in production at the
present. This genuine historical 4 page newspaper has typical age toning,
foxing and edge wear and is printed on cotton and rag cloth. An intriguing
read as it gives first hand news and reflections of life at that time in
Bermuda and around the world, such as recently enacted laws, news (on
politics, wars and deaths), poetry and advertising were published in the
daily paper, with descriptive ads for runaway slaves and the selling of
In this issue is an interesting article about the Abolition
of Slavery, "At a meeting held at the Freemason's Tavern, London,
on the 14th July last, for the purpose of considering the means of protecting
from Slavery the future children born of Negroes in the British Colonies --
Mr. Olway Cave, in the chair. -- A variety of resolutions were proposed and
assented to, to the effect that Parliament should be petitioned for the liberation
of slaves born after a certain period in the British Colonies: the Rev.
Mr. Isaacson of Demerara, a clergyman of the Church of England, in proposing
the amendment to the resolution, "which" he said, "if carried
into effect, would shew (sic) whether the system of free labour was
practicable, and likely to benefit the slaves themselves;" added that
"the whole population of Montserrat and Tortola (6000 in number),
might be purchased for 600,000 Pounds; and it had been proposed to the Duke
of Devonshire to purchase these islands, in order to try a system of free
labour, which, if it succeeded, might then be extended to other Colonies..."
Extremely scarce, The Interesting Narrative of the Life of Olaudah
Equiano, or Gustavus Vassa, the African (1837 edition). Captured
far from the African coast when he was a boy of 11, Olaudah Equiano (1745 -
1797) was sold into slavery, later acquired his freedom. In 1789 Olaudah
wrote his widely-read autobiography. The youngest son of a village leader,
Equiano was born among the Ibo people in the kingdom of Benin, along
the Niger River. He was "the greatest favorite with [his]
mother." His family expected to follow in his father's footsteps and
become a chief, an elder, a judge. Slavery was an integral part of the Ibo
culture, as it was with many other African peoples. His family owned
slaves, but there was also a continual threat of being abducted, of
becoming someone else's slave. This is what happened, one day, while
Equiano and his sister were at home alone. Two men and a woman captured the
children. Several days later Equiano and his sister were separated. Equiano
continued to travel farther and farther from home, day after day, month
after month, exchanging masters along the way. Equiano's early experiences
as a slave were not all disagreeable; some families treated Equiano almost
as a part of the family. The kind treatment, however, was about to end.
About six or seven months after being abducted, Equiano was brought to the
coast, where he first encountered a slave ship and white men. As it was for
all slaves, the Middle Passage for Equiano was a long, arduous nightmare.
In his autobiography he describes the inconceivable conditions of the
slaves' hold: the "shrieks of the women," the "groans of the
dying," the floggings, the wish to commit suicide, how those who
somehow managed to drown themselves were envied. The ship finally arrived
at Barbados, where buyers purchased most of the slaves. There was no
buyer, however, for the young Equiano. Less than two weeks after his
arrival, he was shipped off to the English colony of Virginia, where
he was purchased and put to work. Less than a month later, he had a new
master -- Michael Henry Pascal, a lieutenant in the Royal Navy. Under this
master, who owned Equiano for the next seven years, Equiano would move to England,
educate himself, and travel the world on ships under Pascal's command. In 1766,
Equiano bought his freedom. He found work in the trade business in the
West Indies, then in London. In 1773, he took part in an expedition to try
to discover the Northwest Passage, a route through the arctic to the
Pacific Ocean. Back in England, Equiano became an active abolitionist.
He lectured against the cruelty of British slave owners. He spoke out
against the English slave trade. He worked to resettle freed slaves. In
1787 Equiano helped his friend, Offohab Cugoano, to published an account of his experiences, Narrative of
the Enslavement of a Native of America. Copies of his book were sent to
George III and other leading politicians. He failed to persuade the king to
change his opinions and like other members of the royal family remained
against abolition of the slave trade. By 1789, the year he published his
autobiography, Olaudah Equiano was a well-known abolitionist. In 1792
Equiano married Susan Cullen of Ely. The couple had two children,
Anna Maria and Johanna. However, Anna Maria died when she was only four
years old. Olaudah Equiano was appointed to the expedition to settle
former black slaves in Sierra Leone, on the west coast of Africa.
However, he died on 31st March, 1797 before he could complete the task.
7. Two William
Wilberforce signatures (one example seen to the left). Because of
this man, slavery ended in England and the abolitionist movement in
America was influenced. As a constituency Member of Parliament, he had a
lifelong involvement in the campaign to abolish slavery.
-- Handwritten letter by William Wilberforce (dated October 4th,
1808, East Bourne) to a Mr. Ch Idle, Esq., "My friend Mr. John
Thornton and I were intending to do ourselves the pleasure of calling on
you today, but we found on inquiry that you and Mrs. Idle were both
absent. Our object was to confer with you concerning the setting up of a
School (whether a Sunday or every day school may be matter of future
consideration) in this neighborhood and putting it under the care of some
truly pious teacher, ?, besides that general knowledge
of your character which would have prompted us to apply to you for your
concurrence in any such project...". NOTE: Mr. John Thornton was
a wealthy merchant banker who had financially assisted ex-slaver, John
Newton and many others.
"The Life of William Wilberforce", scarce First
Edition book written by Casper Morris, 1857.
Practical View Of The Prevailing Religious System Of Professed Christians, In
The Higher And Middle Classes, Contrasted With Real Christianity.
Book by William Wilberforce. Boston: Printed by Manning & Loring,
For Ebenezer Larkin. 1799. Second American Edition. Publisher’s full
calf leather over boards, red morocco spine label titled in gilt. 300 pages.
Volume measures 7” x 4 ½”. William Wilberforce was an English philanthropist
and anti-slavery crusader, who was instrumental in winning
the abolition of the British slave trade in 1807. He was also an M. P.
for the county of York and a central figure in the Clapham sect of
Evangelicals. His object here is to demonstrate how Christianity, as
practiced by the English middle and upper classes, differs from what he
considered "true Christianity". This book put him at the forefront
of the evangelical movement.
-- A Practical View of
the Prevailing Religious System by William Wilberforce, 1824. 6" x
4" x 1", in fair - poor condition -- yellowing/water
damage/spotting; binding is solid. Slight old book smell. -- "A Practical
View Of The Prevailing Religious System Of Professed Christians, In The
Higher And Middle Classes, Contrasted With Real Christianity", by William
Wilberforce (2 copies). Measuring about 3-1/2" x 5-3/4", and
375 pages long, this small hardback book is It is published in New York by
the American Tract Society, and is undated, the only clue being that it is
"from a late London edition." If I had to guess, I'd say somewhere
near the mid-1800s. The only illustration is a steel engraved frontispiece of
the author. It is bound in boards covered with peacock paper, and a green
leather spine, but I believe this is a re-binding. The boards do not feel as
thick and substantial as I would have expected them to be.
The Life of William Wilberforce (1872 edition) by his son, Samuel
Lord Bishop of Winchester, published by John Murray, London. 452 pages,
with engraved frontispiece, marbled page edges and endpapers, bound in blue
calf with gilt pattern and lettering on the cover and spine. The writing
on the front cover reads 'The
Gift of the Haberdasher's Company'. This book tells
the life story of William Wilberforce and the struggle to abolish the slave
trade. Overall, in good condition - the binding is tight and all
the pages are fine. However, the cover has been covered with a clear plastic
film. Some wear to the leather can be seen underneath, along the edges of the
cover and spine, with some discoloration to the back cover. Inside, a small
clipping has been stuck onto the back of the flyleaf and opposite,
there is an inscription from Newport Grammar School, dated 1894. Otherwise,
apart from some slight yellowing to the pages, the text is in excellent
The obituary of William Wilberforce in an intriguing volume of Gentleman's
Magazine (July to December, 1833). This is the concluding volume of the
original series Volume 103. Some of the items in this volume article
running over the months British Empire in India, Saint James Chapel Croydon
(with plate) much on Battles in Portugal between brothers of the Royal
Family, Charing Palace (Kent), suppression of the slave trade in India,
the obituary of ardent abolitionist and tireless anti-slavery advocate,
William Wilberforce, and the address to the House of Representatives by
President Jackson. 580 pages with 8 engraved plates, bound in half
calf, chip to foot of spine, bound tight. BACKGROUND: Gentleman's Magazine was founded in 1731, ceased
publication in 1907, founder Edwin Cave who assumed
the pen name of Sylvanus Urban. The first general interest magazine
to be published and the first to use the term magazine for a periodical
journal, published monthly. Amongst its early contributors was Samuel Johnson
who wrote parliamentary reports under the title "Debates of the Senate
of Magna Lilliputia" during times when parliamentary reporting was
banned. Each month every conceivable subject was covered plus regular
features; parliamentary reports, foreign and domestic news, monthly
historical chronicle (a monthly diary of current events), obituaries,
marriages, appointments, bills of mortality (all excellent references for the
genealogist with many names), reports and reviews of law cases, executions,
new publications. Of particular interest was the monthly section titled
London Gazette which was important extracts from the official government
newspaper often consisting of military and naval dispatches from commanders in
the field. Early copies were bound as 12 months, later as the magazine
grew in size they were bound as 6 monthly sections. Most months had a
variety of engraved plates bound in. History as it happened written by
people who were there, a fascinating read or a valuable reference work for
October 1, 1790 Literary Magazine
& British Review which is 240 pages long. 8" x 5". Some of the
subjects are the stock prices, poetry, Abolition of the Slave Trade, Life of
G. Buchanan, General Principals of Political Economy and much, much more. William
Wilberforce's famous abolition speech, delivered in the House of Commons on
Tuesday, May 12, 1789 is the backdrop to the article about the abolition of
the slave trade. In the article on the Abolition of the Slave Trade, the writer
states, "At a time when Parliament are
agitating the question of the slave trade, it is natural, as well as proper,
to enquire into its nature and effect. The project for its destruction
reflects an honour on the English, and affords a fresh proof to the world of
humanity which has been deemed their characteristic. That a scheme like this
should have met with impediments, might have been readily expected, as it
concerns a commerce-sanctioned by long usage and supported by strong and
powerful interest. I think, however, I can foretell, without prophetic
inspiration, that opposition will prove fruitless, and will serve to only
complete the triumph..."
-- Rare book entitled
"An Abstract of the Evidence Delivered Before a Select Committee
of the House of Commons in the Years 1790 and 1791, on the Part of the
Petitioners for the Abolition of the Slave Trade". The
title on the front cover reads: "Evidence on the Slave Trade".
This book was published by the American Reform Tract and Book Society (1855)
and has 117 pages. The book is about the evils of slavery and of the
slave trade. There are a list of witnesses who give accounts of the
capture of people in Africa and the ensuing enslavement. The book makes
a case against slavery. It is truly a collector's item.
Rare engraving of William Pitt published by the London Printing and
Publishing Company (1840). Pitt was quite simply one of the most
extraordinary politicians in history. For anyone to become Prime Minister
at the age of 24 is amazing in itself, but to then go on to become one of
the most dominant and long serving of British history puts him in a class of
his own. Most disappointing was that his enfeebled physical and political
state in his final years meant that he did not ram home his earlier
pioneering efforts to abolish the slave trade, something which was secured
only the year after his death. Pitt’s great friend William Wilberforce,
led the campaign to abolish the slave trade (1833) and then to abolish
slavery (1834) in the British Empire as well.
Rare edition of book (1787) written by ex-slave trader, John Newton
(Rector of St. Mary, Woolnoth, London) -- Letters and Sermons With a
Review of Ecclesiastical History and Hymns. This is Volume III of six
volumes. Gives an interior view of Newton's thoughts and ideals on various
spiritual topics. This collection also has several volumes of the 1824
edition of the series.
-- John Newton's book (very rare 1795 edition, First Edition
was 1764) "An Authentic Narrative of some remarkable and interesting
particulars in the Life of John Newton." Communicated in a Series of
Letters to the Rev. Mr. Haweis, Rector of Aldwinckle, Northamptonshire
by Newton, John (1725-1807). Printed in Philadelphia by William Young. The book
contains fourteen letters, which covers many topics -- "Voyage to Madeira,
Entry on Board a Guineaman, Voyage to Africa,
Voyage from Cape Lopez to England, Danger in the Voyage from
Cape Lopez, Voyage to Antigua, Last Voyage to Africa, etc.. Newton was
a minister in the Church of England and is best remembered as having written
the hymn Amazing Grace. 103 pp.; old leather binding in good+
condition. Contents with foxing, yellowing but still very readable; 2 worm
holes at top page edge, not affecting text.
Somewhat rare complete set of "The Works of John Newton: The Late
Rector of St. Mary Woolnoth and St. Mary Woolchurch Haw, London, With Memoirs
of the Author and General Remarks on His Life, Connections, and Character."
By the Rev. Richard Cecil, M.A. (Third Edition in Six Volumes). London,
MCDCCCXXIV (1824).In the sixth volume
there is a very rare 25-page section entitled, "Thoughts Upon the
African Slave Trade." Condition: The body and blocks of
all the volumes are holding fine. There is foxing throughout due to
age. Rubbing to spine, and splitting of outer cloth and around spine,
chipping, etc. Most of the pages are white and crisp, simply hurting a bit
cosmetically. All binding holding fine.
Scarce 1855 edition of "The Life of John Newton"
Written for Young Children, no author, published by Carlton & Phillips
for the Sunday School Union, NY. 92 pages, with 4 pages of advertisements for
publications by the Sunday School Union of the Methodist Episcopal Church.
Corners worn, wear to covers, piece torn out of flyleaf. Slight give to
binding. Overall in good shape.
Contents: I. A dream and the dreamer II. The ship of war III. Fresh
troubles IV. Deliverance V. Dangers and preservations VI. Conviction VII.
Happier prospects of life VIII. The sea-captain IX. Another change in life X. The sailor becomes a minister.
Hymns and Poems: a. The kite b. A thought on the
seashore c. Written at Cowslip d. A
friend e. The two debtors f.
The Bible g. Trust in Christ h. Saturday Evening
Extremely hard-to-find 1814 edition of"Letters To A
Wife" by John Newton. Includes letters sent to his
wife from 1750 through 1785. Many of these letters were sent from
Africa. John Newton was a hymn writer who composed the lyrics of
"Amazing Grace." Published by Whitehall in
Philadelphia. There is an appendix in the book about his wife's
illness. Bound into the back of the book in a different type face is a
separate thirty-one page publication entitled "A Monument To The
Praise of the Lord's Goodness, And to the Memory of Dear Eliza Cunningham."
The Minor Poems of the Inner Temple, by William Cowper.
Published, 1818 in London for John Sharpe -- 7" x 4", 108
pages. This book includes one of his more famous poems, "The Negro's Complaint", along with
an engraved image. This fine volume also includes, "Sonnet to William Wilberforce, Esq.", "To the Rev. Mr. Newton", and
For Poor Africans." Nice gilt tooled full calf leather bound copy
with many engraved plates. William Cowper (pronounced Cooper) (November 26,
1731 – April 25, 1800) was an English poet and
hymnodist. One of the most popular poets of his time, Cowper changed the
direction of 18th century nature poetry by writing of everyday life and
scenes of the English countryside. He suffered from periods of severe
depression, and although he found refuge in a fervent evangelical
Christianity, the source of his much-loved hymns, he often experienced doubt
and fears that he was doomed to eternal damnation. However, his religious
motivations and association with John Newton (who wrote the
Grace") led to much of the
poetry for which he is best remembered in the popular mind.
Rare 1835 engraving of abolitionists William Wilberforce and Thomas
Clarkson (8.5 x 5.5) -- together in one etching, just one year after the
Slave Trade had been officially abolished in England.
Very scarce wall
plaque measuring 5 ¾ " X 8 ¾ ". The front reads:-William Wilberforce 1759 – 1833 M P For Kingston
Upon Hull and Yorkshire, Emancipator. Abolition of Slavery Act 1833. The back of the
plaque has the Eastgate Pottery Withernsea stamp. Made in England. We
contacted Eastgate Potteries in Withernsea, UK for more information. The
Director, John D. Worsdale responded with this note, "This was one of a limited number of plaques manufactured
in the 1970's, as a special commission for William Wilberforce House. There
were only 50 plaques made. I have never seen one for sale, therefore I cannot
give you an estimate on value...It is extremely rare."
Thomas Clarkson. A Portraiture
of Quakerism. Taken From a View of the Education and Discipline, Social
Manners, Civil and Political Economy, Religious Principles, and Character of
the Society of Friends. First Edition. New York: Samuel Stansbury, 1806.
3 volumes, 12 mo, 363, 382, and 372 pages. Edge worn, leather covers, foxed
and browned paper, owner names handwritten in volume I (Ann Allen, Francis R.
Taylor), a decorative gilt stamp of Ann H. Allen’s
name is in the other two volumes.Thomas Clarkson (28
March 1760 – 26 September 1846), abolitionist,
was born at Wisbech, Cambridgeshire, England, and became a leading campaigner
against the slave trade in the British Empire. As an Anglican, Clarkson’s
“Portraiture” looks at peculiar Quaker practices and reverse-engineers them to show how they help Quaker stay in that Christian
-- While working for the abolition of slavery, the author
encountered many Quakers and was impressed by their moral history. Thomas
Clarkson wrote, “I felt also a great desire...to do them justice; for
ignorance and prejudice had invented many expressions concerning them, to the
detriment of their character, when their conduct never gave me reason to
suppose, during all my intercourse with them to be true.” These three volumes
form a sympathetic history of the Quakers written by a non-Quaker, with a
focus on their moral character, discipline, beliefs, peculiar customs, and
LAST PUBLICLY SPOKEN WORDS OF THOMAS CLARKSON: (from The Leisure
Hour journal, March, 1865)Slavery everywhere was attacked after
it had fallen in the British dominions. Joseph Sturge, from the
beginning of the new endeavors to the end of his life, was one of the main
elements of strength and support. Readers will remember the celebrated
conference held at the Freemason's Hall, June 1840, when and where were
gathered between 500 and 600 delegates, from all parts of the world, we may
say, besides all that was great and good in every philanthropic undertaking.
It was a noble assembly. There Thomas Clarkson appeared for the last
time in public. We give our readers a condensed account of the scene from the
pen of the painter Haydon, who was present as an artist to find
materials for one of the greatest pictures.
"In a few minutes," he says, "an unaffected man
got up and informed the meeting that Thomas Clarkson would attend shortly : he begged no tumultuous applause might greet his
entrance, as his infirmities were great, and he was too nervous to bear any
such expressions for feelings." This was Joseph Sturge. In a few minutes
the aged Clarkson came in, gray and bent, leaning on Joseph Sturge for
support, and approached with feeble and tottering steps, the middle of the
convention. Immediately behind him were his daughter-in-law, the widow of his
son, and his little grandson. The old man first appealed to the meeting for a
few moments of silent prayer; and says Haydon, "for a minute there was
the most intense silence I have ever felt." He spoke a few feeble words : every word was uttered from his heart.
After urging the members to persevere to the last, til slavery
was extinct, lifting his arm and pointing to heaven, his face quivering in
emotion, he ended by saying, "May the Supreme Ruler of all human events,
at whose disposal are not only the hearts, but the intellects of men -- may
He, in His abundant mercy, guide your counsels and give His blessing upon
your labours." There was a moment's pause; and then, without an
interchange of thoughts or look, the whole of the vast meeting, men and
women, said in a tone of subdued and deep feeling, "Amen and amen!"
-- Thomas Clarkson's 1808 First Edition of, The History of the
Rise, Progress, and Accomplishment of The Abolition of the African Slave
trade by the British Parliament. -- Clarkson starts out by saying,
"No subject more pleasing that that of the removal of evils -- Evils
have existed almost from the beginning of the world -- but there is a power
in our nature to counteract them -- this power increased by Christianity --
of the evils removed by Christianity one of the greatest is the Slave Trade
-- The joy we ought to feel on its abolition from a contemplation of the
nature of it -- and of the extent of it -- and of the difficulty of subduing
it -- Usefulness also of the contemplation of this subject."
First Edition (1854) "Life
Of Thomas Clarkson" by James Elmes. Thomas Clarkson
(1760 – 1846), abolitionist, was born at Wisbech, Cambridgeshire, England,
and became a leading campaigner against the slave trade in the British
Empire. This book details his contributions toward the abolition of the
Slave-Trade and Slavery. Published by Blackader & Co., London.Hardbound in tan
waxed cloth. It is an important piece of social history pertaining to this
turbulent period in both British and American History. Author, James Elmes
(1782 – 1862) was an English architect, civil engineer, and writer on the
arts, he was born in London.
Thomas Clarkson's book, "The History of the Rise, Progress,
and Accomplishment of the Abolition of the African Slave-Trade by the British
Parliament" -- 1836 edition written under the supervision of New
York University, 276 pages. Published by John S. Taylor, corner of
Park-Row and Nassau-Street, Opposite the City Hall. This is the first of
a 3 volume set. "The Cabinet of
Freedom" under the supervision of the
Hon. William Ray Rev. Prof. Bush of the University of New York, and Gerrit
Smith, Esq. There is an engraving of a slave in chains and above the
picture are the words "Am I Not a Man and a Brother?" The size is 7
1/2" X 5". The book
talks about how the slaves were treated on board the slave ships.
James Montgomery-- The Abolition of the Slave Trade: A Poem in Four
Parts. Very hard to find. 1814, folio size, 10" x 12.5", with
many engravings. London: Printed by T. Bensley.The poem "The West Indies," was
written to accompany a series of pictures published as a memorial of the abolition
of the slave-trade. In this genial labour, to which the poet says he gave
his whole mind, as affording him an opportunity of exposing the iniquities
of slavery and the slave-trade. Importance: In 1807 a
commission was delivered from the printer Bowyer to write a poem on the
abolition of the slave trade, to be published along with other poems on the
subject in a handsome illustrated volume. The subject was well adapted to
Montgomery's powers, appealing at once to the philanthropic enthusiasm in
which his strength lay, and to his own touching associations with the West
Indies. Its poem entitled 'The West Indies' accordingly appeared in Bowyer's
illustrated publication in 1809. Although rather rhetoric than poetry, is in
general well conceived and well expressed, and skilful as well as sincere in
its appeals to public sentiment. On its first appearance in Bowyer's volume
it proved a failure, but when published separately (London, 1810, 12mo) it
obtained great popularity. James
Montgomery: Born November 4, 1771, in Ayrshire, Scotland,
James Montgomery was brought up and educated by Moravians near Leeds after
his parents left for America, never to return. He became an editorial
assistant to the Sheffield Register in 1792. Acquiring the newspaper himself,
he renamed it the Isis and in it advocated reformist causes at an unpopular
time, during the French Revolution, and went to jail for his trouble twice in
1795-96. He returned to his journalism then and published a book of poems
about his imprisonment. This led to an avocation in poetry and letters. He
brought out volumes of poems and hymns from 1797 until the mid-19th-century.
After 25 years in the news business, Montgomery retired from journalism and
lived on a Literary Fund pension until his death on April 30, 1854.
Throughout his life he actively worked for humanitarian causes and gained the
respect and affection of his fellow poets.
-- An intriguing hand written letter (dated March 12, 1792) from Banff,
Scotland, written by George Robinson, sent to Cam Haliburton,
Esq. Edinburgh. In the letter Robinson states there is a petition to abolish
the slave trade in Scotland......"Sir: I trust that your sentiments will
hopefully accord with mine on the subject of the African slave trade.
I have taken the liberty to write you this to inform you that I had the honor
to transmit to my worthy friend Mr. Alex Brodie, Member for this
district of Burroughs, a petition by appointment from the Magistrates of
Council of this Burgh, petitions for the xxxxxxxxxxxx inhabitants of this
place xxxxxxxxx xxxxxxxxx to Mr. Brodie, a petition from Free Persons of
this County and one from the Presbyterian xxxxxxxxxxxxxx were sent to Sir
James xxxxxxxx, Member for this County for abolishing the Slave Trade.
I mention this in case you should think it proper to inscribe it in any of
your Edinburgh papers. I am very so hopefully, Sir. Your most obedient
servant, George Robinson" (There were some key words that
are illegible, or were part of the paper that had been torn when opened in
1792.) -- HISTORICAL BACKGROUND OF LETTER: William Dickson,
a former secretary to the Governor of Barbados (Hon. Edward Hay) and the
author of 'Letters on Slavery' (1789), was engaged by the London
Anti-Slavery Society to gain support for the abolition movement in
Scotland. William Dickson has a diary of a visit to Scotland from January
5th - March 19th, 1792 on behalf of the Committee for the Abolition of
the Slave Trade. It is probable that the writer of this letter had
personal contact with William Dickson, who originally came from Moffat,
Let's get a sense of Dickson's feelings about the Slave Trade
-- In an1787 letter to Thomas Clarkson,
Dickson states, "Of the Africans, above one fourth perished on the
voyage to the West Indies, and four and a half percent more died on average
in the fortnight intervening between the days of entry and sale. To close
this awful triumph of the King of terrors, about two in five of all whom the
planters bought were lost in seasoning within the first three years and
before they could be said to have yielded any productive labour. Now if seven
years be the average labouring period of bought slaves, a lot of five should
yield thirty five years of labour; and two of them having died, each of the
other three must yield nearly twelve years or with the three years of
seasoning, nearly fifteen years. But to look for fifteen years of even blank
existence, without labour, from each of the survivors of a worse than
pestilential mortality, heartless and enfeebled as they must generally be,
would be madly romantic."
One scholar states that Dickson "one of the most useful and intelligent
observers on the institution of slavery in Barbadoes ..he makes many shrewd sociological assessments of the
working of the slave system ... an important book for the study of Barbadoes
social history." Dickson was an enlightened man of his day, who argued
for an end to the slave trade and gradual, but not immediate,
An extremely rare 1794 edition of "The Journal of John Woolman",
printed in Dublin. It is the first edition printed after his death. 464
pages, leather-bound. Woolman is said to be the very first abolitionist in
America. BACKGROUND: John Woolman (October 19, 1720 – October 7, 1772) was an
itinerant Quaker preacher, traveling throughout the American colonies,
advocating against conscription, military taxation, and particularly slavery.
John Woolman came from a family of Friends (Quakers). His grandfather, also
named John Woolman, was one of the early settlers of New Jersey. His father
Samuel Woolman was a farmer. Their estate was between Burlington and Mount
Holly Township in that state. At age 23 his employer asked him to write a
bill of sale for a slave. He told his employer that he thought that slave
keeping was inconsistent with the Christian religion. Many Friends
believed that slavery was bad — even a sin — but there was not a universal
condemnation of it among Friends. Some Friends bought slaves from other
people in order to treat them humanely and educate them. Other Friends seemed
to have no conviction against slavery whatsoever. Woolman took up a concern
to minister to Friends and others in remote places. He went on his first
ministry trip in 1746 with Isaac Andrews. They went about 1,500 miles
round-trip in three months, going as far south as North Carolina. He preached
on many topics, including slavery during this and other such trips. In 1754
Woolman wrote Some Considerations on the Keeping of Negroes. He refused to
draw up wills transferring slaves. Working on a nonconfrontational, personal
level, he individually convinced many Quaker slaveholders to free their
slaves. He attempted personally to avoid using the products of slavery; for
example, he wore undyed clothing because slaves were used in the making of
dyes. Whenever he received hospitality from a slaveholder, he insisted on
paying the slaves for their work in attending him. Woolman worked within the
Friends traditions of seeking the guidance of the Spirit of Christ and
patiently waiting to achieve unity in the Spirit. He went from one Friends
meeting to another and expressed his concern about slaveholding. One by one
the various meetings began to see the evils of slavery and wrote minutes
condemning it. In his lifetime, Woolman did not succeed in eradicating
slavery even within the Society of Friends in the United States; however, his
personal efforts changed Quaker viewpoints. In 1790 the Society of Friends
petitioned the United States Congress for the abolition of slavery. The fair
treatment of people of all races is now part of the Friends Testimony of
Equality. The Journal of John Woolman is considered to be an important
Extracts from The Minutes of the Yearly Meeting Of Friends (Quakers)
held in Philadelphia 1856. Philadelphia: T. Ellwood Chapman No. 1
South Fifth Street, 1856. 24 pages with front and back cover. Includes
following Meetings: Philadelphia; Abington; Bucks; Concord; Caln; Western;
Southern; Burlington; Haddonfield; Salem; Fishing Creek. T. Ellwood Chapman
was an important publisher of Quaker and Anti-Slavery tracts in the 1850s
"William Lloyd Garrison: The Story of His Life",
1st Edition books (I&II), 1885, by his children.
-- Autographed letter (8” x 9 ¾”) signed, front and
back, March 7, 1870, from Wendell Phillips to Rev. Francis Hodgson. “…Hearing
that our change of my lecture to the Last Acts, has been objected to and some
fault found with yourself…I desire to say…that the fault, if any, belongs
entirely to me….” Background: Wendell
Phillips (1811-1884) was a prominent abolitionist. A
wealthy graduate of Harvard Law School, Phillips sacrificed social status and
a prospective political career in order to join the antislavery movement. His
reputation as an inspirational orator was established with his address at an
abolitionist meeting in 1837 to protest the murder of Elijah Lovejoy. He
became an associate of William Lloyd Garrison and lectured widely at meetings
of the American Anti-Slavery Society, serving as its president from 1865 to
1870. He also advocated prohibition, woman suffrage, prison reform,
regulation of corporations, and labour reform.
8. Steel/wood engravings, etchings, handwritten/signed letters, books,
and/or CDVs (many with facsimile or genuine signatures) of anti-slavery
abolitionists, like John Jay, Henry Thornton (relative of William
Wilberforce), Isaac Hopper (founded the Underground Railroad), Charles
Dickens, John Greenleaf Whittier, Thomas Babington Macaulay, Daniel Webster,
Ben Franklin, William Wadsworth Longfellow, William Henry Seward, William
Wilberforce, Granville Sharp, Isaac Hopper, Thomas Clarkson, Salmon P. Chase,
Henry Wilson, Alphonse de Lamartine, Horace Greeley, John Andrews, Schuyler
Colfax, Edwin Stanton, Philip Sheridan, William T. Sherman, Ulysses Grant,
Cassius Clay, Hannah Moore, Owen Lovejoy, Gerrit Smith, Joshua Giddings, John
Quincy Adams, Benjamin Lundy, Oliver Howard, William Buckingham, James
Montgomery, David G. Farragut, Thaddeus Stevens, Sir Thomas Fowell Buxton,
Zachary Macauley, Joseph Sturge, Wendell Phillips, Harriet Beecher Stowe,
William Cowper, Charles Fox, William Cullen Bryant, Fanny (Frances) Kemble,
William Forster, William Pitt, Frederick Douglass, William Lloyd Garrison,
William Henry Brisbane, Edmund Quincy, Henry Ward Beecher, Martin Delany, Charles
Sumner, Elihu Burritt, Henry Wilson, Lord Brougham, James Russell Lowell,
William Smith and many others...
"The Internal Administration of The Imperial Guard 1945
E.C."280 pages. This very rare book is hand stamped by the Imperial
Guard and contains the rules, regulations, and forms of the Imperial Guard of
His Majesty Haile Selassie I. This book contains a nice photo of Haile
Selassie I, many fold out forms and lists showing
the many regulations of the Imperial Guard. Intriguing.
-- World Tour Book of His Majesty Haile Selassie's visit to America in
1954 (mint condition), published by Ethiopian Government.
League of Nations: Committee Reports on the Question of Slavery. 18
different reports dating from 1923-1930 -- 2 are in French, the rest in
English that deal with the question of slavery, including slavery
conventions. The reports are 8" x 14' tall. There is one report: 'Communication
with the Government of Liberia' (1930) that is a bound booklet of 128 pp.
The rest of the booklets are 1pp-20pp each. Includes: Communication with
the Government of Sudan, Annual Reports, Communication
with the Government of Liberia.
<< Click on image to the left to watch a 4 minute
film trailer of the Return To Glory film
11. Handwritten letter signed by author of Count of Monte
Cristo and The Three Musketeers, Alexandre Dumas, along
with a First Edition set of his major works. Alexandre Dumas was
born in Villes-Cotterêts. BACKGROUND: His grandfather was a French nobleman, who had settled
in Santo Domingo (now part of Haiti); his paternal grandmother,
Marie-Cessette, was an Afro-Caribbean, who had been a black slave in
the French colony (now part of Haiti). Dumas did not generally define
himself as a black man and there is not much evidence that he encountered
overt racism during his life. However, his works were popular among the
19th-century African-Americans, partly because in The Count of
Monte-Cristo, the falsely imprisoned Edmond Dantès,
may be read as a parable of emancipation. In a shorter work, Georges
(1843, George), Dumas examined the question of race and colonialism.
The main character, a half-French mulatto, leaves Mauritius to be educated
in France, and returns to avenge himself for the affronts he had suffered
as a boy -- order postcard of Dumas
-- December 15th, 1870 issue of New York Herald, "Death of
-- First Day Cover French Stamp about Victor
Schoelcher -- Victor
(1804-1893) was a French humanitarian, statesman and writer who devoted his
life and fortune to the abolition of slavery in the French colonies. Victor
was born in Paris in 1804. He was the son of a wealthy porcelain
manufacturer, and after a short period of secondary education, he took over
his father’s factory in Paris. However, it soon became clear that his
interests lay elsewhere. He was a humanitarian thinker and chose music,
reading, writing and politics over business and industry. In 1829-1831
Schoelcher was sent to the Americas in search of new customers for the
business. On his journey in Mexico, Cuba and the southern United States, he
discovered the harsh realities of slavery and began his career as an
abolitionist writer. His writings centered around
the social, economic and political advantages that could be gained from the
abolition of slavery, drawn from a comparative analysis of the results of
emancipation in the British colonies (1834-1838). Schoelcher believed that
the production of sugar should continue in the colonies with the
construction of large factories in replacement of slave labor. When the
Revolution of 1848 broke out in France, Schoelcher returned with haste to
take up appointment as Under-Secretary of State for the Colonies. He set up
and presided over a commission for the abolition of slavery. Under his
direction the commission prepared a decree abolishing slavery in all French
territories, which the provisional government adopted on 27 April 1848. As
a result, more than 260.000 people in the Americas, Africa and the Indian
Ocean gained their freedom. In 1851, Schoelcher opposed the coup d’état of
Louis Napoleon and was forced into exile in England and Belgium until
Napoleon’s fall in 1870. On his return, Schoelcher regained his place in
the National Assembly for Martinique and Guadalupe, sitting on the extreme
left. In 1875 he was elected senator for life. Victor Schoelcher died in
1893. His ashes were transferred to the Pantheon in Paris in 1949.
12. Abridgement of the Debates of Congress from
1789 to 1856 from Gales and Seaton's Annals of Congress; from Their
Register of Debates; and from the Official Reported Debates. By John C.
Rives - Vol XII covers the debates of the 22nd Congress, 1832-1836.
New York: D. Appleton, 1860. Assumed First. There are several entries on
slavery – many, many pages on the slavery issues in DC. Also
anti-slavery incendiary publications, slavery in Arkansas, slavery
memorials, abolition of slavery, etc.. 8vo
- over 7¾" - 9¾" tall. Full-Leather.
-- The Debates and Proceedings in the Congress of the United
States; with an appendix, containing important state papers and public
documents, and all the laws of a public nature; with a copious index.
Volume II, comprising (with volume 1) the period from March 3, 1789, to
March 3, 1791, inclusive. Compiled from authentic materials, by Joseph
Gales, Senior. Washington: Gales and Seaton, 1834. Volume 2 only which
covers February 18, 1790 to March 3, 1791. Also includes the 188
page appendix w/ "reports and other documents". In late 18th/
early 19th century period full leather binding.
-- Supreme Court Reports (1801 - 1882) -- a collection of 98
books of US Supreme Court Reports. They were published in 1903 by the
Banks Law Publishing Company. They cover Supreme Court case law from
1801 to 1882. Imagine what has been stated about the Missouri
Compromise, the Dred Scott Decision and others relating to the Black
experience in America. Important tool in the hands of researchers. Very
important and scarce volumes -- that's 98 volumes!
Click on image to the right to watch a 10 minute
interview with Dr. Freeman on Canadian TV >>
-- An extremely rare bound historical account of the Congress (468 pages), titled
APPENDIX TO THE CONGRESSIONAL GLOBE, dated 1859 with the first part
being the speech given by Pres. James Buchanan to the Joint Session of
the Congress. Excellent historical account of the actual word for word
debates that went on just prior to the outbreak of the Civil War., the slavery question, the expansion of slavery into the
Territories, the Admission of Kansas to the Union
is hotly debated by both slave-holding and free-state supporters. This
included the debate concerning the FAMOUS BOOK BY HELPER, called at this
time, THE BLACK BIBLE, this book was banned in
the south. The southern Congressmen are up in arms over the content of
this book depicting the south as barbarians with their slaves, etc.
News of the re-election of Stephen A. Douglas, the Homestead Bill,
debates over the marriage of Mormons to many wives, Details of the famous
TEXAS REGIMENT, and their action against the frontier Indians. Much
on slavery is debated. The DRED SCOTT DECISION (1857 US Supreme
Court, 19 U.S.
393, 407, 15 L.ED. 691, decision said, "No white man was bound to respect
the rights of an African".) is debated in
detail. Details of ABRAHAM LINCOLNare
brought forth by the Senator from Illinois and the newly established Republican Party. Each page
printed in three columns for maximum information; foxed throughout.
-- Congressional Globe 1858 debates proceeding US
congress. The Congressional Globe: Containing the Debates and
Proceedings of the Second Session of the Thirty-Fifth Congress: Also, of
the Special Session of the Senate. by John C.
Rives. Washington: John C. Rives, 1859. Mid-19th
century period 1/2 leather binding. Smooth spine in five gilt-ruled
compartments w/ gilt title and date. Blue marbled paper covered boards w/
leather board corners. Binding tight and sound. 1000s of pages of
information on the proceedings of Congress. Index for both the US Senate
and the US House of Representatives. This covers Dec. 10, 1858
through Feb. 14, 1859. Includes much on the Native Americans
and the Slavery Trade bill. VG+ near fine condition, very little
wear. Measures 9" x 12." 1040 pp.
-- 1862 Congressional Globe, 960 pages. Containing the debates and
proceedings of the Second Session of the Thirty-seventh Congress. Edited by
John C. Rives and published at the Congressional Globe Office, Washington,
1862. very slight occasional foxing,
otherwise in remarkably good condition.. Includes many debates on military
support, slavery, secession, and other issues relevant to the
Civil War. Scarce item.
-- 1854 Congressional Report -- African Slave Trade --
Brazil. 33d Congress, 1st Session - Senate - Ex Doc. No. 47. 14
pages. Titled "Message From The President of the United States,
compliance with a resolution of the Senate, the correspondence between Mr.
Schenck, United States Minister to Brazil, and the Secretary of State, in
relation to the African slave trade."
-- Abraham Lincoln signed 25 copies of the Emancipation
Proclamation. In this collection are two copies of the Emancipation
Proclamation directly from one of the originals signed by Lincoln in 1863.
-- Rare Abraham Lincoln Campaign first edition book printed
during Lincoln's presidential campaign of 1860. POLITICAL DEBATES
BETWEEN HON. ABRAHAM LINCOLN and HON. STEPHEN A. DOUGLAS In the
Celebrated Campaign of 1858, in Illinois; INCLUDING THE
PRECEDING SPEECHES OF EACH, AT CHICAGO, SPRINGFIELD, ETC: ALSO, THE TWO
GREAT SPEECHES OF MR. LINCOLN IN OHIO, IN 1859, AS CAREFULLY PREPARED BY
THE REPORTERS OF EACH PART, AND PUBLISHED AT THE TIMES OF THEIR DELIVERY.
COLUMBUS: FOLLETT, FOSTER AND COMPANY, 1860. BACKGROUND: The
Lincoln-Douglas Debates were a series of debates that took place during the
1858 presidential campaign in seven locations across Illinois. Even though
Douglas won the election, these debates had launched Lincoln into the
national spotlight. These debates are considered a major contributor to the
separating of the South from the Union and ultimately leading to the Civil
-- "The Emancipation", January 24, 1863
Harper's Weekly. Famous double page engraving by Thomas Nast,
the subject of which is Emancipation. Measures 22" x 15 1/2".
Condition is very good.
-- 1860 Congressional Report Civil War, 835 pages. A
lot of discussion about slavery-related issues.
-- Rare Senate report (March 8, 1860) stating that 7
families are asking for compensation for slaves taken and carried away
by the British during the War of 1812.
-- House of Representative Resolution (February 26, 1866) about the "Protection
of Emancipated Slaves and Freedmen."
-- Front Cover Portraits of Dred Scott, His Wife, Harriet
and Children Eliza & Lizzie!. Multi-Column
Details of His Life, Family and The Decision of The Supreme Court! An Original and Complete Issue of LESLIE'S WEEKLYdatedJune 27, 1857.
Fine Illustrations with Reports Including: A Front Cover Series of
Portraits with Indepth Report: "VISIT TO DRED SCOTT---HIS
FAMILY--INCIDENTS OF HIS LIFE---DECISION OF THE SUPREME COURT---ELIZA AND
LIZZIE, CHILDREN OF DRED SCOTT, HIS WIFE, HARRIET" Fine
Descriptive Report! --
The Eastern Argus, a very rare historical newspaper, printed in Portland,
Maine on September 12, 1858 announcing: "The Death of Dred Scott."
Scott (1799 - Sept. 17, 1858), was a slave in the USA who sued
unsuccessfully for his freedom in the famous Dred Scott v. Sanford
case of 1857. His case was based on the fact that he and his wife
Harriet were slaves, but had lived in states and territories where
slavery was illegal, including Illinois and Minnesota (which was then
part of the Wisconsin Territory). The United States Supreme Court ruled
seven to two against Scott, finding that neither he, nor any person of
African ancestry, could claim citizenship in the United States, and that
therefore Scott could not bring suit in federal court under diversity of
citizenship rules. Moreover, Scott's temporary residence outside Missouri
did not effect his emancipation under the Missouri
Compromise, since reaching that result would deprive Scott's owner
of his property.
Dred Scott, his wife
(Harriet) and two daughters
(Eliza and Lizzie).
CHIEF JUSTICE TANEY: Taney
wrote for the majority. In the first section of his opinion, he held that
the case must be dismissed for lack of jurisdiction. Scott, being a Negro,
could be a citizen of a state–that was a matter of state law –- but he
could not be a citizen of the United States, within the meaning of the
Constitution, so as to be able to bring a case in federal court. In the
course of explaining why members of the black race could not be citizens,
Taney argued that representatives of the slaveholding states would never
have consented to a Constitution that had the potential to confer
citizenship on Negroes. Imagine, he wrote, the consequences:
“It cannot be
believed that the large slaveholding States regarded them as included in
the word citizens, or would have consented to a Constitution which might
compel them to receive them in that character from another State. For if
they were so received, and entitled to the privileges and immunities of
citizens, it would exempt them from the operation of the special laws
and from the police regulations which they considered to be necessary for
their own safety. It would give to persons of the negro race, who were recognized
as citizens in any one State of the Union, the right to enter every other
State whenever they pleased, singly or in companies, without pass or
passport, and without obstruction, to sojourn there as long as they
pleased, to go where they pleased at every hour of the day or night without
molestation, unless they committed some violation of law for which a white
man would be punished; and it would give them the full liberty of speech
in public and in private upon all subjects upon which its own citizens
might speak; to hold public meetings upon political affairs, and to keep
and carry arms wherever they went. And all of this would be done in the
face of the subject race of the same color, both free and slaves, and
inevitably producing discontent and insubordination among them, and endangering
the peace and safety of the State.”
is impossible, it would seem, to believe that the great men of the
slaveholding States, who took so large a share in framing the Constitution
of the United States and exercised so much influence in procuring its
adoption, could have been so forgetful or regardless of their own safety
and the safety of those who trusted and confided in them. It is noteworthy that Taney placed the
right to “keep and carry arms wherever they went,” along with the rights of
free speech and public assembly, as unquestionable privileges of
of the Committee on the Conduct of the War: "Fort Pillow Massacre" and also
a report titled "Returned Prisoners", no date of
publication, but probably May, 1864 just after the
reports were made public. Graphic Eyewitness testimony and question
and answer sessions. Four prints of prisoners. In April 1864, the
Union garrison at Fort Pillow, a Confederate-built earthen fortification
and a Union-built inner redoubt, was overlooking the Mississippi River
about forty river miles above Memphis, under the command of Maj. Lionel F. Booth. Confederate
Maj. Gen. Nathan Bedford Forrest attacked the fort on April 12 with a
cavalry division of approximately 2,500 men. Approximately 300 African
American troops were massacred here. Up to that time
comparatively few of our men had been killed; but immediately upon
occupying the place the rebels commenced an indiscriminate butchery of the
whites and blacks, including the wounded. Both white and black were
bayoneted, shot, or sabred; even dead bodies were horribly mutilated, and
children of seven and eight years, and several negro women killed in cold
blood. Soldiers unable to speak from wounds were shot dead, and their
bodies rolled down the banks into the river. The dead and wounded negroes
were piled in heaps and burned, and several citizens, who had joined our
forces for protection, were killed or wounded. Out of the garrison of six
hundred only two hundred remained alive. Three hundred of those
massacred were negroes; five were buried alive. Casualties
were high and only sixty-two of the U.S. Colored Troops survived the fight.
Many accused the Confederates of perpetrating a massacre of the black troops, and that
controversy continues today. The Confederates evacuated Fort Pillow that
evening so they gained little from the attack except to temporarily disrupt
Union operations. The Fort Pillow Massacre became a Union rallying cry and
cemented resolve to see the war through to its conclusion. The
massacre at Fort Pillow had raised the question in every mind; does the
United States mean to allow its soldiers to be butchered in cold blood?
-- Remarkably rare Journal of the Senate of the
Commonwealth of Virginia: Begun and Held in the City of Richmond, 1859-1860
(1500 pages!!!). James E. Goode, Senate Printer. This is an enormous
volume that includes hundreds of documents including Governor Reports and
other state reports, featuring reports from the Generals dealing with the John
Brown/Harper’s Ferry situation, information on slavery and many other
important documents. Here are some examples: a. "Communication from the Governor of this State in
Respect to His Action on the Harpers Ferry Outrage" (66 pages)
b. "Communication from the Governor asking Relief For
Edward McCabe who was Wounded at Harpers Ferry" (2 pages)
c. "Communication from the Adjunct General Relative to
Transportation of Troops to Charlestown and Harpers Ferry" (2 pages)
d. "Communication from the Governor of the State
Enclosing the Report of General Taliaferro. Commander at Harpers Ferry (4
e. "Report of the Commissioners Appointed to Audit and
Pay the Expenses Incurred by the Late Invasion at Harpers Ferry (54 pages)
f. "Communication from the Governor of Virginia Enclosing
Letters from the Gov of Ohio relative to Requisitions for Fugitives From
Justice (22 pages)
g. "Hostile Legislation of the North" This is a
64-page report detailing the legislation hostile to Slavery emanating from
the Northern States: Maine, Connecticut, Vermont, New Hampshire, Indiana,
Ohio, Rhode Island, New York, New Jersey, Pennsylvania, Illinois, Michigan,
Wisconsin, Iowa, Minnesota. This Special Report even shows the legislative
response of the Northern States toward the Dred Scott decision,
which occurred in 1857 at the Old Court House, St. Louis, MO.
h. This Journal also includes an 11-page report with
"Extracts from the Index of Colonial Records" from 1585 to 1782.
Here are some examples: 1585 (Proposals to Inhabit Porte Ferdinand,
Discovery from James Forte into the Main), 1607 (State of the Virginia
Plantation), 1609 (100 men Planted at the Falls of James River, Memo
Relating to the Colony of Virginia), 1610 (250 Persons go out as Planters,
Descriptive Letter), 1613 (Suit in Chancery Instituted by Virginia Company
to Compel Adventurers to Pay Up), 1705 (1800 Negroes Imported This Year.
Sold at 54 Pounds a Pair), 1730 (Proclamation Against Unlawful Meetings of
Slaves), 1731 (An Opinion Asked Whether Slaves Baptized into the Christian
Church can Continue in Slavery), 1741 (List of Naval Officers Enlisted for
the Invasion of Canada), 1749 (Notice of the Trade to Africa), 1782
(Dunmore's Plan to Subdue the Colonies by Means of Indians and negroes.
Cruden's Plan for Arming 10,000 Slaves Handed in by Lord Dunmore)...
rare JOURNAL OF THE SENATE OF THE UNITED STATES OF AMERICA, BEING
THE FIRST SESSION OF THE THIRTY-EIGHTH CONGRESS, BEGUN AND HELD AT THE
CITY OF WASHINGTON, DECEMBER 7, 1863, in the Eighty-Eighth Year of the
Independence of the United States, 1042 pages (pictured to the
right), Washington: Government Printing Office, 1863. This Senate
Journal, from the Third Session of the 38th Congress, lasted from
December 7, 1863 to July 4, 1864, a crucial time in our nation’s history.
Each 19th-century volume of the Journal of the United States Senate
provides a record of the Senate’s activities for a particular session of
Congress. Unlike the Congressional Globe (later the Congressional
Record), that record does not include the words spoken on the floor of
the Senate, but rather all the procedural occurrences, and in particular
the introduction of proposed legislation and resolutions, along with the
decisions and votes of the senators on these items. However, each volume
does open with the President’s Annual Message to Congress (now
called the State of the Union address), with other important written
documents that he may submit to Congress.
the case of Abraham Lincoln’s annual message, which in this volume
occupies pages 8-18, the message is followed immediately by the most
famous and significant document that Lincoln ever signed: the Emancipation
Proclamation, dated December 8, 1863, the same date as that of his annual
message. The annual message naturally deals with the ongoing Civil
War, as well as with foreign affairs, Indian matters, the economy, and
Lincoln’s plans for eventual reconstruction of the Union. The
Emancipation Proclamation (pp. 18-20) lacks an elegant style, being
fundamentally a war measure, justified by the exigencies of the conflict
and applicable by its terms only to those currently held in slavery
beyond the Union’s power of control. Nevertheless, every prescient
statesman saw that there would be no turning back, and that slavery was
doomed throughout the United States, as soon enshrined constitutionally
by the Thirteenth Amendment (probably the least cited, because most
effective, of all the amendments to our constitution). The Emancipation
Proclamation of course received widespread attention upon its official
appearance, which followed the publication of a preliminary version in
August 1863, butthis volume marks its official publication
within a Senate Journal.
addition, the pages of this volume are chock-full of interesting Civil
War items, though they are often buried in the procedural record. For
example, on page 233 we find Lincoln’s message to the Senate submitting
the decision from the Interior Department fixing the point in Iowa,
across the river from Omaha, at which the Union Pacific Railroad would
start its construction. Page 362 deals with amendments to a bill to
accept only three-year enlistments into the Union Army, and to provide
that as of January 1, 1864, “all persons of color who have been or may be
mustered into the service of the United States shall receive the same
uniform, clothing, arms . . . as other soldiers of the regular or
volunteer forces.” The creation and maintenance of the Internal Revenue
Service, then a new concept for raising money through taxation, occupies
many pages of the record, just as it would today. The actual record ends
on page 768, followed by a mammoth Index of the Bills and Joint
Resolutions of the Senate and House of Representatives during the session
of Congress, and an even longer 175 pages!) index, which makes it easy to
look up any particular topic, with, for example, two dozen references to
the proposed constitutional amendment to abolish slavery, or, much more
quietly, a note of the memorial (i.e., petition) requesting equality of
pay for his soldiers from Thomas Wentworth Higginson, the colonel
of the 1st regiment of South Carolina volunteers, the first black
regiment to fight in the Civil War (see the movie “Glory” for a
stunning visual presentation). Messages of various sorts from President
Lincoln appear at more than three dozen places, dealing with topics such
as the treatment of Kansas troops when captured by the Confederates, the
conditions of the people in East Tennessee (who, Lincoln long but vainly
hoped, would provide a bastion of support for the Union), Mexican
affairs, and the pursuit of hostile bands of Sioux Indians into the
Hudson’s Bay territories. All in all, this is a terrific record of the
United States at the great cusp of the Civil War, as a Union victory
finally seemed near—though not so near, as things turned out, as many
hoped during the first half of 1864. The book measures 5 ¾ by 9 inches
and is 2 ½ inches thick. It is bound in leather boards, with red and
black spine labels, noting that this book once was part of the Office of
the Secretary of State. The boards are holding well, though the hinges
have grown quite tender, especially in front, and they are in pretty
decent shape, only somewhat scuffed and dented at the corners. Inside the
pages are in good shape, only slightly browned, still supple and of high
-- REPORT OF THE JOINT COMMITTEE ON THE CONDUCT OF THE
WAR. IN THREE PARTS. Washington: Government Printing Office. 1863.
37th Congress, 3rd Session. Rep. Com. No. 108. Part III—Department of the
West. As the Civil War entered its third year, a feeling arose throughout
the country that the Union armies had failed to measure up to their
Confederate opponents in organization, not to mention results—a feeling
highly reinforced when General Ambrose Burnside so bungled the
battle of Fredericksburg that his removal inevitably followed, leaving his
only legacy the word “sideburns,” of which Ambrose had a marvelously showy
pair. Congress decided to investigate matters, and the three-volume report
that appeared in the spring of 1863 related in long detail what had made
the situation so dicey in all the theaters of war. This third volume deals
with the Department of the West, an area of extreme importance (of course,
they all were) because the state of Missouri was closely divided between
northern and southern loyalties, and keeping it in the Union was essential,
if only to maintain control over the Mississippi and Missouri rivers.
Unfortunately, the political general John Charles Frémont, the
Republican party’s first presidential candidate, had his own ideas about
what to do that brooked little interference from his superiors in
Washington, Abraham Lincoln in particular. Eventually Frémont had to
go, but initially his fame, his well-proclaimed love of the Union, and his
interest in eliminating slavery made him too well fixed to oust, even
though this last-mentioned attitude risked losing the affections of
Union-loyal Missourians, who saw in him a dangerous abolitionist. Basically,
the investigatory committee was dominated by hard-line anti-slavery
figures, who suspected that Lincoln and his administration were dangerously
soft on the slavery question; for their part, as Lincoln well knew from
his boyhood in Kentucky and Indiana, this issue had the potential to divide
the Union, and he had to move slowly to let public opinion crystallize in
favor of abolishing slavery entirely. In its 659 pages, this volume
presents the record of testimony taken by the investigatory committee from
military and other figures that deals with the military situation in 1861
and 1862, not only in Missouri, Kentucky, Tennessee, and neighboring
territories, but also, and in contradiction of its title, with matters in
Virginia and neighboring states (this material presumably should have gone
into the first two volumes, but they were already complete). Of this
material from the eastern theater of war, much refers to the debacle of the
second battle of Bull Run, apparently so rich in such stories that more
remained to be told after the primary treatment in earlier volumes. A
typical quotation appears (p. 654) in the testimony of a Colonel McLean: “I
have seen privileges granted to secessionists that I think they
ought not to enjoy . . . Secessionists were inviting out the rebel
prisoners to their residences, and entertaining them at dinners.” This
volume measures 6 by 9 inches and is 1 ¼ inches thick, bound in leather
boards, with brown tape now covering the spine and extending onto those
boards, which are in good shape except at their edges and corners, which
are damaged. The book’s binding is holding firmly, and the pages remain
clean and supple, though some of them are quite noticeably browned. Those
who want to study how the early years of the Civil War unfolded, as
presented by Congress in this investigation, will find this book chock-full
of variegated information.
Declaration of Independence
rare bas relief copy in miniature of the DECLARATION OF INDEPENDENCE
with signatures and a vignette of the Signers at the center. Done
by S H Black in 1859. Says at bottom "Entered
according to Act of Congress in the year 1859 by S H Black in the Clerk's
Office of the District Court of U S for Southern District of New York".
This Plaque or bas relief is executed in silver over brass with silvering
almost completely intact. Plaque measures 7 1/2 x 8 1/4 inches (complete
with original gold frame measures 9 x 9 3/4. An outstanding example
of pre Civil War Americana. This is an original old item, not a
reprint, copy or a restrike.
-- Christian Advocate and Journal, New York, December 11, 1862. An 8-page
original Civil War Era newspaper in very good condition.
Bright, durable and readable. Contents include, Emancipation: The President's
Scheme -- The preliminary Emancipation Proclamation to take
effect on January 1, 1863. There are extracts of the President's second annual
message to Congress given December 1, 1862.
13. Genuine "Track
& Field" ticket stubs and ticket books from the 4 days Jesse
Owens won the four gold medals (1936 Olympics in Hitler's Germany), in
the actual arena at the four events where Jesse Owens won his four Gold
medals...including Opening Day and Closing Day Ceremony tickets. It is
exciting to know that the person holding these tickets actually saw Jesse
win the following: 1st Gold = Aug 3rd (100m) 2nd
Gold = Aug 4th (long jump) 3rd Gold = Aug 5th (200m) 4th
Gold = Aug 9th (4x100m) -- order postcard of Jesse Owens
-- A ticket book containing all nine tickets for the 1936
Track and Field events (August 1-9), still attached...with two tickets
unused. Mint. The photo is of Jesse receiving gold medal for the Long Jump
-- Also rare August 1936 German and American newspapers and 1936 German
Olympics books with images of Jesse (with other African American
athletes) and write-ups.
-- Plus, two mint sets of German 1936 Olympics postal stamps, with
official cancellation mark of the Berlin Olympics, both sets signed by
Jesse Owens. Have not heard of another set signed by Jesse.
-- All 30 editions/volumes of "Olympia Zeitung," the
official German newspaper of the 1936 Olympics. Many photos and articles
about Jesse Owens and other African American athletes.
-- An hard-to-find original seating chart and order form from
the Official Organizing Committee for the Berlin Olympics, "Organisationskomitee
Fur Die XL Olympiade Berlin 1936." It is a four page piece with
diagram of the venues and price of tickets for the different events. This
seating chart helps us determine the approximate location of the
ticket-holders while watching Jesse Owens win events. -- Rare 1936 propaganda postcard with Adolph Hitler
pictured at work shoveling dirt.
Jesse Owens receiving 1 of 4 Gold Medals. This medal was for
his win in the Long Jump.
14. A tin that, to put it mildly, is of
great historical significance. It is Madame CJ Walker's Glossine
with the statement on the front, "For Beatifying and Softening
Kinky Hair." Madame CJ Walker was an early industrial pioneer
around the time of other industrial titans such as Carnegie and
Rockefeller. She became, as some say, the first African American
millionaire in the United States. This is open to debate once people
discover that Annie Malone (below) actually taught Madam Walker. She did so
simply by inventing a line of cosmetics specifically for Black people. She
capitalized on an untapped market at the time and the rest is history. This
is a rare tin to find. The condition is excellent, measuring 2 inches
-- 1926 First
Edition copy of Poro College in Pictures. -- a short
history of its development. The many images of the college are absolutely
stunning, costing over a half a million dollars to construct! The Founder
and President of Poro College was none other than Annie
Malone. Annie was the founder of hair care product line for African
Americans; developed business into the Poro System, a network of franchised
agent-operators who operated salons under Malone's guidelines using Poro
products. She founded Poro College, 1917, in St. Louis, MO, the first
school for the training of beauty culture specialists for African American
clientele. She manufactured a line of beauty products for black women
and created a unique distribution system that helped tens of
thousands of black women gain self respect and economic independence.
The college trained women as agents for Poro products and by 1926 claimed
to have graduated some 75,000 agents located throughout the world
including the Caribbean. However, her contributions to African American
culture are often overlooked because her business empire collapsed from
mismanagement. One of her students, Madame C.J. Walker, later
created a similar enterprise and is largely credited with originating the
black beauty business, a feat that rightly belongs to Malone.
BACKGROUND: Annie Turnbo Malone (1869-1957) was one of the richest
African American women in the United States at one time just a generation
after slavery had ended in the country. During the 1920s, Malone was reported
to have been worth fourteen million dollars. Founder of an extremely
successful line of hair-care products, Malone exhibited both a sharp mind for
marketing as well as an overly generous cash disbursement policy. As her
business grew increasingly prosperous, Malone neglected to keep a tight rein
on in-house finances, while at the same time bestowing large sums of money to
worthy charitable organizations; such policies eventually spelled the end of
her large enterprise. Malone's dramatic rise in the hair-care field has often
been overshadowed by that of one of her former employees, Madame C. J.
Walker, but it was Malone, historians assert, who developed the first
successful formulas and marketing strategies aimed at straightening African
American hair without damaging it.
Madame C.J. Walker: Almost-impossible--to-find Hair Glossine
(unused sample tin, with product untouched) and Superfine Face Powder (actual
unused and untouched product) in mint condition and a tin of Hair &
Scalp Preparation (excellent condition, with a little bit left in the
bottom of the tin) from Madam Walker'scosmetic business (early
1900s). These are very scarce vintage items, especially with the still-unused
product intact!!! Born Sarah Breedlove on December 23, 1867 on a Delta,
Louisiana plantation, this daughter of former slaves transformed herself from
an uneducated farm laborer and laundress into the twentieth century's most successful,
self-made women entrepreneur millionairess.
-- The collection owns seven (7) Madam
Walker tins of hair care products. -- Vintage wood handled pressing combs (twelve) are in used,
as-found condition. They've been in a storage building for years. The
brand name on the handles is "Black Beauty," similar to what
Madam Walker used in her business. They measure approximately 9"
long. >>>>> --
Nine (9) small bottles of Madam C. J. Walker's Perfumes (Carnation,
Gardenia & Wisteria (spelled Wistaria on bottles). These
seem to be very scarce. We have researched high and low for information
about these perfumes bottles. What we discovered was that the perfumes were
not among the original products manufactured during Madam Walker's life
(1867-1919) and probably were added during the late 1930s or early 1940s.
We did review a copy of the mail order form from the 1944 Madam C. J.
Walker Yearbook and the three perfumes were listed. At least now we can
confirm that it was an authentic product sold by the Madam C. J.
Walker Manufacturing Company in 1944.
Black Dispatch (Oklahoma
City African American newspaper), March 30, 1919, with large lettering near the top of the front
page:"Madam C.J.Walker At Rest." The sub-headline on the front page reads: "Madam
-- Five tins of "Sweet Georgia Brown" Hair Dressing Pomade,
An empty one gallon can of Posner's Shampoo Oil (Cleansing Hair
and Scalp without Water). --
Rare tin of La
Jean Pressing Oil Compound.
Edition copy (1852) of the British "Uncle Tom's Cabin",
written by Harriet Beecher Stowe, published by John Cassell before
the US edition, illustrated by George Cruikshank with 27 woodcuts.
-- Another First Edition copy of "Uncle Tom's Cabin"
published in UK (1852) by Clarke & Co. with 50 splendid
engravings! (In contrast, the US First Edition only had 6
-- First Edition, "Dred: A Tale of the Great Dismal Swamp",
Harriet Beecher Stowe, 1856 (2 sets)
-- First Edition, "Men of Our Times", by Harriet Beecher
Stowe, 1868 (2 copies).
-- Vintage 1895 stereo view of Uncle Tom and Eva.
16. Scarce First Edition copy of Stowe’s”A Key
To Uncle Tom's Cabin", published in London (1853). It
contains 595 pages of the original facts, documents, and corroborative
statements upon which the story "Uncle Tom's Cabin" is
-- Five copies of the "Uncle Tom's Cabin, Young Folks Edition"
-- First Edition copy of the scarce "Uncle Tom's Cabin"
(1852) Sheet Music.
-- Three late
1800s German editions of "Onkel Tom's Hutte"
Each edition is in great condition.
-- Onkel Tom's Hytte (Danish edition) by Harriet Beecher
Stowe, Book Description: John C. Winston & Co., Philadelphia, 1897.
Hardback. Foxing on many pages Solid binding, 8vo, 668pp. Heel and head
of spine crushed. Cover somewhat darkened or soiled but the three color
embossed illustration still visible... Colored end sheets starting to
crack. Text clean, over 100 illustrations by celebrated artists. Text
in Danish. The stamp of Hoey Publishing Co., Chicago, IL appears on the
BACKGROUND: This is one of the most influential books of the
nineteenth century and caused a stir in Denmark, Germany and other
European countries. From Wikipedia....."Uncle Tom's Cabin; or,
Life Among the Lowly is an anti-slavery novel by American author
Harriet Beecher Stowe. Published in 1852, the novel had a profound
effect on attitudes toward African Americans and slavery in the United
States, so much so in the latter case that the novel intensified the
sectional conflict leading to the American Civil War. Stowe, a
Connecticut-born teacher at the Hartford Female Academy and an active abolitionist,
focused the novel on the character of Uncle Tom, a long-suffering Black
slave around whom the stories of other characters—both fellow slaves
and slave owners—revolve. The sentimental novel depicts the cruel
reality of slavery while also asserting that Christian love can
overcome something as destructive as enslavement of fellow human
beings. Uncle Tom's Cabin was the best-selling novel of the 19th
century (and the second best-selling book of that century, following
the Bible) and is credited with helping fuel the abolitionist cause in
the 1850s. In the first year after it was published, 300,000 copies of
the book were sold in the United States alone. The book's impact was so
great that when Abraham Lincoln met Stowe at the start of the
American Civil War, Lincoln is often quoted as having declared, "So
this is the little lady who made this big war." The book, and
even more the plays it inspired, also helped create a number of
stereotypes about Blacks, many of which endure to this day. These include
the affectionate, dark-skinned mammy; the Pickaninny stereotype of
black children; and the Uncle Tom, or dutiful, long-suffering servant
faithful to his white master or mistress. In recent years, the negative
associations with Uncle Tom's Cabin have, to an extent, overshadowed
the historical impact of the book as a "vital antislavery
-- Two rare First Edition 1858 copies of "Truth
Stranger than Fiction Father Henson's Story of His Own Life"
with an introduction by Mrs. Harriet Stowe and with illustrated
frontispiece of Josiah Henson. Published by John P. Jewett and
Company, Boston, hardcover edition. Henson was an American slave who
escaped to Canada, founding a school for fugitive slaves in Canada. He
was a conductor of the Underground Railroad and a member of the
Canadian Army (his image is on recently offered Canadian Stamps).
-- BACKGROUND: Josiah Henson (1789-1883) has been
called "the most controversial former slave ever to make
his way to freedom and safety in Upper Canada." Born on a plantation
in Charles County, Maryland. Henson, early on in life was shown the
cruelty and brutality of slavery. Henson’s father once tried to defend
his mother from an overseer. His punishment was 100 lashes, an ear cut
off and his sale to another slave owner further south. His father was
never heard from again. In 1830 his slave owner, Amos Riley secretly
arranged his sale which would separate Henson from his family. Upon
learning of the plan Henson escaped north to Canada with his wife and
his children. After 3 years of working as a farm laborer, the idea of a
self supporting Black Colony began to form in Henson’s mind. He hoped
for a population that would be self employed and would have a chance to
get a general education. His dream became a reality when he helped to
create the Dawn Settlement near Chatham, Ont.
Henson’s life was recorded in a book titled, "The Life of
Josiah Henson, Formally a Slave, Now an Inhabitant of Canada."
It is from this book, many believe that American Author Harriet Beecher
Stowe got the basis for her popular novel "Uncle Tom’s
Cabin." Josiah Henson was active until his death, lecturing
throughout Canada and the United States. While he was fond of the fame
and prestige, his main goal in life was to improve the living conditions
for Upper Canada’s Black population.
National Bank of Boston check from Ticknor and Fields (owners of Atlantic
Monthly) to Harriet Beecher Stowe (signed Nov. 17, 1863) most probably
as payment ($100) for her compelling Atlantic Monthly article (April,
1863), "Sojourner Truth, The Libyan Sibyl".
-- Two copies of the 1863 Atlantic Monthly article about Sojourner
Truth written by Harriet Beecher Stowe. This is most probably the article
associated with the check -->
-- The Atlantic Monthly, a magazine of Literature and Politics. VOL. XI.
Boston: Ticknor and Fields, 135, Washington Street. London: Trubner and
Company. MDCCCLXIII, 1863. 1st Edition. 788 pages. Articles include: Sojourner
Truth, the Libyan Sibyl, Benjamin Banneker The Negro
Astronomer, and Slavery and Secession in America.
original broadsides (posters) for Parsons & Pool's presentation of
Uncle Tom's Cabin. Printed on very thin newsprint, it measures 9
5/16" X 24" and is a light lilac color. A staple of the post-Civil
War theatre were numerous traveling companies presenting dramatic
versions of Harriet Beecher Stowe's Uncle Tom's Cabin. Known as "Tom
Shows" they often featured spectacular effects, notably the death of
Little Eva (with the child sometimes hoisted bodily Heavenward with
ropes and pulleys) and the pursuit of Eliza and her baby across the ice of
the frozen Ohio River. This broadside was probably intended for display
outside a theatre; it features a scene of Eva and Uncle Tom outside his
cabin, with Eva's luxurious home in the background. Poster reads: COMING
SOON! PARSONS & POOL'S ORIGINAL UNCLE TOM'S CABIN AND TENNESSEE JUBILEE
SINGERS THE ONLY COMPANY on the road to-day presenting the old-time
manuscript version of UNCLE TOM'S CABIN. WAIT FOR US, WATCH FOR USAs
we will positively appear in your city soon. Watch for Day & Date. --
Printed by Whatcheer Print, Providence, R.I. Research indicates the date of
production to be around 1880. The ink coverage is good. The condition is very
good, considering it's around 125 years old and on such delicate, fragile
-- Vintage mid-19th Century sheet music (1860s) with an illustrated Black
Americana lithograph cover entitled, "The CarolinaSong"
(Dulcimer's Song) by Stephen Glover (b.1813 -d.1870) from the 1856 play
"Dred" (adapted for the stage by H.J. Conway based on the 1856
novel "Dred: A Tale of the Great Dismal Swamp" by Harriet
Beecher Stowe, the author of Uncle Tom's Cabin.
"Four Negro Heads", Peter Paul Rubens
Original 1883 antique engraving (Edmond Ramus) of the "Four Negro
Heads" by Flemish painter, Peter Paul Rubens (1577-1640).
Handmade laid paper, watermarked -- Arches. This folio etching with crisp
lines and strong plate impression was produced by J. Rouam and Remington
and Co. in Paris and London, jointly. Unlike most antique prints of this
vintage, the Rouam and Remington etchings were produced in extremely low
numbers and are incredibly hard to find, especially in such pristine
condition. (View at top of page).
<-- This particular image was chosen to be on the verso side of a 500
franc note with King Leopold II on the front, issued by the National
Bank of Belgium (1952-1967). --order postcard of "Four
original charcoal drawing of Peter Paul Rubens, the famous
Flemish painter. The picture is signed "Frederic Le???, 1834. It
measure approximately 8x10 and is drawn on paper with age marks typical for
that time period.
-- Also in this collection is an original painting (Study of Four Negro
Heads) from the 19th Century Belgium painter, Maurice Goffin, who was
born in Luik (Angleurin) in 1845 and died relatively unknown in Seraing in
1898 at the age of 53. He was the son of parents who were active in the
metal industry. He was the painter of mainly portraits, figures and still
life. In this painting Goffin is trying to mimic the "Four Negro
Heads" painting by Peter Paul Rubens -->
-- A stunning and rare (circa 1870s) bronze relief of Ruben's painting
(1.5" x 10.75"), with stand,”Study of Four Negro Heads.
Weighs four pounds.
Painting by M. Goffin
19. Many original 16mm films: The Emancipation Proclamation --
Ethiopia: Ancient Land, Strategic Land -- Negro Slavery -- Sound of Sunshine,
Sound of Rain (social propaganda film) -- Jesse Owens: 1936 Olympics --
William: From Georgia To Harlem -- Slavery and Slave Resistance -- Martin
Luther King, Jr.: An Amazing Grace -- Martin Luther King, Jr.: The Assassin
Years -- Afro American Music, It's Heritage, Cabin in the Sky -- and
more...Many of these films are lost and will never be seen again. We are
transferring these films to DVD so that we can play film clips in our
galleries. Some transferred to DVD already: -- (1) Palmour
Street (1957) - This film stands apart from 99% of the educational
film productions involving African-Americans in the mid-1950s because it
portrays an African-American family that lives a normal life and the film
itself lacks the typical racist narration and stereotypical scenarios. The
gist of this movie is that good parenting practices make for healthier children.
This is a great film for African-American studies. Length: 23 minutes -- (2) We Work
Again (1930s) - This WPA (Works Project Administration) film tries to
convey that the New Deal is beneficial for African-Americans. Length: 11 minutes -- (3) Farmer
Henry Browne (1942) - This is a nice portrait of an African-American farmer
in Georgia during WWII. Like other Americans assisting in the war effort
domestically, Henry Browne uses productivity and hard work to support
American troops. Length:
11 minutes -- (4) Negro Colleges
In Wartime (1944) -
This short film about the training regiment of African American soldiers in
WWII will strike up constructive educational dialogue about the racist
treatment black American soldiers received during the WWII. Great video of
African American military culture and history abounds in this film from
the 40s, including footage of the historic Muskagee airmen. Watching
the segregated military practices of this time period shows why the civil
rights leaders, both during the Korean War and the Vietnam War, were very
concerned with the mass enlistments of young African Americans. Length: 9
minutes -- (5) With No One to
Help Us (1967) - A group of welfare mothers in Newark form together to
fight the overpricing of grocery items to welfare recipients. This is
tremendously important documentary and a vital teaching tool for African
American studies. Amazing historical documentation of the projects of Newark
around the 1960s. Length:
19 minutes -- (6) The Plantation
System In Southern Life (1950) - See how the centuries of African
American slavery has affected Southern culture and life in the South. A
rare and invaluable piece of black history. Length: 10 minutes -- (7) Teddy (1971) - A social
seminar film that picks the brain of Teddy, a politically conscious teenage
African American male. Teddy talks about police brutality, war, the
Watts community of L.A., The Black Panthers and "The System."
Nice unknown movie to show during black history month or to kick start any
black history or political discussion. Length: 17 minutes -- (8) Jesse Owens:
1936 Olympics -
Jesse goes back to the Olympic Stadium in Berlin, recounting his
accomplishments in August, 1936. -- (9) The Birth of a
Nation - This
landmark film from silent director D.W. Griffith was the first movie
blockbuster. However, it also reveals a horribly racist version of American
history. The film was based on Thomas Dixon Jr.'s anti-black, 1905 bigoted
play, The Clansman. The first part of the film chronicles the Civil War
as experienced through the eyes of two families; the Stonemans from the
North, and the Camerons of the South. Lifelong friends, they become divided
by the Mason-Dixon line, with tragic results. Large-scale battle sequences
and meticulous historical details culminate with a staged re-creation of
Lincoln's assassination. The second half of the film chronicles the
Reconstruction, as Congressman Austin Stoneman (Ralph Lewis) puts evil Silas
Lynch (George Siegmann) in charge of the liberated slaves at the Cameron
hometown of Piedmont. Armed with the right to vote, the freed slaves cause
all sorts of trouble until Ben Cameron (Henry B. Walthall) founds the Ku Klux
Klan and restores order and "decency" to the troubled land. While The
Birth of a Nation was a major step forward in the history of filmmaking,
it must be noted that the film supports a racist worldview. But there is no
denying that it remains a groundbreaking achievement, setting a high
watermark for film as an art form. Premiered at Clune's Auditorium in Los
Angeles, February 8, 1915, under the title The Clansman. Premiered in
New York City at the Liberty Theater on March 3, 1915, as The Birth of a
Nation. The film toured the rest of the country as a road show
attraction. In 1906, the same Liberty Theater had housed a run of Thomas
Dixon's stage play, The Clansman, which was one of the sources for the
film. At the New York premiere, Dixon stated that he would have "allowed
none but the son of a Confederate soldier to direct the film version of The
Clansman." (New York Times, 3/4/1915). The Birth of a Nation
was added to the Library of Congress National Film Registry in 1992. The film
originally ran 13,058 feet on 12 reels. At 16 frames per second, it ran
approximately 185 minutes.
This landmark cinematic achievement features the first use of now-standard
techniques like cross-cutting and deep focus, as well as the unprecedented
long shot of the Lincoln assassination and a color sequence at the end. The
Birth of a Nation was originally silent with a musical score. In 1930,
the film was reissued with sound effects and synchronized music adapted from
Joseph Carl Breil's original score, but at a much shorter length--108
minutes. Current prints run between 108 and 185 minutes, sometimes due to
deleted footage, sometimes due to incorrect projection speeds. At some
theaters, ticket prices cost up to $2 per seat, a record figure at the time. The
Birth of a Nation was also reportedly the first film to utilize ushers.
The film reportedly made $20 million dollars at the box office. Because the
film's rights were simply sold outright in some states, accurate figures are
difficult to obtain, and the film may have actually grossed $50 to $100
million. Director D.W. Griffith shot this film without a script or even
written notes, saying that he had visualized the entire movie in his mind.
One scene deleted from the end of the film professes to depict
"Lincoln's Solution," in which African-Americans are shipped back
to Africa, while Abraham Lincoln and Jesus Christ look approvingly on. From
the moment the film premiered, the NAACP organized mass demonstrations
against The Birth of a Nation; not only did black people object to its
racial stereotypes, but they feared that its glorification of the Klan would
lead to increased violence against African-Americans. In fact, the Klan used The
Birth of a Nation to recruit new members, and its ranks supposedly
swelled after screenings of the film. To his credit, Griffith later (by 1921)
released a shortened, re-edited version of the film without references to the
-- Vintage brochure entitled, "D.W. Griffith Presents The
Birth Of A Nation. An Historical Drama in Two Acts, Founded upon Thomas
Dixon's story The Clansman." It goes on to state "There
will be an intermission of eight minutes between Act I and Act II." The
play is presented at Conn's Theatre, Concord, New Hampshire, September 16,
17, 18 (no year).
-- First Edition copy of "The Clansman", by Thomas
Dixon. Published by Grossett and Dunlap in 1905. -- (10) The Birth of a Race - A group of
independent black filmmakers released director Emmett J. Scott's The Birth
of a Race in 1919, filmed as a response to Griffith's film (Birth of a
Nation), with a more positive image of African-Americans, but it was largely
ignored. Filmed in Florida, New York, and Chicago, it cost $500,000, nearly
five times The Birth of a Nation's budget, and was at least partially
funded by the sale of stock. Birth of a Race was panned by Variety,
who stated that it was "replete with historical inaccuracies, gross
exaggerations, and bromidic appeals to patriotism," noting that the film
was "full of rape, murder, and suicide." The film was directed by
John W. Noble and written by Noble and Rudolph de Cordoba. It starred John
Reinhardt, Jane Grey, George Le Guerre, Ben Hendricks, Gertrude Braun, and
Mary Kennevan. The Birth of a Race was envisioned as an
"answer" to D.W. Griffith's racist and inflammatory film, The
Birth of a Nation. Unfortunately, due to cost overruns, mismanagement and
the strings that came attached with white money, the film failed to achieve
its original goals. The result was a film that was hardly about
African-Americans at all, but about the struggle of white immigrants in this
country. It was a failed attempt to counteract the damage that The Birth
of a Nation caused to the image of the African-American. Even with its
many shortcomings from both a technical as well as artistic standpoint, The
Birth of a Race at least demonstrated that motion pictures were indeed a
medium to be reckoned with that has an enormous capability to influence a
large number of people. Prolific black filmmaker Oscar Micheaux's first film,
the feature-length The Homesteader (1919), and Within Our Gates
(1919) more effectively countered the message of Griffith's film. -- (11) History of the Negro in America -- Two B/W 20-minute
films: 1619-1860 and 1870-Today. -- (12) Cabin in the Sky -- Louis Armstrong and Duke
Ellington and his orchestra! Movie stars Lena Horne and Ethel
Water were in the movie. -- (13) 1971 Pearl Bailey
Show Vignettes. Guest Stars: Sid & Marty Kroffet's Puppets. Special
Guest Star: Ethel Waters sings "His Eye Is On The Sparrow",
"I'll Be There" (Duet with Pearl). Pearl sings:
"Hello Dolly", "Walking My Baby Back Home",
"Am I Blue", "Birth Of The Blues", "Bill
Bailey", This Is All I Ask" and more...B&W. 50
Museum quality portrait of John Brown, the famous abolitionist who
fought to end slavery prior to the outbreak of the civil war. The reverse
of the painting has the information "The Abolitioner, John Brown,
born 1800 died 1859". The garland branch motif, at the
bottom of the painting, was often used in artwork of the mid 1800s.
We are still researching the identity of the painter.
Here's what a John Brown author/researcher, Dr.
John DeCaro, wrote about this painting:
"As a biographer and scholar of Brown I can
assure you that there is no possibility that Brown sat for this
painting. Brown was a very progressive man and in the 1840s and 1850s,
he periodically sat for daguerreotype portraits--the early
photograph. He never sat for a painted portrait. Numerous
paintings have been made of Brown, some of them very well done based on
daguerreotype portraits, others inspired by those images. This
painting was apparently a rendering by someone who never saw
Brown...the hair and beard are stylized. It may have been done in tribute
to him by an admirer (perhaps a black artist?)...." This painting
is oil on wood board, measures 12" x 10" unframed and 16" x
13" in its period frame. This is unusual, rare subject matter.
Seventeen genuine issues of Harpers Weekly, illustration and content rich
about John Brown.
-- Four vintage engravings of T. Hovenden's "John Brown on His Way
-- Genuine eyewitness account of John Brown's battle at Harper's Ferry as
seen by one of his prisoners, John Daingerfield (1885).
-- First Edition (1929) of Benet's, John Brown's Body.
-- Late 1800s sheet music, John Brown's Body"
21. Manyinternational Slave-related hand written manuscripts from
colonial Peru, Bolivia, Argentina and other parts of South America, Puerto
(Porto) Rico and Cuba...most written in Old Spanish -- Dates: 1553,
1567(3 documents), 1597, 1604, 1608, 1609 (2 documents), 1610,
1612, 1640, 1641, 1672, 1675, 1682, 1688, 1689 (2 documents), 1690, 1706,
1768, 1772, 1774, 1775, 1782, 1785, 1789, 1798, 1799, 1803, 1806, 1811, 1814,
1821, 1822, 1823, 1825, 1831, 1836 (2 documents), 1837, 1839, 1840, 1844,
1845, 1852, 1858, 1860 & more...The slaves, all from Africa, were sold in
Buenos Aires. This was their first port and generally the original
place of sale for slaves being brought into South America. From there
they were sold and then transported to other places in South America.
Usually, when being taken to Peru their first port was Valparaiso
near Santiago where slaves were dropped off, and the rest were transported
onto Peru, into the port of Callao, which is in Lima. These slaves were
usually given a 60 day "heart" guarantee, and any heart
malady after the warranty period fell onto the buyer. Here
are some examples:
-- 1553, Extremely rare, signed Peru
(Spanish) colonial handwritten, fascinating manuscript...written in Old Spanish.
Merchant, Diego de Ribera, citizen of Arequipa city (south Andes
of Peru), sells to Cristobal de Rueda: "...a Black slave, from
Mozambique, named Cristobal, which has a healthy of title and had of good war, and surely with choral drop and bad of earth and that is not evasive, neither
thief nor fugitive.. neither it has other faults nor diseases(!)
by price of 300
Pesos from assayed and marked silver..." The file is
dated June 6, 1553. It is interesting to analyze the term: "had of good war",
surely a justification of slave traders with respect to the storing of
slaves in Africa, avoiding conflicts with certain tribes. "Gota Coral"
is the ancient term for epilepsy, because one thought that a great drop of
blood struck the heart. Exceptionaldocument for
its age!! One leaf = 2 pages, signed and complete! No
moth, humidity or foxing.
-- 1609, Original complete signed Spanish Colony in Peru. It
details the giving of a Black slave, Fransisco (valued at 680 silver
pesos) as a part of the payment of debt to a Catholic convent. The debtor
is the Knight of the Calatrava Order of Don Juan de Abalos Riberia.
-- 1689, The sale of a Black slave woman, Maria Criolla (19
years of age) for 500 silver pesos. The seller is Don Jose DeAvila and the
buyer is "Hacienda de Vilca Huaura".
-- 1706 signed contract for the sale of a Black woman in Cochabama, Bolivia.
-- 1798 signed contract for the sale of Segundo, a young
Black man in Bolivia.
-- 1836, The sale of a Black slave woman, Jacoba, 15 years
old (daughter of another slave woman named Jacoba) for 200 silver pesos.
The seller is Don Manuel Salazar and the buyer is Don Mariano Hermenegildo.
Buenos Aires Slave Sale (Argentina), 1768
Slave in Cuba, 1859
An impossible to find 1859 Cuban Slave Contract defining the
purchase of Chinese slave, Chang Chew. Pictured to the left, this document
is written in Chinese on the rear. The front of the contract is written in
Spanish. -- 1858
List of Captured Runaway Slaves in Cuba -- There existed many groups of slaves
throughout Latin America called "Cimarrones" (Wild
Ones). This document details those who had fled their masters and had been
captured by the police.The
term Cimarron means "runaway slave" and refers mainly to
African slaves who had run away from their Spanish masters. Many slave
uprisings were sponsored by these groups across the Caribbean and Latin
America. -- 1860
list of 372 Chinese Laborers (Slaves?) who have disembarked from the
ship, Loyola. The ages are between 30-35 years of age. This may have been
because the Cubans were running out of younger laborers.
-- 1803 signed slave contract from Peru, under Spanish Kingdom
Colony domination. The document details the sale of a male slave who had
happened to come from Valparaiso,
Chile. -- 1768 document detailing the sale of Theresa (24 years of age), a
slave being sold in Buenos Aires, Argentina.
-- 1619 rare
document (4 pages) detailing the sale of Manuel, a slave being sold in
Bolivia. It also gives a glimpse into colonial life in that part of
-- 1597 intriguing document about colonial life in Bolivia,
including the business between Alvaro Martin and a priest in a monastery.
-- 14-page Peruvian register from the San Bartolome Hospital (1811
-- only for Black slaves, pictured below) -- Cuban
Ship (Matano') Document -- leaving Havana for Barcelona, Spain on October
3, 1822. -- Cuban
Ship Document -- leaving Habanna (sic) for Barcelona, Spain on April
5, 1820. -- 1875
Cuba Slave identification document with Havana police. -- 1856
Cuban document explaining what has been done to avoid the landing of a
ship transporting slaves from Africa to Cuba. The letter is directed
to the gentlemen governing the brigadier politico and the military head of
the jurisdiction -- Jatibonico, a municipality in the Sancti Spiritus
Province of Cuba.
-- 1840 ship
registration (Portugal) with one slave aboard. The ship
"Palas" arrived at Montevideo from Rio de Janeiro, and later left
for Pernambuco. It carried 1 slave (police report).
Stunning Silver Civil War locket (1860s), containing two tin-type
pictures of African American women (looks like mother and daughter), worn
by an African American soldier during the Civil War. The locket
opens on a hinge to reveal the other tin-type picture. Picture to the left.
-- Many circulars from the War Department addressing the issues
surrounding the Freedmen's Bureau, refugees and abandoned lands.
-- Hand written letter stating the difficulty of determining the ages of Free
Negroes (Sept.17, 1851). -- Hand
written letter by Civil War soldier wanting a position in Wild's African
Brigade (January 17, 1864).
-- "Colored Soldier
Regiments" in the Civil War -- "No officer in this regiment now doubts that the key
to the successful prosecution of this war lies in the unlimited employment of
black troops. Their superiority lies simply in the fact that they know the
country, while white troops do not, and, moreover, that they have
peculiarities of temperament, position, and motive which belong to them
alone. Instead of leaving their homes and families to fight they are fighting
for their homes and families, and they show the resolution and sagacity which
a personal purpose gives. It would have been madness to attempt, with the
bravest white troops what I have successfully accomplished with the black
ones. Everything, even to the piloting of the vessels and the selection of
the proper points for cannonading, was done by my own soldiers." -- Excerpt from February 1, 1863 report by Colonel T. W.
Higginson, commander of the First Regiment South Carolina Volunteers (Union)
after the January 23 - February 1, 1863 Expedition from Beaufort South
Carolina, up the Saint Mary's River in Georgia and Florida.
First Edition 55-page article entitled, "The Rosetta Stone"in Archaeologia: Miscellaneous Tracts
Relating to Antiquity, Volume XVI, published by The Society of
Antiquaries of London. 1812. Some of the first published articles about the
Rosetta Stone. This is historic in light of the fact that the code to
Hieroglyphics wasn't cracked until 1822 by Jean Champollion.
-- One and a half pages of the Gentleman's Magazine (August, 1802)
stating, "...a treble inscription brought up from Rosetta, in
Egypt, where it was dug up by the French, and, with other antique
fragments, made by capitulation the property of the British nation. Copies
had been previously taken of it by its former possessors, who, with their
accustomed vivacity, have attempted to illustrate it..." (This was
written a full 20 years before the code to Hieroglyphics was cracked by
"Viewing the Rosetta Stone", 1874
London Illustrated engraving
(3 original images owned)
An original "Elephant-size" folio Victorian print (circa 1895) of
the Rosetta Stone. Measures 21x14" on heavyweight paper.
-- An original "Elephant-size" folio Victorian print (circa 1895)
of a gentleman viewing the Rosetta Stone in the British Museum.
Measures 21x14" on heavyweight paper.
-- An 1815 engraving of the British Museum (its original, smaller site).
-- Superb Georgian (during the reign of King William IV 1830-1837)
hardback complete two-volume First Edition set entitled “Egyptian
Antiquities,” by The British Museum, with nearly 100 fine
engravings and other illustrations. They were published by Charles Knight, of
London, in MDCCCXXXII (1832 –
Volume I) and MDCCCXXXVI (1836 – Volume II). The code to hieroglyphics had
been cracked in 1822 by Jean Champollion, just ten years before the
publication of the first volume! Excellent information about the Rosetta
Stone and other ancient Egyptian artifacts in these books. Extremely rare
addition to this collection...
Extremely Rare Museum Quality Full Face Casting of the Rosetta Stone
-- In the 1970’s, the British Museum made a mold of the full face of the
Rosetta Stone, and cast a small number of 1st generation casts. When I
acquired this I was told maybe only 12-15 had been made, and that I had
acquired the last one. (It had been stored in the basement of the British
Museum.) It is an actual casting in black resin with the characters
in white, made from a direct mold of the Stone's face. The bottom
right of the face contains the imprint of the British Museum, thus
authenticating it. I have been informed by the British Museum’s Department
of Conservation, that the Museum itself makes no more production runs. The
British Museum Company, who is in charge of museum sales, informed us as
follows: “Unfortunately we do not have any records of how many Rosetta
Stone casts were produced. However, (we) estimate that for a short period
of time, it would have been two or three a year at the very most.” The
replica (one of 12-15 copies in existence) is pictured to the right
--> Do you want to own a full-size, 3-D replica of the original Rosetta
Stone? Click here -->
"Capture of Rosetta"
-- A genuine
issue of the January 7th, 1799 Connecticut Courant, detailing the
"Landing of Buonaparte's army in Egypt" and its progress
in Cairo. Fascinating content.
-- Authentic issue of the Salem Gazette (Dec. 7,
1798), containing a literal translation of General Napoleon Buonaparte's
proclamation to the Arabs in Lower Egypt. Intriguing content.
<-- July 14, 1801 issue of the New England Palladium
describing the capture of Rosetta, Egypt by British troops. The
report comes from Major General J. H. Hutchinson. "It is with
great pleasure that I am to inform you of the success of a corps of Turks
and British under the command of Col. Spencer. They were ordered from
hence about ten days ago, for the purpose of forcing the enemy from the
town and castle of Rosetta, which commands the navigation of the Nile...
One of just 12-15 full-size
facsimiles of the famed Rosetta Stone ever manufactured by
the British Museum. Very rare. The "Rosetta Stone" of replicas
...We are now
masters of the western branch of that river, and of course have opened a
communication with the Delta, from which we shall derive the necessary
supplies, as the French have scarcely any troops there, and none capable of
making a serious resistance. The enemy had about 800 men at Rosetta when they
were attacked. They made but a feeble effort to sustain themselves, and
retired to the right bank of the Nile, leaving a few men and prisoners.
They left a garrison at the fort, against which our batteries opened on the
16th infantry and it surrendered on the 19th infantry. The condition of the
same as were granted to the castle of the Aboukir..."
-- In August 1799, just over a year after Napoleon launched his invasion of
Egypt at Alexandria, a great discovery was made. Under the leadership of Lt.
Pierre Bouchard, French soldiers were building up their defenses around
the area of Fort St. Julian, near the northern city of Rosetta,
when a soldier or engineer found in the ruins an ancient stone. With its
cryptic inscriptions, it was immediately recognized as an object of great
importance. It was sent to Cairo, where it was housed in the Institute
d’Egypte. Members of Napoleon’s special civilian corps dispersed around the
country were requested to go there at once. The rare map to the right is of
the mouth of the Nile, picturing Fort Julian, now known as Fort Rashid
Map of Rosetta region at
the mouth of the Nile, with Fort Julian on the West Bank of the river.
de l'Egypte, Rosetta Environs. Folio Sheet size: 55cm x 72cm. It
has the Napoleonic "Sphinx" cartouche it the upper corner of the
sheet. Not a reproduction or re-strike of any kind. This print was purchased
nearly 40 years ago in Cairo. From: Description de l'Egypte ou recueil des
observations et des recherches qui ont ete faites en Egypte pendant
l'Expedition de l'Armee francaise. Dediee au Roi. France: Commission des
sciences et arts d'Egypte. The completed work fills twenty-three volumes
and contains engravings depicting 3,000 individual images. Description de
L'Egypte documents many aspects of Egypt's history and culture and has
sections devoted to antiquities, the modern state, and natural history. An
atlas supplements the text. Description de L'Egypte was intended for an
academic audience, and many copies of the first edition were distributed
directly to institutions. However, it was clear even before the original
production was complete that the title had a much broader appeal. The
descriptions of Egyptian antiquities and religious monuments satisfied a
curiosity about ancient cultures, religion, and mythology that had been
sparked by the Romantic movement.
-- A Bit of History About the Rosetta Stone: Some scientists accompanied Napoleon's
French campaign in Egypt (1798-1801). After Napoleon Bonaparte founded the Institut
de l'Egypte in Cairo in 1798 some 50 became members of it. On July
15th, 1799, just over a year after Napoleon launched his invasion of
Egypt at Alexandria, a great discovery was made. Under the command of Lt.
Pierre-François Bouchard (1772-1832), French soldiers were building up
their defenses around the area of Fort St. Julian, near the northern
city of Rosetta, when a soldier or engineer found in the ruins an
ancient stone. With its cryptic inscriptions, Bouchard immediately
understoodthe importance of the stone and showed it to General
de Menou. It was
immediately recognized as an object of great importance. It was sent to Cairo,
where it was housed in the Institute d’Egypte. Members of Napoleon’s
special civilian corps dispersed around the country were requested to go
there at once. In 1801 the French had to surrender. A dispute arose about
the results of the scientists - the French wishing to keep them, while the
British considered them forfeit, in the name of King George III. In
September 1801 English brevet Colonel Tomkyns Hilgrove Turner, who
had fought at Aboukir Bay and Alexandria, went to visit Menou to
procure the stone. Meanwhile the French scientist Etienne Geoffroy
Saint-Hilaire, writing to the English diplomat William Richard
Hamilton threatened to burn all their discoveries, ominously referring
to the burned Library of Alexandria. Turner cited the sixteenth article of
the "Treaty of Alexandria". The British capitulated, and
they insisted only on the delivery of the monuments. The French tried to
hide the Stone in a boat despite the clauses of the capitulation, but
failed. The French were allowed to take the imprints they had made
previously, when embarking in Alexandria. General Menou handed it
over grudgingly. A squad of artillerymen seized the stone without
resistance. As they carted the magnificent ancient treasure through
Alexandria, French soldiers and civilians collected on the streets and
sputtered insults at them. In the spasmodic voyage from Egypt to England,
many of the Egyptian antiquities were damaged. Because of the importance of
the Rosetta Stone, however Colonel Turner personally accompanied this
precious cargo on its journey aboard a frigate. The Rosetta Stone left
Egypt from Alexandria and sailed into the English Channel in February 1802.
At Deptford the stone was placed in a small boat and taken through customs.
It was lodged at the quarters of the Society of Antiquaries so experts
could examine it before being dispatched to its permanent station of public
exhibition in the British Museum in London, England (since 1802).
First Edition of "My
Bondage And My Freedom", Part I -- Life As A Slave,
Part II -- Life As A Freeman, by Frederick Douglass, with an
introduction by Dr. James M'Cune Smith. New York and Auburn: Miller,
Orton & Mulligan, 1855. Illustrated with steel engraved
prints, and Frontispiece Engraving of Frederick Douglass by J. C.
Buttre from a Daguerreotype, with autograph signature of Douglas
(facsimile). Autograph manuscript inscription on prefatory page of W.S. ?
Davis, Westford, Otsego (?) County, N.Y. This book came from an estate
in Rochester, NY, Upstate New York, where Douglas lived for many
years. See #37 (below) for more information about Frederick's visit to
Scotland. -- order postcard of Frederick
-- St. Johnsbury Calcdonian newspaper, St. Johnsbury, VT,
Mar.23, 1877. The column headlines -- "A 'Nigger' In a High Place"
to bring the news that Frederick
Douglass has been confirmed as U.S. Marshall". An
historic event for an African American man over 125 years ago -- but shame
on the editor's for using such a derogatory headline. Here is the
-- "Probably the most conservative politician will now admit that
the world moves. Frederick Douglass, the eloquent and learned colored man,
has been confirmed by the Senate to the best office in the District of
Columbia -- four Democratic Senators voting for his confirmation, as well
as all the Republicans, and two prominent Democrats of Washington --
Alexander and Christie -- becoming Douglass's bondmen. When such men as
Ben. Hill vote for confirmation of a Black" Republican to office in
the old slave District of Columbia, it is time for reformers to thank God
and take courage. The world does move."
Deed of Trust for James L. Barbour and Frank D. Johns, signed by Frederick
Douglass, July 7, 1881. Douglass served as the Recorder of Deeds for
the Washington, DC Government (1881-1886). This Deed was signed during his
first months on the job. (gift from Mark E. Mitchell).
New York Times, Apr.29, 1842 -- A 1 1/2" front page column headed THE ANTI-SLAVERY CONVENTION,
Cincinnati, Ohio. Frederick
Douglass chosen to be one of the Vice-Presidents.
A First Edition copy of William Lloyd Garrison: The Story of His Life
Told by His Children (1894). Below is a handwritten letter from
Robert Adams making the argument that certain materials needed for
preservation and also it is sure that these newspapers would be utilized as
research for the accuracy of this book. William Lloyd Garrison (December 13, 1805 – May 24,
1879) was a prominent American abolitionist, journalist, and social reformer.
He is best known as the editor of the radical abolitionist newspaper, The
Liberator, and as one of the founders of the American Anti-Slavery Society,
he promoted "immediate emancipation" of slaves in the United
States. Garrison was also a prominent voice for the women's suffrage
An excellent hand written letter (dated April 5, 1887) from Robert
Adams, a dear friend of Frederick Douglass and also a well-known conductor
on the Underground Railroad. He was also a bookseller, stationer and
dealer in artist's materials from Fall River, Massachusetts, regarding the
collection of books that this woman has and that he, Adams is buying these
books for Francis Jackson Garrison (as a 16-year old he corresponded
with Sergeant-Major James Trotter of the Mass. 55th during the Civil War),
the son of William Lloyd Garrison and his autobiographer. A good strong
letter with the argument that these books were important during the era and
he is particularly looking for copies of "The Liberator" as well as
other anti-slavery materials. The letter has some folds and a corner has been
cut, affecting last word on bottom of the page. Folds present and one 1/2inch
tear at the fold into one top of letter reverse, otherwise a good strong
letter. Rare item regarding the collection of materials on anti-slavery which
William Lloyd Garrison was in the center of during a great part of his life.
Dealer in Artist's Materials
Fall River, Mass. April 5, 1887
Dear Madam: I learn through Mr. Durleigh (?) that you may have a number of
volumes of The Liberator. I am collecting for Mr. Francis Jackson
Garrison, the youngest son of William Lloyd Garrison, who is
gathering together all he can, to arrange in files to be placed in Public
Libraries for preservation and for future reference. They are worthy of a
conspicuous place, as they give an important history of those eventful
years, which can be obtained from no other source. Should you be willing to
dispose of them for that purpose, please inform me as soon as convenient,
as he is about finishing his work on them. If you know of any person in
your vicinity who has any copies of The Liberator, please inform me if you
Yours respectfully, Robert Adams
Mrs. Adams sends her regards to you. Have you any of the "National
Antislavery Standard" or of the "New York Tribune"
to dispose of? RA
BACKGROUND: By 1851, after the Fugitive
Slave law had come into effect, a very large percentage of the negro colony
in New Bedford left by the underground route for Canada. This exodus was
through Fall River where forwarding stations had been actively in operation
since 1830. Fall River became an important "way station" although
it was only one in a great number of "railroad systems" through
which escape was possible. Fall River was ideally adapted for this purpose
because it was not on any direct line and slaves who were able to escape by
sea from southern ports to New Bedford and towns on the cape were
"doubled back" to Fall River as a means of concealment. From Fall
River they were shipped to Canada by way of Valley Falls and Worcester .
Those who assisted in their escape were called "conductors." As
early as 1840, Arnold Buffum was prominent in this railroad system. The Buffums,
the Chaces, the Robesons and many others, mostly Quakers, had much to do with
the Fall River station. Robert Adams, a Quaker sympathizer, was the best
known conductor of the underground trains in Fall River, though neither
he nor Mrs. Adams were members of the Quaker meeting.
INTERESTING NOTE: There was a touching letter
(below) was written by Frederick Douglass to Robert Adams, a
well-known “conductor” on the Underground Railroad in Fall River,
Massachusetts, on the occasion of Douglass’s 80th birthday (March 23, 1888).
Adams was a trusted friend of Frederick Douglass. Here is what he wrote to
Adams, reflecting upon their first meeting in 1841 in Fall River:
“Do you know
that yours was the first eyes that beamed kindly upon me in Fall River
seven and forty years ago? My dear old friend, I shall never forget that
look of sympathy you gave me. I was then only three years from slavery. I
had not fully realized the possibility that a white man could recognize a
colored man as a man and a brother but I saw such recognition in your face
and have ever since, in sunshine and storm, felt safe in your friendship.”
Rare newspaper article written by Horace Greeley about Frederick
Douglass addressing the students of Western Reserve College, on
the occasion of the annual commencement. New-York Tribune (Monday,
July 31, 1854). Read the entire article here. His speech is quite controversial, not only for 1854,
but also for now.
-- Three copies of the extremely rare Douglass' Monthlynewspaper: 1. October 1861 –
Complete. 16 pages. Minor repairs to back page affecting five or six words.
Good condition. 2. November 1861 –
Complete. 16 pages. Light purple stain to side margin and part of one
column (5” by 3”) affecting 4 pages (2 sheets) but still readable. Good
condition. 3. December 1861 --
Incomplete. 12 pages. Lacks cover and back sheet (4 pages). Good condition.
On the rear
page of Douglass's newspaper is a "Haytian Advertismement",
written by Nicholas Fabre Geffrard (President of Haiti 1859-1867):
Hayti (sic) will soon gain her ancient splendor. This marvellous soil that
our fathers blessed by God, conquered for us, will soon yield to us the
wealth now hidden in its bosom. Let our black and yellow brethren,
scattered through the Antilles and North and South America hasten to
co-operate with us in restoring the glory of the Republic. Hayti is the
common country of the black race. Our ancestors, in taking possession of
it, were careful to announce in the Constitution that they published, that
all the descendants of Africans and of the inhabitants of the West Indies
belong by right to the Haytian family. The idea was grand and generous.
Listen, then all ye
negroes and mulattoes who, in the vast Continent of America, suffer from
the prejudices of caste. The Republic calls you; she invites you to bring
to her your arms and your minds. The regenerating work that she undertakes
interests all colored people and their descendants, no matter what their
origins or where their place of birth. Hayti, regaining her
former position, retaking her ancient sceptre as Queen of the Antilles,
will be a formal denial, most eloquent and peremptory, against those
detractors of our race who contest our desire and ability to attain a high
degree of civilization." -- Geffrard
of Haiti (1859–67). He took part (1843) in the revolt against Jean
Pierre Boyer and led the insurrection that overthrew Faustin Élie Soulouque
in 1859. Although he tried to reform the government, he was continually harassed
by counterrevolutions and could accomplish little. He was exiled in 1867.)
-- Rare First Edition copy of "There Once Was a
Slave" (New York: J. Messner, 1947) by Shirley Graham Du
Bois, 2nd wife of NAACP mentor, W.E.B. DuBois. Book is about Frederick
-- Hard-to-find First Edition copy of Paul Robeson,
Citizen Of The World, By Shirley Graham Du Bois Copyright
1946. Hard back with no dust jacket. In good—very good condition. Tight
binding. 2nd face page has a color photo of Robeson attached. Back face
page has news clipping, and small black/white newspaper photo attached. .
Has 264 pages with 16 pages black/white photos.
JOSEPH STURGE (A heroic
-- An extremely hard to find copy of the British Emancipator (January
10th, 1840 -- LAST EDITION!), the Anti-Slavery Newspaper (Dec. 27,
1837-Jan. 10, 1840). "After having formally announced the
Emancipator of December 25th as our last, we shall no doubt surprise our
readers not a little by the appearance of another number. We beg permission
to explain..." The newspaper was founded by Joseph
Sturge (1793-1859). He was a member of the
Religious Society of Friends, and refused, in his business as a corn factor, to deal
in grain used in the manufacture of spirits. He wentto Birmingham in 1822, where he became and alderman in
1835. He was
an active member of the Anti-Slavery Society, Central Negro Emancipation
Committee and British and Foreign Anti-Slavery Society. Sturge made a tour in
the West Indies, publishing on his return an account of slavery as he there saw it in The
West Indies in 1837 (London, 1837).After the abolition of
slavery in 1833, Sturge was one of the main instigators of a campaign
of agitation against apprenticeship in the West Indies. The
Central Negro Emancipation Committee was something he founded in 1837. Lord
Brougham, the most prominent champion of anti-apprenticeship, acknowledged
Sturge's central role in rousing British anti-slavery opinion in a
speech to the House of Lords. In 1839, Sturge and others from the
anti-apprenticeship campaign came together to found the
British and Foreign Anti-Slavery Society, which survives until today as
Anti-Slavery International. The new organization turned its attention
to emancipating slaves outside Great Britain's borders. In
traveled in the United States with the poet John Greenleaf
Whittier to examine
the slavery question there.
-- Folded letter (June 10th, 1841) addressed at front from
Sturge and signed by Joseph Sturge to Governor Pennington, State
of New Jersey -- Inside reads--- To The Governor of New Jersey Respected
Friends I herewith forward thee a copy of a publication issued recently in
England relative to American Slavery. The kind and candid tone of thy
letter to Thomas Clarkson , so honorably contrasting with those of
some of the Chief Magistrates of the other States , induces me to hope that
thou will on all suitable occasions exert thy personal influence and the
prerogatives of thy station to promote the great cause of Universal
Liberty. Thy friend Joseph Sturge, Philadelphia June 10th 1841. BACKGROUND: Note the date and recipient of the letter. In
1841 Sturge traveled throughout the United States with the poet J. G.
Whittier, to observe the condition of the slaves there. On his return
he published A Visit to the United States in 1841 (published 1842).He traveled everywhere to meetings, lectures, and
churches, urging international cooperation toward gaining immediate slave
straight to slave-dealers and slaveholders and presented them with
anti-slavery arguments based on political and economic expedience, such
as Harriet Martineau had used. He assailed newspaper editors and
political leaders with the same arguments (Sturge 1842). The wellspring of
his own anti-slavery activism was nevertheless moral and religious. His
foundational convictions he expressed in a letter addressed to all
'Friends of Immediate Emancipation in the United States.' He urged unity
among all who regard 'slave-holding and slave-trading as a heinous sin in
the sight of God,' as well as a cessation of 'sectional jealousy and
national hostility.' He also urged 'public reprobation'
against slaveholders. Finally, he argued that 'there is no reasonable
hope of abolishing the slave-trade; but, by the abolition of slavery' to
be undertaken by 'moral, religious, and pacific' means. Throughout
his American journey he persisted doggedly in his efforts to move public
feeling, even in the face of pro-slavery churches and a hostile pro-slavery
federal government. He pressed the free states to gain control of
the federal government and to end the advantages slaveholders got from
their 'investiture with political rights, in proportion to the amount of
their slave property' (1842). He excoriated the 'leading United States
denominations' for their 'monstrous assertion that slavery is a
Christian institution resting on scriptural basis,' an assertion he
documented with written church statements. Sturge worked tirelessly to
organize popular action, even after seeing mass economic sanctions and
boycotts fail. But he continued to trust the impact of altered individual
feelings and ideologies.
-- Autograph letter (June 24, 1845) signed ‘Joseph Sturge.’
Letter was written from Birmingham, addressed to an unknown ‘Esteemed
Friend’, about parliamentary debates, with references to a speech by
Sir Robert Peel (on the sugar question) and to the British
and Foreign Anti-Slavery Society. 3 pp. 6 x 4 inches, in good
condition. Interesting Note: Sophia Sturge, his beloved sister, died in June
1845. This sad fact may have been on his mind as he wrote. Among other
things, Sophia Sturge had trudged to around 3,000 households in Britain
personally, asking them not to eat slave-grown sugar. She was quite a
warrior against the evils of slavery. Whittier wrote a poem about Sophia
after her death. Sophia was the president of the British Complete Suffrage
Association. She was the colleague, counselor, and ever-ready helpmate of
her brother in all his vast designs of beneficence. The Birmingham Pilot
says of her: "Never, perhaps, were the active and passive virtues
of the human character more harmoniously and beautifully blended than in
this excellent woman." Here is Whittier's poem to Joseph about Sophia
Thine is a
grief, the depth of which another
May never know;
Yet, o'er the waters, O my stricken brother!
To thee I go.
I lean my heart unto thee, sadly folding
Thy hand in mine;
With even the weakness of my soul upholding
The strength of thine.
I never knew, like thee, the dear departed;
I stood not by
When, in calm trust, the pure and tranquil-hearted
Lay down to die.
And on thy ears my words of weak condoling
Must vainly fall
The funeral bell which in thy heart is tolling,
Sounds over all!
I will not mock
thee with the poor world's common
And heartless phrase,
Nor wrong the memory of a sainted woman
With idle praise.
With silence only as their benediction,
God's angels come
Where, in the shadow of a great affliction,
The soul sits dumb!
Yet, would I say what thy own heart approveth
Our Father's will,
Calling to Him the dear one whom He loveth,
Is mercy still.
Not upon thee or thine the solemn angel
Hath evil wrought
Her funeral anthem is a glad evangel,--
The good die not!
God calls our
loved ones, but we lose not wholly
What He hath given;
They live on earth, in thought and deed, as truly
As in His heaven.
And she is with thee; in thy path of trial
She walketh yet;
Still with the baptism of thy self-denial
Her locks are wet.
Up, then, my brother! Lo, the fields of harvest
Lie white in view
She lives and loves thee, and the God thou servest
To both is true.
Thrust in thy sickle! England's toilworn peasants
Thy call abide;
And she thou mourn'st, a pure and holy presence,
-- By John G. Whittier
Sturge (1793–1859); Quaker philanthropist, son-in-law of James
Cropper. Some of the earliest British and American anti-slavery
speakers and writers were members of the Religious Society of Friends, or
Quakers. The life and actions of Joseph Sturge exemplified in the
nineteenth century the Quaker tradition of anti-slavery that George Fox,
founder of the Friends, initiated in the seventeenth. Joseph Sturge was
born in Gloucestershire in 1793 and died in Birmingham on May 1, 1859,
after a life of radical political action supporting pacifism, working class
rights, and the universal emancipation of slaves. Sturge succeeded
admirably in pursuing radical goals through measured and diplomatic
organizational behavior. He effectively directed popular protest toward
achieving concrete steps in the long process of ending class oppression,
whether it took the form of worldwide chattel slavery or wage slavery in Britain.
He was one of the founders of the agency
committee of the Anti-Slavery Society. When the Emancipation Act of 1834
was finally passed in Parliament, Sturge refused to let the
'apprenticeship' provision rest. ('Apprenticeship' was the widely
criticized intermediate stage on the route to emancipation chosen by the
British government.) Boldly he set out in person, with Thomas Harvey, to
investigate apprenticeship on the spot. Between Nov 1836 and April 1837 he
and Harvey traveled through the West Indies gathering evidence to
demonstrate the flaws of the apprenticeship system. Everywhere they went
they observed apprenticeship in action and talked directly to apprentices,
overseers, stipendiary magistrates, and proprietors. In Antigua, where the
local legislature bypassed apprenticeship, Sturge and Harvey found that
freed people had achieved a social and economic condition far superior to
that of Jamaica, where apprenticeship prolonged the wretchedness of
slavery. Their book, The West Indies in 1837 (1838), exposed for a
broad public the cruelty and injustice of apprenticeship. While he was in
Jamaica, Sturge helped found the Jamaican free village of Sturgetown. He
brought to London a Jamaican apprentice, James Williams, who described in
his own words the brutality of his apprentice life. Williams's story
touched his audiences and stirred up agitation against apprenticeship.
Sturge used what we now call field research in order to demonstrate his
hypothesis about apprenticeship. This research strategy, combined with his
unflagging protest activity, succeeded in shortening the period of
apprenticeship by a full two years. Fifteen months after Sturge¹s West
Indian trip, nearly 800,000 men and women held in apprenticeship became
fully free. He founded the British and Foreign Anti-Slavery Society in
1839, and organized international anti-slavery conventions in 1840 and
1843. In 1841 he traveled through the United States with the poet J. G.
Whittier, to observe the condition of the slaves there. On his return
published A Visit to the United States in 1841 (1842). Sturge
served as secretary of the Birmingham Anti-Slavery Society. A statue was
erected in Birmingham in his honor after he died. The
British and Foreign Anti-Slavery Society (BFASS), founded in 1839 by Joseph
Sturge, still survives today as Anti-Slavery International. Sturge
worked tirelessly to organize popular action, even after seeing mass
economic sanctions and boycotts fail. But he continued to trust the impact
of altered individual feelings and ideologies. He put faith in the moral
force of religion. In 1942 Joseph wrote, "Light and darkness, truth
and falsehood, are not more in opposition than Christianity and slavery."
Joseph Sturge autograph -- 2 7/8 x 5 Page is hand
signed in black ink pen.
-- Rare March 25, 1865 edition of a family journal, "The Leisure Hour."
In this journal is a great article about Joseph Sturge, along with an
excellent etching of Sturge. In this article the last meeting with Thomas
Clarkson before he died. Here is what was written:
LAST PUBLICLY SPOKEN WORDS OF THOMAS CLARKSON: Slavery everywhere was
attacked after it had fallen in the British dominions. Joseph Sturge,
from the beginning of the new endeavors to the end of his life, was one of
the main elements of strength and support. Readers will remember the
celebrated conference held at the Freemason's Hall, June 1840, when and where
were gathered between 500 and 600 delegates, from all parts of the world, we
may say, besides all that was great and good in every philanthropic
undertaking. It was a noble assembly. There Thomas Clarkson appeared
for the last time in public. We give our readers a condensed account of the
scene from the pen of the painter Haydon, who was present as an artist
to find materials for one of the greatest pictures.
"In a few minutes," he says, "an unaffected man
got up and informed the meeting that Thomas Clarkson would attend shortly: he
begged no tumultuous applause might greet his entrance, as his infirmities
were great, and he was too nervous to bear any such expressions for
feelings." This was Joseph Sturge. In a few minutes the aged Clarkson
came in, gray and bent, leaning on Joseph Sturge for support, and approached
with feeble and tottering steps, the middle of the convention. Immediately behind
him were his daughter-in-law, the widow of his son, and his little grandson.
The old man first appealed to the meeting for a few moments of silent prayer;
and says Haydon, "for a minute there was the most intense silence I have
ever felt." He spoke a few feeble words: every word was uttered from his
After urging the members to persevere to the last, til slavery
was extinct, lifting his arm and pointing to heaven, his face quivering in
emotion, he ended by saying, "May the Supreme Ruler of all human events,
at whose disposal are not only the hearts, but the intellects of men -- may
He, in His abundant mercy, guide your counsels and give His blessing upon
your labours." There was a moment's pause; and then, without an
interchange of thoughts or look, the whole of the vast meeting, men and
women, said in a tone of subdued and deep feeling, "Amen and amen!"
25. Over 400Golden Legacy (Black History) comics
in mint condition (most still in original packaging) -- known as
"Illustrated History Magazines". Between 1966 and
1976 Bertram Fitzgerald (publisher) produced 16 volumes of Golden Legacy
Comics. He left a legacy of his own, comprising the most successful series of
Afrocentric comics to date.
The Golden Legacy
comics are thoroughly professional in their writing, art, and production
values, and full of enough historical surprises to interest adult readers
presented in a package accessible to younger readers.
Comics in this Collection tell the stories of Toussaint
L'Ouverture (pictured), Harriet Tubman, Crispus Attucks, Benjamin
Banneker, Matthew Henson, Alexander Dumas, Frederick Douglass, Robert
Smalls, J. Cinque (Amistad Mutiny), Martin Luther King, Ancient African
Kingdoms, Alexander Pushkin, Black Cowboys, Louis Lattimer, Marcus Garvey,
George Washington Carver, White, Marshall, and Wilkins.
26. 1820s "T
Porter" slave button (from Antigua, British West Indies), sewn
onto the outer clothing of slaves -- used to identify the owner of the
Chillicothe Recorder (OH, dated Aug 23, 1815). Inside page headline with
report on live slaves
being thrown overboard from a slave ship,
while shackled together. I have heard anecdotal stories of this but
this is the 1st reference I can find to it actually having been done! --
1818 edition of Niles Weekly discussing the "Treatment
of Slavery in Maryland".
-- Vintage engraving of a "Slave Felucca on the Coast of Africa",
letters, photos and other sports memorabilia (Julius Erving, Buck
Leonard, Jack Johnson, Satchel Paige, Harlem Globetrotters
(many annual programs, LPs, and other Globetrotter items), Joe Frazier,
Johnson, Michael Jordan, George Foreman, Negro Baseball League, Sugar Ray
Leonard and more). Boxing gloves signed by Muhammad Ali, George Foreman,
Sugar Ray Leonard, Joe Frazier, Mike Tyson and others. Many Harlem
Globetrotter programs 1948-2005. Click here to review the other Harlem Globetrotter items. Pictured
is the 1949 (23rd Season) Harlem Globetrotter's program -->
<--Harlem Globetrotter ('46-'74) Bob
"Showboat" Hall's (signed) travel bag. This is the actual
bag he used in his world travels with the Harlem Globetrotters...
Rare original AFTRA Engagement Contract dated January 28, 1972, for Pearl
Bailey's appearance on the Harlem Globetrotter's Celebrity Special (NBC)
at The Forum in LA -- signed by Pearl, w/ her Social Security # (Pearl was
paid $1000 for her appearance).
Absolutely rare original signed check for $5002.30 from Samuel Goldwyn
Productions made out to Pearl Bailey, dated September 6, 1958.
Pearl Bailey was working on Porgy and Bess, which was released June
4th, 1959 (Otto Preminger, Director). This check was all or part of
her payment for playing Maria in Porgy and Bess. The check is signed
on the back twice -- Pearl Bailey and Pearl Bellson (Pearl was married to
jazz drummer Louie Bellson, who revitalized the Duke Ellington Orchestra in
the 1950s). The Porgy and Bess film was marginally successful when released,
winning an Oscar, Golden Globe, and Grammy Award. Ira Gershwin and the
Gershwin estate were unhappy with the film, however, and rescinded the rights
to the film in the 1970s. As a result, the film has never been on video or
DVD here in America, and few public screenings have been permitted, albeit
begrudgingly. It is believed that the original negative is in dire need of a
restoration. This collection has a DVD copy of the entire film, obtained from
-- Dubose Heyward: PORGY. Published in 1934 by The Modern
Library, NY. Stated First Modern Library Edition. Hard cover, no dj, 196
pages, Illustrated Chapter headings. DuBose Heyward (August 31, 1885 – June
16, 1940) is best-known as the author of the 1924 novel Porgy, which became
the foundation of George Gershwin's opera Porgy and Bess. Langston
Hughes called Heyward "one who saw, "with his white eyes,
wonderful, poetic qualities in the inhabitants of Catfish Row that makes them
come alive." Biographer James M. Hutchisson characterizes Porgy
as "the first major southern novel to portray blacks without
condescension" and states that the libretto to Porgy and Bess was
largely Heyward's work. Book is in good condition.
-- Rare 1959 vintage poster (16" x 23") of the film
(Belgium), Porgy and Bess. -- starring Sidney Poitier, Dorothy
Dandridge, Sammy Davis, Jr., Pearl Bailey and others.
-- A vintage First Edition hardback illustrated motion picture movie
book titled: The Samuel Goldwyn Motion Picture Productions of Porgy and
Bess, copyright 1959...the year the movie was released.
-- Souvenir program of George Gershwin's "Porgy and
Bess", Produced by Cheryl Crawford ca. 1943. Directed by
Robert Ross, Starring Todd Duncan, Anne Brown, Georgette Harvey et al. Cover
art by Al Hirschfeld, 9" x 12", 15 pages, includes 10 b/w photos.
Clean, flat and still tightly bound in EXCELLENT condition.
28. A three-volume 1803 English
edition (quite rare) of "Travels in Upper and
Lower Egypt During the Campaigns of General Bonaparte in That Country",
written and illustrated by Vivant Denon, published by T.N. Longman
& O. Rees (London).In the spring of 1797, with a
direct assault against Britain out of the question, Napoleon Bonaparte
suggested threatening Britain's rich commerce with India by invading Egypt. A unique
feature of the expedition, which set sail on 19 May 1798, was the large
number and high caliber of the attached civilians, among them Baron Dominique Vivant Denon (1747-1825).
Denon was one of the founders of the Louvre Museum, and was responsible for
saving many works of art and monuments of French culture from destruction
during the French Revolution. Denon was entrusted by Napoleon to
assemble a team of artists, archeologists, linguists and scholars to study
the antiquities of Egypt for the first time since Antiquity. In addition to
assisting in the formulation of practical measures for the rule of Egypt, the 167 savants
accompanied the army to every corner of the country. Protected by the
French troops, Denon was able to explore the country extensively. This book
contains many etchings of Egypt, including the famous etching of the Sphinx
of Giza shown at the top of this web page. -- order postcard of Sphinx of
Rare 3-Volume Set by Vivant Denon, 1803
In the south, he reached Assouan; from Keneh he went to Kosseir. Their
studies of the great monuments of ancient Egypt paved the way for the
science of Egyptology. It was during this expedition that the Rosetta Stone
was discovered, which ultimately enabled people to decipher and translate
ancient Egyptian hieroglyphics. Denon's book was the first important fruit
of the French expedition to Egypt. This is an early English translation of the work
(apparently the first English edition was printed a year earlier), and
contains a wealth of beautiful fold-out plates and maps, including
contemporary scenes from Denon's travels, plans of ruins, engravings of the
monuments and reproductions of some of the art in the ruins and temples.
Contemporary half leather binding with marbled boards and
edges. 392, 312, 366pp. Illustrated with 57 engraved plates and maps. 8vo (standard sized
book). CONDITION:Good to Very Good. All volumes:
Rubbing and edge wear to boards and spine. Hinges cracked. Front board of
Volume 1 loose but not yet detached. Split to centre of spine of Volume 2,
binding still okay. Missing 5 plates, but has 2 uncalled for. Some
sunning to page. Varying foxing to pages and plates, some plate just at edges,
others have some spots to plates themselves. A few plates have tape
repairs to reverse. Scattered dirt spots to pages. In general a tidy
set, all text pages present and text clear and readable, foxing to
margins of text pages only.
First Edition (American) book by Gaston Maspero, "The Dawn of
Civilization / Egypt and Chaldea", 1894 (400 images)
-- First Edition (London) book by Joseph Pollard, "The Land of
the Monuments: Notes of Egyptian Travel", 1896
-- March, 1873 Harper's Weekly article by Rev. William Hayes Ward, "Our
Debt to Cadmus: Hieroglyphics"
-- Original British Museum booklet, "History of the Rosetta Stone",
printed by Harrison and Sons, London), 1939
-- "Ancient History: Egyptian..." by Charles Rollin,
-- "The Hebrew Bible, With Respect to Egypt" (incl. maps),
by Robert, Lord Bishop of Clogher. Printed for J Warcus, London, 1760
(3rd Edition, Corrected), 493 pages, bound with full original full calf
-- "The Story of the Nations: Ancient Egypt", by George
Rawlinson, First Edition, 1887, with many illustrations.
-- French edition of "L' Archeologie Egyptienne" by Gaston
Maspero, 1887. Rare, with many illustrations.
-- Leeds, England newspaper article erroneously announcing the death of
Napoleon in Egypt. Intriguing.
-- The Life of Napoleon Bonaparte by J.G. Lockhart (1886), 496 pages
with 9 tipped-in illustrations and many wood engravings. London: Bickers
& Sons, Leicester Square. Faversham School Prize full calf binding with
marbled endpapers and edges. Prize bookplate on pastedown. Portrait
frontispiece slight foxing. Text, slight foxing. Slight foxing in prelims and
last few pages, otherwise clean. Plates, lovely and luminous.
-- Hand written letter (Nov. 5th, 1805) by the former Chief Ordonnateur (Director)
of the French Army during the Napoleonic Egyptian Campaign.
-- "Egyptian Antiquities", produced by the British
Museum for the Library of Entertaining Knowledge, and published by Knight
London in 1832, this is a splendid 2 volume, 12mo size work. The two volumes
have full page and other engravings and have around 800 pages in total.
Really detailed work on Egyptian monuments, Rosetta Stone, buildings,
sculptures, tombs, papyrus, etc., etc. In the original half calf boards.
Original French Text Book, copyright 1900 -- "L'Expedition de Bonaparte en Egypte", Written
by L.A. Thiers, with introduction by C. Fabregou, published by D.C. Heath
& Company. Most of the book is written in French, with some English
translation in the back. 100 pages. It is an old college text book from
Franklin & Marshall College, Lancaster, PA. -- L’Egypte, by old
French traveler/diplomat/student of Egypt, Gabriel Charmes, published
by CALMAN LEVY, Rue Auber, Paris, France, 1891, Chapters
include, in part -- Mariette Pacha, Les Etudes Egyptologiques en Egypte,
Les Pyramides D’Ounas et de Meydoum, Dier-El-Bahari, L’Institut D’Archeologie
Orientale Du Caire, and more. Very antique volume of 396 rich crispy
style pages in its original Calmann Levy, ‘L’EGYPTE’ soft card covers as
Jean Champollion in Egypt
-- Lettre Ecrites D'Egypte et de
Nubie en 1828 et 1829, by Champollionn le Jeune (Letters
Written in Egypt and Nubia in 1828 and 1829 by Francois Champollion) with
all illustrations intact. This very, very rare First Edition by the
translator of Egyptian Hieroglyphics is seldom seen on the open market.
Most copies are in large University or Public library rare book
collections. This work is an important insight into the early work of one
of the Fathers of Egyptology. These are his own reflections and opinions
regarding the monuments of Egypt. It is important to remember that
Champollion only ever made one trip to Egypt as he died soon after his
return. A great loss to the science of Egyptology.
-- Jean-Francois Champollion, a 10 year old child saw some of the
Egyptian artifacts and enquired about the strange pictures (Hieroglyphs)
where he was told that no one yet understands what these pictures means.
Since that time Champollion committed himself to decipher the Hieroglyphs.
By the age of 16 he became a professor mastering 10 languages at the same
time. Champollion then compares the two cartouches of PTOLEMY & CLEOPATRA
found on the Rosetta stone which contains similar characters. He continued
deciphering more cartouches and texts from the temple of El Karnak. It took
Champollion 24 years until he published his work in a book " Precis du
systeme Hieroglyphique ". Sadly Champollion died by a stroke on 1832
when he was 41 years old.
-- Two extremely rare First Edition French volumes,
"Complete Summary of Archaeology" by Jean
Champollion-Figeac (Published in Paris, 1825 and 1826, just a few years
after he cracked the code to hieroglyphics in 1822). Divided into volumes. First:
Monuments of architecture, Sculpture and Painting, including/understanding
constructions of any kind, the statues, low-reliefs, figurines, tombs,
furnace bridges, vases painted, mosaic, etc...with an introduction historical
and finished by a vocabulary divides into volumes. Second: Containing
the treaties on the engraved stones, the inscriptions, the medals, the
utensils crowned and common, movable, weapons, etc, followed by the
biographies of the most famous antique dealers, archéologieque bibliography
and of a vocabulary.
Vintage framed image of Dr. Thomas Young. Background: Dr. Thomas Young is the man who undertook the task had
perhaps the keenest scientific imagination and the most versatile profundity
of knowledge of his generation — one
is tempted to say, of any generation. For he
was none other than the extraordinary Dr. Thomas Young, the demonstrator of
the vibratory nature of light. Young had his attention called to the Rosetta
Stone by accident, and his usual rapacity for knowledge at once led him
to speculate as to the possible aid this tri-lingual inscription might give
in the solution of Egyptian problems. Resolving at once to attempt the
solution himself, he set to work to learn Coptic, which was rightly believed
to represent the nearest existing approach to the ancient Egyptian
language. His amazing facility in the acquisition of languages stood him
in such good stead that within a year of his first efforts he had mastered
Coptic and assured himself that the ancient Egyptian language was really
similar to it, and had even made a tentative attempt at the translation of
the Egyptian scroll. His results were only tentative, to be sure. Yet
they constituted the very beginnings of our knowledge regarding the meaning
of hieroglyphics. Just how far they carried has been a subject of
ardent controversy ever since. Not that there is any doubt about the
specific facts; what is questioned is the exact importance of these
facts. For it is undeniable that Young did not complete and perfect the
discovery, and, as always in such matters, there is opportunity for
difference of opinion as to the share of credit due to each of the workers
who entered into the discovery.
Dr. Thomas Young's specific discoveries were these: (1).
that many of the pictures of the hieroglyphics stand for the names of
the objects actually delineated; (2). that other pictures are sometimes
only symbolic; (3). that plural numbers are represented by repetition; (4).
that numerals are represented by dashes; (5). that hieroglyphics may
read either from the right or from the left, but always from the direction in
which the animals and human figures face; (6). that proper names are surrounded
by a graven oval ring, making what, he called a cartouche; (7). that the
cartouches of the preserved portion of the Rosetta stone stand for the name
of Ptolemy alone ; (8). that the presence of a female figure after such
cartouches, in other inscriptions, always denotes the female sex; (9).
that within the cartouches the hieroglyphic symbols have a positively
phonetic value, either alphabetic or syllabic ; and (10).
that several different characters may have the same phonetic value.
what these phonetic values are, Dr. Young pointed out in the case of fourteen
characters, representing nine sounds, six of which are accepted to-day as
correctly representing the letters to which he ascribed them, and the three
others as being correct regarding their essential or consonantal
element. It is clear, therefore, that he
was on the right track thus far, and on the very verge of
complete discovery. But, unfortunately, he failed to take the next step, which
would have been to realize that the same phonetic values given the alphabetic
characters within the cartouches, were often ascribed to them also when used
in the general text of an inscription; in other words, that the use of
an alphabet was not confined to proper names. This was the great secret
which Young missed, but which his French successor, Jean Francois
Champollion, working on the foundation that Young had laid, was enabled
to ferret out. Young's initial studies of the Rosetta stone were made in
1814 his later publications bore date of 1819. Champollion's first
announcement of results came in 1822; his second and more important one
in 1824. By this time, through study of the cartouches of
other inscriptions, he had made out almost the complete alphabet, and the
“Riddle of the Sphinx " was practically solved. He proved
that the Egyptians had developed a relatively complete
alphabet (mostly neglecting the vowels, as early Semitic alphabets did also)
centuries before the Phoenicians were heard of in history.
Hardbound Volume IV of American Quarterly Review (September and
December, 1828). This 546 page book contains reviews of historical,
scientific, and travel literature published by Carey, Lea & Carey,
Chesnut Street, Philadelphia; 546 pages. Twenty-six of those pages are dedicated
to reviewing Jean Champollion's May/June 1827 article published in the
Bulletin Universal entitled, "Apercu des Resultats
Historiques de la decouverte de l'alphabete Hieroglyphique Egyptienne"
par M. Champollion le Jeune.
Magnificent extremely rare plate/print (one of 511 plates), expertly backed
with linen, of Thutmose III from the monumental 1843 work of Jean
Champollion, the first to decipher Egyptian hieroglyphs (20" x
-- Rare First Edition copy of "L'Univers Pittoresque. Egypte Ancienne"
by M. Champollion-Figeac (Jean Champollion), Paris, Firmin Didot,
1839. It contains 92 illustrations and an antique folding map of Egypt. First
few pages have some foxing, with the rest in excellent condition. 500 pp.,
& 92 plates,1/2 maroon morocco with 5 raised bands & leather label,
marbled bds. & endpapers.-- Very scarce First Edition, Egyptian
Antiquities in the British Museum, 1862. Details 250 exhibits.
Published by Smith, 196 pages. Excellent condition. In fact, it appears to be
unread. Over 6 pages, with three diagrams, dedicated to the Rosetta
-- Intriguing early 1900s glass slide of the Rosetta Stone by Moore, Bond
Two Copper engravings (22"x9" -- Battle Plan for Alexandria and
Map of Nile) titled, "Plan of the Action of the 21st. of March
Fought near ALEXANDRIA, by the French under General Menou, and the English
under Sir Ralph Abercrombie" and also "A Map of the Western
Branch of the Nile from the Latest Authorities". Issued in 1803 as
part of Robert Thomas Wilson's "History of the British Expedition to
Egypt To which is Subjoined a Sketch of the Present State of That Country and
its Means of Defence".
A fine 1719 original, copperplate engraved views of the Pyramids and of
the Sphinx, Giza, Egypt, with engraved cursive commentary as borders:
Description des Piramides d'Egypte . . . Avec une Description tres
Curieuse du Sphinx, from Chatelain, Henri Abraham, Atlas
Historique..., Volume 6, Amsterdam: . First edition. Excellent condition,
heavy paper, crisp dark impression; uncolored as always (any color seen in
these images/maps is applied by modern hands.) Dimensions: 17 1/2" x 21
-- This collection has 82 extremely rareoriginal
plates/prints ( from "Description
de l'Égypte" from the Napoleonic Egyptian Campaign,
circa 1820. These official plates/prints
came from a huge lot sold in an auction in 2001, Paris -- the seller was
Government -- from the cellars of the French Government
Publications Office. Average plate/print size is 29 inches x 22 inches.
Some of the plates in this collection are 56 inches long! --
(Description de l'Égypte was the result of the collaboration of prominent
scholars, several famous European scientists, cartographers, topographers,
and more than 160 artists and technicians. They accompanied Napoleon's army
during Napoleon's expedition to Egypt in 1798. Their goal was to
methodically collect information in areas as widely varied as architecture,
geography, botany and the humanities. Description de l'Égypte was published
volumes from 1809 to 1828 and includes over 900 plates.)
Regions depicted/represented by the official plates in this collection are:
Thebes, Karnak, El Kab, Medynet-Abou, Hypogees, Elethyia, Heptanomide,
Beny-Hasan, Tentyris, Memnonium, Byban El Molouk, Latopolis, Ile de Philae,
Edfou, Louqsor and much, much more...
Description de l'Égypte: Official plates/prints previously
owned by the French Government.
rareL'expédition d'Égypte, 1798-1801, par Clément
de Lajonquière. Five large volumes in wraps, total of about 3400 pages! (1902,
2nd edition). Among
the campaigns of the revolution, consigning Egypt is both one of the most
popular and less well known.Thus began the monumental work of Clement Draveurs (Clément de La Jonquière).Published (about 100 years
after the Napoleonic military campaign) from 1899 to 1907 under the auspices
of the History Section of the État de l'Armée, Paris, he tells one of the
most extraordinary adventures of the revolutionary period.Many testimonies, more or
less reliable contemporaries; also numerous texts on the science of
"oriental dream."The work of Georges Rigault on the last leg of the
expedition to Egypt and those of Pierre de La Grèverie on Regiment
Dromadaires round off the work of a master in the final volume. Vol. I:
673 p., Vol. II: 632 p., Vol. III: 720 p., Vol. IV: 688 p., Vol. V: 692 p. A
complete set. With numerous foldout maps. Vol. I: A rebinding copy. Rear
cover missing, backstrip missing parts and frayed. Shaken. Internally
excellent: text leaves clean and neat. Vol. II: Missing front wrap cover,
else in excellent condition – tight and clean. Vol. III: a Very Good volume.
Tight and clean with some wear to covers. Vol. IV: A rebinding volume –
shaken, backstrip cracked. Covers off and frayed. Internally clean and neat.
Vol. V: A Very Good volume. Tight and clean. Covers with some wear and leaves
somewhat yellowed. A remarkable complete set. BACKGROUND: (translated from French) In
1797, after the victory early, and unexpected, Napoleon in Italy, England
remains the main enemy.One can oppose it either by attempting an invasion,
either by intervening on its links with India.The conquest
by Bonaparte of Ionian Islands in August 1797 opened the way to the Orient
and reanimate the idea of conquest of Egypt, which would allow the
opening of the Isthmus of Suez, thus controlling of a more commercial path
runs to the riches of India.As a first step, in January and February 1798, the
policy of the Executive moves to the invasion.Bonaparte examines all
possibilities of invasion from ports in the north, the troops are assembled,
a fleet is formed, but the operation seems far too risky and it is abandoned.But we must fight
against England, and incidentally get rid of a Bonaparte too.Talleyrand, confirmed his
analysis by the intervention of Magallon, will therefore attempt Eastern map.The decision to
intervene in Egypt was taken on March 5, 1798.On August 22, 1799,
Bonaparte, after the unfortunate expedition to Syria, even Egypt, called for
new targeted France.He left the expedition under the command of Kleber, which
does little to maintain in Egypt.But Kleber is totally convinced of the importance of
scientific work, which continues, despite the setbacks and delays of the
policy. It creates Similarly, on November 19, 1799 a commission to study more
particularly modern Egypt.On Nov. 22, 1799, he took the decision to consolidate
all the work of scholars of the commission in a unique work, the Description
enters into negotiations with the British and the Ottomans, to evacuate
honorably and Egypt to participate in military actions in Europe.An agreement was concluded
on January 23, 1800 for the return in France, but its implementation is not
possible, given the internal divisions among English, the sultan of
procrastination and the resumption of hostilities in Egypt.After the victory of
Heliopolis Kléber on the Ottomans, March 20, 1800, there is no question of
return, but the morale of the troops, such as scholars rose.Unfortunately, on June 14,
1800, when the victory of Marengo, Kléber was assassinated in Cairo.The General Menou, being
the oldest in the highest rank succeeded him as head of the army.Any momentum had been able
to restore Kléber members of the expedition despite the
failure of the draft back, disappears with him.Until the final departure
to France, scholars no longer leave little near the Cairo and Alexandria in
order to be ready to leave at the first opportunity.However Menou continues the
work of reorganization and modernization begun by Bonaparte and continued by
we owe the fact that the publication of the description will not be provided
by private funds but rather by the state, so that is recognized and
sanctioned the importance of the work done by scholars.After many tribulations,
scholars, gathered in Alexandria, obtain permission to leave Egypt on May 13,
1801, but the English do not want to pass up, unless they abandon all
material collected during the exploration and their notes and sketches.The negotiations,
sometimes tragic, lasting several months and it was not until September that
the first members of the committee may leave Egyptian soil, having left in
the hands of English the heaviest items that they had found, including the
famous Rosetta Stone.
29. Four clay pipes (to the left)
depicting people of African descent dated back to the mid 1800s, one
Elder's Pipe: To the right is a fine item, approximately 150 years old
-- from the Bambara Tribe in Mali, West Africa. This is an elder's or
chief's pipe, approximately 10" long and shows use and character. The
bowl is metal lined and is reinforced with metal on the mouthpiece. BACKGROUND: The Bambara speak
"Bamana", which is one of the Manding languages. Bamana is widely
spoken in Mali, especially in the areas of business and trade. During the
1700's, there were two Bambara kingdoms: Segu and Karta. In the 1800's, aggressive
Muslim groups overthrew these kingdoms, leaving only a few anti-Muslim
Bambara to oppose their occupation. This lasted forty years until the
arrival of the French. Only 3% of the Bambara had become to Islam by 1912.
After World War II, the number of Muslim coverts grew due to their
resistance to the French and their exposure to Muslim merchants. The
Bambara are 70% Muslim today.
A Bambara elder's pipe
30. 1858 Slave
Life Insurance Policy Receipts from La Providencia(6
different copies, 1858-1859) and La Protectora Insurance
Companies -- both in Havana, Cuba. Slavers routinely covered their slaves
with life insurance policies. Consequently, they didn't care if they had to
push slaves overboard or even if the slaves lived or died on the
voyage. The slavers were paid regardless. This was common practice during
the Slave Trade -->
-- AUTHENTIC 159-year-old copy of the "Diario de la Marina"
Cuban newspaper. The most prominent HABANA newspaper of the time and right
up to Castro's communist takeover. This newspaper is a total of 4 large
(14"X20") pages full of information about life in Cuba and the
world. It is from Tuesday July 28th, 1846. At the time newspapers were made
of a high quality paper-cloth mix material that through time has not
yellowed nor deteriorated as other more recent types would. Depicts 19th
century slave trade in Cuba.
-- This collection also has two more issues of "Diario de la Marina"
3rd, 1844 and Dec. 29th, 1844. Lots of information about slave ships, the
sale/capture of slaves, colonial life, etc... -- 1840 Portugal ship certificate
registration with 1 slave -- The ship "Palas" arrived at
Montevideo from Rio de Janeiro (Brazil), and later left for Pernambuco. It
carried 1 slave (police report included, with 7 other related documents).
Cullen -- poet, anthologist, novelist, translator, children's
writer, and playwright, Countee Cullen is something of a mysterious
figure. He was born March 30th, 1903 (died 1946), but it has been
difficult for scholars to place exactly where he was born, with whom
he spent the very earliest years of his childhood, and where he spent
them. New York City and Baltimore have been given as birthplaces.
Cullen himself, on his college transcript at New York University,
lists Louisville, Kentucky, as his place of birth. A few years later,
when he had achieved considerable literary fame during the era known
as the New Negro or Harlem Renaissance, he was to assert that his
birthplace was New York City, which he continued to claim for the
rest of his life. Cullen’s second wife, Ida, and some of his closest
friends, including Langston Hughes and Harold Jackman, said that
Cullen was born in Louisville. As James Weldon Johnson wrote
of Cullen in The Book of American Negro Poetry(rev.
ed., 1931): "There is not much to say about these earlier years
of Cullen--unless he himself should say it." And
Cullen--revealing a temperament that was not exactly secretive but
private, less a matter of modesty than a tendency toward being
encoded and tactful -- never in his life said anything more
-- Page from the December 1923 issue of Opportunity
Magazine with poem, "When I Am Dead", signed by
Countee Cullen (dated December 14, 1923). Countee was a mere 20
years of age at the signing of this autograph.
-- Color (First Edition, 1925) -- signed by Countee Cullen
-- Color (First Edition, 1925) -- with original book cover (3
-- Ballad of the Brown Girl (First Edition, 1927)
-- Caroling Dusk: An Anthology of Verse by Negro Poets (2 copies
-- First Edition, 1927)
-- Copper Sun (First Edition, 1927) -- signed by Countee
-- Copper Sun (First Edition, 1927) (3 more First Edition
-- Black Christ and Other Poems (First Edition, 1927)
-- Black Christ and Other Poems (Third Edition, 1927)
-- On These I Stand (First Edition, 1947) -- along with an
original advertisement card, with Countee's picture.
-- The Medea and Some Poems (First Edition, 1935)
-- An Anthology of the Best Poems of Countee Cullen (First
Edition, 1947...published posthumously)
World War II Unit History titled "Workin’ on those Airdromes"
An Overseas Report From the 923rd Engineer Aviation Regiment including
the 827th Engineer Battalion, 829th Engineer Battalion, the 847th Engineer
Battalion, and the 859th Engineer Battalion is soft back 10 3./4" x 8
¾" with 42 pages attached with staples. Front inside cover inscription
to "Sally, Mother, and Mimi from Tom" written in blue ink."
Includes text, black and white photos of the African American soldiers.
" Two greatest accomplishments of the men of
this Regiment were the construction of Eye and Debach airdromes in
England….On D-Day, June 6, 1944, the first flight of Liberators took off from
Debach….work performed by our men continued missions of the heavy Flying
Fortresses B-17 and Liberators B-24…Displays color graphics of Aviation
Engineers and IX Engineer Command patches; soldiers receiving the Bronze
Star, Legion of Merit, and Good Conduct Medals; B-17s, half-tracks, etc.
Photos of Joe Lewis visiting and participating in "Joe Lewis Day"
including "refereeing a boxing fight for us". Lists "Battle
Grounds of the 923rd Engineers Airfields constructed, improved, or maintained
in England, France, Belgium, Holland, Luxembourg, and Germany". Includes
photos of "General Eisenhower, General Marshall, Jimmie Byrnes, General
Bradley, General Montgomery, and Russia’s Field Marshal Gregor Zhukov".
Lists "In Memoriam They Died in the Service of the United States".
Killed in Action KIA. Interesting addition to Black Aviation Collection.
of Africa: Maps of Africa were vital to European slave traders who
depended upon the mapmaker's representation of the West African coast for
the purposes of navigation-- Clouet (1768) -- Kitchin (1786) -- Chambers
(1847) -- Guthrie (1800) -- Noveau Dictionnaire Geographique (1823)
-- Black (1849) -- Johnson & Browning (1861) -- Cundee (1809) --
Levasseur (1866) -- Rapkin (1865)
-- du Bocage (1848) -- Bonne (1780) -- Mitchell (1836, 1841, 1851) -- J.
Bartholomew (1878) -- Bonne (1760)
-- Malham's Naval Gazetteer (1796) -- Maps of Egypt: -- Clouet (1768) --
Wilkinson (1796) -- Mallet (1719) -- Map of "Hayti and San Domingo" --
Allen (1890) -- Mendes (1871) -- Cape St. Francois (1795) Map of King Solomon's Route to Ophir for Gold --
Pluche's (1745) -- Map of South America -- Dufour (1840) --
Scot (1798) -- J. Bartholomew (1876) -- Cram (1886) -- Gelattly (1845) --
Steiler (1870) -- J.H. Young (1839 and 1852) -- Map of Scotland -- Mitchell (1847, around
the time of Frederick Douglass' visit between '44-'46) --
busts (below, 8" high) are by African American sculptor/photographer, Inge
Hardison (b. 1904) from the "Negro Giants in History"
collection created in 1967. Stunning likenesses. Hardison is a sculptor
whose major interest is contemporary and historical portraiture. Much of
Hardison’s work is emotionally involved to her heritage as a woman of
African decent. She was the only woman among the six artists who formed the
Black Academy of Arts and Letters. Hardison once said, “During my
long life I have enjoyed using different ways to distill the essences of my
experiences so as to share for the good they might do in the lives of
others.” A life loyal to creativity and art speaks of the life of Inge
-- 1945 playbill for Mansfield Theatre's production of the play, Anna
Lucasta, with Inge Hardison listed as an actor -->
Henson (1866-1955) was
born on a farm in Charles County, Maryland. He was still a child when his
parents Lemuel and Caroline died, and at the age of twelve he went to sea as
a cabin boy on a merchant ship. He sailed around the world for the next
several years, educating himself and becoming a skilled navigator. Henson
met Commander Robert E. Peary in 1888 and joined him on an expedition to
Nicaragua. Impressed with Henson’s seamanship, Peary recruited him as a
colleague. For years they made many trips together, including Arctic
voyages in which Henson traded with the Inuit and mastered their language,
built sleds, and trained dog teams. In 1909, Peary mounted his eighth attempt
to reach the North Pole, selecting Henson to be one of the team of six who
would make the final run to the Pole. Before the goal was reached, Peary
could no longer continue on foot and rode in a dog sled. Various accounts
say he was ill, exhausted, or had frozen toes. In any case, he sent Henson
on ahead as a scout.
In a newspaper interview Henson said: “I was in the lead that had
overshot the mark a couple of miles. We went back then and I could see that
my footprints were the first at the spot.” Henson then proceeded to plant
the American flag. Although Admiral Peary received many honors, Henson was
largely ignored and spent most of the next thirty years working as a clerk
in a federal customs house in New York. But in 1944 Congress awarded him a
duplicate of the silver medal given to Peary. Presidents Truman and
Eisenhower both honored him before he died. In 1912 Henson wrote the book A
Negro Explorer at the North Pole about his arctic exploration. Later,
in 1947 he collaborated with Bradley Robinson on his biography Dark
Companion. The 1912 book, along with an abortive lecture tour, enraged
Peary who had always considered Henson no more than a servant and saw the
attempts at publicity as a breach of faith. (source: Wikipedia)
Augustus Morgan (1877-1963) was an African-American businessman and
inventor whose curiosity and innovation led to the development of many
useful and helpful products. A practical man of humble beginnings, Morgan
devoted his life to creating things that made the lives of other people
safer and more convenient. Among his inventions was an early traffic signal, that
greatly improved safety on America's streets and roadways. On July 25,
1916, Morgan made national news for using a gas mask he had invented
to rescue several men trapped during an explosion in an underground tunnel
Lake Erie. After
the rescue, Morgan's company received requests from fire departments around
the country who wished to purchase the new masks. The Morgan gas mask was
later refined for use by U.S. Army during World War I. In 1921, Morgan was
awarded a patent for a Safety Hood and Smoke Protector. Two years later, a
refined model of his early gas mask won a gold medal at the International
Exposition of Sanitation and Safety, and another gold medal from the
International Association of Fire Chiefs.
-- Garret Morgan's entire US patent for the first Traffic Signal
(1923), which includes 2 Drawing sheets and 4 Description sheets that
explain every detail of the invention. This collection owns two of the
Rillieux (1806 -1894) was
revolutionary in the sugar industry by inventing a refining process
that reduced the time, cost, and safety risk involved in producing sugar
from cane and beets. As the son of a White French planter/inventor and an
African American slave mother, Norbert Rillieux was born in New Orleans,
Louisiana. He viewed the methods for refining sugar from beets and cane
were dangerous, crude and required backbreaking labor. The methods
threatened the slaves who were required to take boiling cane juice from one
scalding kettle to another to produce a dark sugar.
Rillieux designed an evaporating pan which
enclosed a series of condensing coils in vacuum chambers, issued as a
patent U.S. 4,879. The invention was later used by sugar manufacturer in
Cuba and Mexico. Rillieux's system took much of the hand labor out of the
refining process, it saved fuel because the juice boiled at lower
temperatures, and the new technique produced a superior final product. The
Rillieux device was patented in 1846 and was used widely on sugar
plantations in Louisiana, Mexico, and the West Indies. "It was stated
by Charles Brown, a chemist in the U.S. Department of Agriculture, that
[Rillieux's invention of the sugar processing pan] was the greatest
invention in the history of American Chemical Engineering." This
collection owns two of the Rillieux sculptures.
Frederick Jones (1892 - 1961) was one
of the most prolific Black inventors ever, holding more than 60 patents
in a variety of fields. Frederick Jones patented more than sixty
inventions, however, he is best known for inventing an automatic
refrigeration system for long-haul trucks in 1935 (a roof-mounted cooling
device). Jones was the first person to invent a practical, mechanical refrigeration
system for trucks and railroad cars, which eliminated the risk of
food spoilage during long-distance shipping trips. The system was, in
turn, adapted to a variety of other common carriers, including ships.
Frederick Jones was issued the patent on July
12, 1940 (#2,303,857). Frederick Jones also invented a self-starting gas
engine and a series of devices for movie projectors: adapting
silent movie projectors for talking films, and developing box office
equipment that delivered tickets and gave change.
Howard Latimer (1843-1928) is considered one of the 10 most
important Black inventors of all time not only for the sheer number
of inventions created and patents secured but also for the magnitude of
importance for his most famous discovery. A pioneer in the development of
the electric light bulb, Lewis was the only Black member of Thomas
A. Edison's research team of noted scientists. While Edison invented the
incandescent bulb, it was Latimer, a member of the Edison Pioneers, and
former assistant to telephone inventor Alexander Graham Bell, who
developed and patented the process
for manufacturing the carbon filaments. Latimer was born in
Chelsea, Massachusetts, on September 4, 1848, and reared in Boston. His
father, George Latimer, a former slave, had fled to Boston from Virginia
during the 1830s. At sixteen Latimer joined the Union navy as a cabin boy
on the USS Massasoit. After an honorable discharge in 1865 Latimer
returned to Boston. Skills he had developed in mechanical drawing landed
him a position with Crosby and Gould, patent solicitors. While with the
company he advance to a chief draftsman and soon
began working on his own inventions. His first patent, approved on
February 10, 1874, was for a "water closet for railway cars."
In 1880 Latimer left Crosby and Gould to work as a draftsman for Hiram
Maxim, the inventor of the machine gun and head of the United States
Electric Lighting Company in Bridgeport, Connecticut. The following year
Latimer and fellow inventor Joseph V. Nichols received a patent for their
invention of the first incandescent light bulb with carbon filament.
Prior to this breakthrough, filaments had been made from paper. Latimer
later became a chief draftsman and expert witness in the Board of Patent
Control of the company that would eventually be know
as General Electric. Latimer continued to display his creative talents
over then next several years. In 1894 he created a safety elevator, a
vast improvement on existing elevators. He next received a patent for Locking
Racks for Hats, Coats, and Umbrellas. The device was used in
restaurants, hotels and office buildings, holding items securely and
allowing owners of items to keep the from
getting misplaced or accidentally taken by others. He next created a improved version of a Book Supporter, used to
keep books neatly arranged on shelves. He continued to invent and teach
his drafting skills until his death in 1928.
Richard Drew (June 3, 1904
-- April 1, 1950) was an American physician and medical researcher. He researched
in the field of blood transfusions, developing improved
techniques for blood storage, and applied his expert knowledge in
developing large-scale blood banks early in World War II. He protested
against the practice of racial segregation in the donation of blood
from donors of different races since it lacked scientific foundation.
In 1943, Drew's distinction in his profession was recognized when he
became the first African American surgeon to serve as an
examiner on the American Board of Surgery. Drew received a
fellowship from Howard University's Medical School, enabling him to
study at Columbia University College of Physicians and
Surgeons. While at Columbia University, Dr. Drew worked with the
renowned Dr. Allen Whipple and with Dr. John Scudder on the problem of
blood storage. The science and practice of blood transfusion had
developed from early work including preserving whole blood in
refrigerated storage in World War I and the practice of having hospital
“blood banks” in the mid-1930s. Drew focused his own work on the challenge of separating
and storing blood components, particularly blood plasma, as this might
extend storage periods. Dr. Drew earned his Doctor of Medical Science
degree from Columbia University in 1940, with a doctoral thesis under
the title Banked Blood: A Study in Blood Preservation. This collection owns two of the Drew
Banneker, originally Banna
or Bannakay (1731-1806) is considered to be one of the first African
Americans to gain distinction in science. This beautiful sculpture was purchased
from an elderly African American woman. On the back it is marked,
"Property of Dorothy Thompson, #1" by the artist, S. Davis
and dated '79 (13" high and 7" across). This is a one and
only original clay sculpture, painted black. BACKGROUND: At 21, Banneker saw a pocket watch that was owned by
a traveling salesman named Josef Levi. He was so fascinated by it that
Levi gave it to him. Banneker spent days taking it apart and
reassembling it. From it Banneker then carved large-scale wooden
replicas of each piece, calculating the gear assemblies himself, and
used the parts to make a striking clock. The clock continued to work,
striking each hour, for more than 40 years. This event changed his
life, and he became a watch and clock maker.
customer was Joseph Ellicott, a Quaker surveyor, who needed an extremely
accurate timepiece to make correct calculations of the locations of
stars. Ellicott was impressed with Benjamin's work and lent him books on
mathematics and astronomy. Banneker began his study of astronomy at age
58. He was able to make the calculations to predict solar and lunar
eclipses and to compile an ephemeris for the Benjamin Banneker's
Almanac, which an anti-slavery society published from 1792
through 1797. He became known as the Sable Astronomer. Banneker
and Ellicott worked closely with Pierre L'Enfant, the architect in
charge. However L'Enfant could not control his temper and was fired. He
left, taking all the plans with him. But Banneker saved the day by recreating
the plans from memory. In early 1791, Joseph Ellicott's Quaker
brother, Andrew Ellicott, hired Banneker to assist in a survey of
the boundaries of the future 100 square-mile
District of Columbia, which was to contain the federal capital city (the
city of Washington) in the portion of the District that was northeast of
the Potomac River. Because of illness and the difficulties in helping to
survey at the age of 59 an extensive area that was largely wilderness,
Banneker left the boundary survey in April, 1791, and returned to his
home at Ellicott Mills to work on his ephemeris.
Woodcut image of a 64 year old Banneker on 1795 edition of
-- An article from a genuine March 21, 1791 edition of the
newspaper, Dunlaps American Daily Advertiser states, ""Some
time last month arrived...Mr. Andrew Ellicott a gentleman of superior
astronomical abilities. He was employed by the president of the United
States of America to lay a tract of land ten miles square on the Potowmac
for the use of Congress...He is attended by Benjamin Banniker, an
Ethiopian, whose abilities as surveyor and astronomer clearly prove
that Mr. Jefferson's concluding that race of men were void of mental
endowment was entirely without foundation."
35. Royal African Company: Official Slave
Trade Act of British Parliament, 1750 (I am personally appalled by the stark, business-like
manner in which the Royal African Company conducted themselves
while developing the following Parliamentary Acts addressing the Slave
Trade. Clearly they viewed Africans as a mere commodity, to be bought and
sold like grain or wool. Inhumane. Frightening. Thankfully, the
Anti-Slavery movement grew in Great Britain and by 1833 slavery was
abolished. Thank God for William Wilberforce and others who risked their
very lives to fight against this evil. Given the
tension between the American colonies and England, it is truly amazing that
the Abolitionist movement moved across the Atlantic from England to the
American colonies. The Anti-Slavery movement brought people together who,
at the time, would not naturally want to be in the same room. The following
60+ vintage documents provide the context and some background information
written by the people who instituted the British Slave Trade.)
1660 -- Charles II chartered
the Company of Royal Adventurers Trading to Africa 1663
-- company reorganized with a monopoly in the slave trade 1667
-- Royal Adventurers went bankrupt largely due to losses in war with
-- Royal African Company, known colloquially as the Guinea company,
granted royal charter with a new monopoly in the slave trade, operating on
the west African Coast from the Gambia River to the Niger River. The
Company built coastal forts as holding pens for slaves 1698
-- Parliament ended the RAC monopoly and opened the slave trade to all;
average number of slaves transported on English ships increased from 5,000
to 20,000+ a year (we own this document also) 1750
-- Parliament (under King George II) created the Company of Merchants Trading to Africa
to replace the Royal African Company with a policy of protected free trade
Parliament document detailing the new Company--> 1752 -- Royal African Company
dissolved Later 1700s
-- British exploration and settlement began
First English Slave Voyage:
It was in 1562 by Sir John Hawkins, which was an encroachment
on Portugal’s monopoly of Africa. Slave trade dropped as British
foreign policy in 1783, thus indicating 221 years of the trade. The
trade was sharply stimulated by the establishment of the British colonies
in the Caribbean and the introduction of the sugar industry.” Companies Involved:Company of Royal Adventurers (which held a monopoly), which was
replaced by the Royal African Company in 1672 (after the war with the
Dutch). Note the ties to the royal family. “The policy of
monopoly…provoked determined resistance…” from merchants and planters, the
latter “…demanding free trade in blacks as vociferously and with as much
gusto as one hundred and fifty years later they opposed free trade in
sugar”. The monopoly was complete: purchase and control of ships,
sale of Negroes, importation of plantation produce. Opposition to
other monopolies was also common:
“In 1698 the Royal African Company lost its monopoly and the right
of a free trade in slaves was recognized as a fundamental and natural right
of Englishmen”. The Royal African Company, once losing its competitive
advantage, received parliamentary subsidy, only to abandon the slave trade
in 1731, when it abandoned slaving in favor of traffic in ivory and gold
dust. Gradually its powers lessened and it became unable to maintain the
complex network of …"…lands, forts, castles, slaves, military stores,
and all other effects…". “In 1750 a new
organization was established, called the Company of Merchants Trading to Africa”.For many years His Majesty’s Exchequer had defrayed all the Company’s
expenses via Parliament, and it was finally decided to, in effect, transfer
the Company to public ownership, incorporating the lands in the colony of
Sierra Leone. "The Act for Extending and Improving the Trade
to Africa" -->
Slave Trade Act, cover
Official Act, 1750
BACKGROUND: ROYAL AFRICAN COMPANY, the British
company that dealt in the Slave Trade with
Africa. This company was deeply involved with the Slave Trade beginning in
1660 and continued until 1731 when it took up trade in gold
dust and ivory from Africa. The Royal African Company was a slaving
company set up by the Stuart family and London merchants once the former
retook the English throne in the English Restoration of 1660. It was led by
James, Duke of York, Charles II's brother.
Originally known as the Company of Royal Adventurers Trading to Africa, it
was granted a monopoly over the English slave trade, by its charter issued in
1660. With the help of the army and navy it established trading posts on the
West African coast, and it was responsible for seizing any rival English
ships that were transporting slaves. It collapsed in 1667 during the war with
the Netherlands – the very war it started by having company Admiral Robert
Holmes attacking the Dutch African trade posts in 1664 – and re-emerged in
1672, having been merged with those of the Gambia Merchants' Company into the new
Royal African Company, with a royal charter to set up forts, factories,
troops and to exercise martial law in West Africa, in pursuit of trade in
gold, silver and slaves. In the 1680s it was transporting about 5,000 slaves
per year. Many were branded with the letters 'DY', after its chief, the Duke
of York, who succeeded his brother on the throne in 1685, becoming James II.
Other slaves were branded with the company's initials, RAC, on their chests.
Between 1672 and 1689 it transported around 90,000-100,000 slaves. Its
profits made a major contribution to the increase in the financial power of
those who controlled London. In 1698, it lost its monopoly. This was
advantageous for merchants in Bristol, even if, like the Bristolian Edward
Colston, they had already been involved in the compound. The number of slaves
transported on English ships then increased dramatically. The company
continued slaving until 1731, when it abandoned slaving in favor of
trafficking in ivory and gold dust Charles Hayes (1678–1760), mathematician
and chronologist was sub-governor of Royal African Company till 1752 when it
was dissolved. Its successor was the African Company of Merchants. The Royal
African Company's logo depicted an elephant and castle. From 1668 to 1722 the
Royal African Company provided gold to the English Mint. Coins made with this
gold bear an elephant below the bust of the king and/or queen. This gold also
gave the coinage its name—the guinea.
~ Genuine British Parliamentary Acts (60+) Regarding The
Slave Trade (1698 - 1873) ~
chronological list (1695 - 1873) of Acts of British
Parliament are very scarce and historically important. Original,
First Edition Acts of Parliament have long been valued and collected.
These are fine examples with clear royal emblems at the head of every
first page. After an Act was passed by Parliament, it was printed by the
Crown printers in London. Only a few Acts were printed at one time,
loosely sewn together at the inner margin. Each Act is in excellent
condition, quarto size (12" by 8"), printed on fine rag paper.
KING WILLIAM III (of
Orange) (1650 -
1702) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ -- 1695 Parliamentary Act under the
reign of William III and Queen Anne.Anno Regni Gulielmi
III. Regis...At the Parliament begun at Westminster the two and twentieth
Day of November, Anno Dom. 1695. This beautifully preserved original 1695
British Act of Parliament was published by Charles Bill & Thomas
Newcomb. The act - in beautiful gothic script - is a parliamentary
discussion on the trade of goods from Africa to England and its
colonies, especially America. The act covers the trade of goods and
the trade of slaves through the Royal African Company. (Ref: Tooley;
M&B) -- 20 pages. -- 1698
Parliamentary Act, under King William III -- A rare Act for enlarging the time for registering
of ships, pursuant to the Act for preventing frauds, and regulating abuses
in the plantation trade. It provides that only ships registered
in Great Britain or in her African and American colonies may land goods
in Great Britain, and not on the continent. Very interesting content, 17
pages -- March 25, 1698. -- 1698
Parliamentary Act, under King William III -- The extremely
rare Act pertaining to trade with Africa and the change in duties to cover
the costs of protecting the colonies. Originally the Crown paid for the
upkeep of defenses: "the Forts and Castles now on the said Coast of
Africa have been, and now are maintained at the sole Cost and Charge of the
African Company of England". This Act required
"the said Company, and all other the said Subjects Answering and
Paying for the Use aforesaid, a Duty of Ten Pounds per Centum ad Valorem
for the Goods and Merchandize to be Exported from England, or from any of
Plantations or Colonies in America, to and for
the Coast of Africa, between Cape Mount and the Cape of Good Hope".]
QUEEN ANNE (1702 - 1727) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ -- 1712 Parliamentary Act, under Queen
Anne -- An
extremely rare Act of the English Parliament passed in 1711 and printed in
1712, by John Baskett (London). "An Act for making Effectual such
Agreement as shall be made between the Royal African Company of
England and their Creditors". Title leaf,
and two pages. Interesting association item to the Slave trade
conducted by this company.
KING GEORGE II (1727 - 1760) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ -- 1742 Parliamentary Acts, under King George II -- An Act for "Granting to
His Majesty the Sum of One Million out of the Sinking Fund, and for
applying a further Sum therein mentioned, for the Service of the Year One
thousand seven hundred and forty three; and for the further appropriating
the Supplies granted in this Session of Parliament." This Acts details
where the money is to be spent which includes:£5,000 for "form
Alliances to support the House of Australia...and restoring the Balance of
Power in Europe", £10,000 "towards the Maintenance of the British
Forts and Settlements belonging to the Royal Africa Company of England,
on the Coast of Africa"
Act of Parliament (Royal
>>>> 1743 Parliamentary
Acts, under King George II -- An entire volume (over 900 pages), in immaculate
condition, containing all of the Acts of Parliament in 1743. It includes
an Act "For the Encouraging and Increasing of Shipping and Navigation, as to the
Importation on the Account of Aliens, of Goods of the Growth or
Production of the Plantations of Spain and Portugal, in England duly
Navigated." -- 1745 Parliamentary
Act, under King George II -- An Act of
interesting text relating to the preservation of the trade in Sugar to
the West Indies. "The Act for the Better
Encouragement of the Trade of His Majesties Sugar Colonies in
America". -- 1750 Parliamentary
Act, under King George II -- An Act
establishing a new organization, the Company of Merchants Trading to
Africa”. "The Act for Extending and
Improving the Trade to Africa". -- 1751
Parliamentary Act, under King George II -- An
intriguing Act for allowing further time to the Commissioners appointed
by and in pursuance of an Act for exempting and improving the Slave Trade to Africa to inquire
into the claims of certain creditors of the Royal African Company therein
mentioned, and for the relief of David Crichton; and for the restraining
of said company from disposing of such effects as are therein mentioned;
and for staying all suits for money due from, or on the account of said
company for the time therein mentioned (Two copies of this Act of Parliament). >>>> 1752 Parliamentary Act,
under George II -- An entire volume (over 800 pages).Hardcover bound Law Acts Volume, total
page number of 826 pages! containing all of the Acts of
Parliament in 1752. Many acts in this huge volume, including an act for
divesting the Royal African Company of their forts and
settlements, laws for the growth of Coffee in
America, admission of the vassals of the principality of Scotland,
etc. Pages are clean and in Vg condition in the main with some light
foxing to the latter pages.
-- 1754 Parliamentary Act, under King George II -- This Act is "For the Better Encouragement of
the Trade of His Majesty's Sugar Colonies in America". This was the
period of the Jacobite Rebellion led by Prince Charlie. Five pages of interesting text
relating to the preservation of the sugar trade to the West Indies and the
KING GEORGE III (1760 - 1820) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ -- 1767 Parliamentary Act, under King George III -- This Act documents the duty-free importation of
wheat and wheat flour from Africa and rice from the North
American colonies for a
limited period of time. An important piece of primary historical source
material. May 19th -- 6 pages. -- 1780
Parliamentary Act, under King George III -- This Act is
"To allow the Trade between Ireland and the British Colonies and Plantations in America and the
West Indies, and the British Settlements on the Coast of Africa, to be carried
on in like manner as it is now carried on between Great Britain and the
said Colonies and Settlements. -- 1780
Parliamentary Act, under King George III -- This Act is To
continue the Act limiting the number of slaves per tonnage of vessel.
Surgeon to be appointed. Customs Officer to search and count number of
slaves to prove it does not exceed the limit -- 22 pages. -- 1788 Parliamentary Act, under King
George III -- An Act to regulate the slave trade, for an
initial period of one year. It sets out a series of rules to be followed by
masters and surgeons of ships in order to increase the likelihood of
survival of the slaves onboard their vessels. Essentially it is a series of
orders and financial incentives to get slaves to their destinations alive
and in better conditions than existed at the time of the Act. -- 1788 Parliamentary Act, under King
George III -- A remarkable Act Establishing a
company for carrying on trade in Africa, in the Peninsulas of
Sierra Leone, called the Sierra Leone Company. The Company to have
buildings and secure trade rights within Africa in joint
dealings with African Princes. Naming about 100 persons, including
William Wilberforce, as joint stockholders -- 24 pages. BACKGROUND: Foreign
trade was established through coastal African rulers who prohibited
European traders from entering the interior. In 1787, British
Philanthropists founded the “Province of Freedom” which later became
Freetown, a British crown colony and the principal base for the suppression
of the slave trade. By 1792, 1200 freed slaves from Nova Scotia joined the
original settlers, the Maroons, another group of slaves, rebelled in
Jamaica and traveled to Freetown in 1800.Through the efforts of such men as
William Wilberforce, Thomas Clarkson and Granville Sharp, Lord Mansfield
formed an administration in 1806, which was instrumental in the British
Empire’s abolition of the Trans-Atlantic slave trade (1807). The British
established a naval base in Freetown to patrol against illegal slave ships.
A fine of GBP £100 was established for every slave found on a British ship.
In 1808 Sierra Leone officially became a crown colony with the land
possessions of the Sierra Leone Company (formerly known as St. George’s Bay
Company) transferred to the crown. The colony was dedicated to
demonstrating the principles of Christianity, civilization and commerce.
The Sierra Leone Company was the organization involved in founding the
first British colony in Africa in 1792 through the resettlement of Black
Loyalist African Americans, mostly ex-slaves who had initially been settled
in Nova Scotia after the American Revolutionary War. The Sierra Leone
Company was the successor to St. George's Bay Company which had
made a mostly unsuccessful attempt in 1787 to establish a free settlement
for the 'Black Poor' of London. Both ventures were promoted by the
anti-slavery activist, Granville Sharp who published a prospectus for the
proposed company in 1790 This was entitled Free English Territory in
AFRICA. The prospectus made clear its abolitionist view and stated that
several respectable gentlemen had already subscribed had done so "not
with a view of any present profit to themselves, but merely, through
benevolence and public spirit, to promote a charitable measure, which may
hereafter prove of great national importance to the Manufactories, and
other Trading Interests of this Kingdom". Among the early subscribers
are many friends of Sharp involved in the Clapham Sect: Henry Thornton,
William Wilberforce, Rev. Thomas Clarkson, Rev. Thomas Gisborne, Samuel
Parliamentary Register (House of Commons) -- Three rare
issues from the 2nd Session of the 17th Parliament of Great Britain, dated
March 1st, June 12th and June 30th. Various items of interest and reform
including: An Inquiry into the Evils Arising from Lotteries, Wine License
Slave Trade and Slave Trade Bill. Each issue is
about 60 pages, in quite good condition. London:
printed for J. Debrett, 1792. BACKGROUND: The
British Parliament is the legislative body of Government in the United
Kingdom. It is comprised of two chambers: the House of Lords, where members
are appointed by past or current governments, and the House of Commons, a
democratically elected chamber with elections to it held at least every 5
Parliamentary Register is the record of
Parliamentary deliberations in the form of bills, reports, minutes,
committee proceedings, and appropriations. You will notice that in
these two June issues of The
Parliamentary Register a number of the speeches are about the
Slave trade. In April 1791 with a closely reasoned four-hour speech,
Wilberforce introduced the first parliamentary bill to abolish the Slave
Trade. His first bill was easily defeated. On 2 April 1792,
Wilberforce again brought a bill calling for abolition. The memorable
debate that followed drew contributions from the greatest orators in the
house, William Pitt and Charles James Fox, as well as from Wilberforce
himself. Henry Dundas, as home secretary, proposed a compromise
solution of so-called "gradual abolition" over a number of years.
This was passed by 230 to 85 votes, but the compromise was little more than
a clever ploy, with the intention of ensuring that total abolition would be
delayed indefinitely. But from that time on Wilberforce
tirelessly introduced a bill to abolish the Slave Trade every year
until it was accepted on 25 March 1807. --
Parliamentary Act, under King George III -- An Act to
continue Acts regulating
the carrying of Slaves in British vessels. No more than
5 slaves to three tons burden of each vessel. The upper and lower cabin and
the space between decks to be allotted to the slaves. A qualified surgeon
must be aboard, and to produce a record of such trips. --
17th June, 22 pages. --
Parliamentary Act, under King George III -- An Act to
amend and continue Acts regulating the carrying of Slaves in British vessels. No ships to
carry slaves unless specified for that purpose on leaving port. No more than 5 slaves to three
tons burden of each vessel. The upper and lower cabin and the
space between decks to be allotted to the slaves. A qualified surgeon must
be aboard, and to produce a complete journal of such trips.
Penalties for more than 2% mortality. Masters of ships prosecuted for
breaking any regulations can have the ship and contents seized and sold.
Master to have a copy of this Act posted in the most public place upon his
vessel. -- 22nd June, 14 pages --
Parliamentary Act, under King George III -- An Act to stop slaves being sold as chattels
to repay debts. This is repealing a previous Act made for the
recovery of debts in His Majesty's Plantations and Colonies in America.
July 19th -- 2 pages. --
Parliamentary Act, under King George III -- An Act for Regulating the Manner of
carrying Slaves on British Vessels from the Coast of Africa. Printed by
George Eyre and Andrew Strahan, printers for King George III. 16 pages. -- 1802
Parliamentary Act, under King George III -- An Act of
interesting text. "The Act for Duties to Be
Suspended on the Treaty of Amity, Commerce and navigation between Britain
and America". -- 1804 Parliamentary Act, under King George III -- An
Act to amend and continue, as relates to allowing British Plantation Sugar to
be warehoused'. It is dated 3rd May 1804, on 2 pages of paper (only one
piece has type on both sides, but both pieces are water-marked) and is
printed by George Eyre and Andrew Strahan.
In 1805 the House of Commons passed a bill that made
it unlawful for any British subject to capture and transport slaves, but
the measure was blocked by the House of Lords. -- 1806 Parliamentary Act, under King George III --
An Act to prohibit for two years, after the conclusion of the present
session of Parliament, any ships to clear out from any Port of Great
Britain for the Coast of Africa, for the purpose of taking on board
Negroes, unless such ships have been previously employed in the African
Trade, or contracted for, for that purpose. 21st July 1806
-- 3 pages. Eight months before the abolition of slavery by British
Parliament, pressure by some Members were forcing through such Acts as this
the spread of slavery.
In February 1806, Lord Grenville formed a Whig
administration. Grenville and his Foreign Secretary, Charles Fox,
were strong opponents of the slave trade. Fox and William Wilberforce
led the campaign in the House of Commons, whereas Grenville, had the task
of persuading the House of Lords to accept the measure. Greenville made a
passionate speech where he argued that the trade was "contrary to the
principles of justice, humanity and sound policy" and criticized
fellow members for "not having abolished the trade long ago".
When the vote was taken the Abolition of the Slave Trade bill was passed in
the House of Lords by 41 votes to 20. In the House of Commons it was
carried by 114 to 15 and it become law on 25th March, 1807. British
captains who were caught continuing the trade were fined £100 for every
slave found on board. However, this law did not stop the British slave
trade. If slave-ships were in danger of being captured by the British navy,
captains often reduced the fines they had to pay by ordering the slaves to
be thrown into the sea. Some people involved in the anti-slave trade
campaign such as Thomas Clarkson and Thomas Fowell Buxton,
argued that the only way to end the suffering of the slaves was to make
slavery illegal. However, it was not until 1833 that Parliament passed the
Slavery Abolition Act.
-- 1807 Parliamentary Act -- “An Act for the
Abolition of the Slave Trade" [25th March 1807, pp. 315-326] This
particular Act is contained in A
Collection of the Public General Statutes Passed in the Forty Seventh
Year of the Reign of His Majesty King George the Third: Being
the First Session of the Third Parliament of the
United Kingdom of Great Britain and Ireland.
Published in London by George Eyre and Andrew Strahan, Printers to the
King's Most Excellent Majesty, 1807. Bound collection of public
statutes from 1807, most notable for the act to abolish the slave trade
throughout the British Empire. Other acts include import taxes, a number of
acts relating to Ireland, notably the ban on importing weapons, as well as
other interesting statutes including the Window tax. Half bound in leather,
the boards being very worn with the upper board
loose and the lower board detached and the spine chipped with loss to the
ends and parts of the spine plate. Internally the pages are in pretty good
condition given their age, although one of the index pages appears to have
been removed at some point and the endpapers are detached. Size a shade under 12 x 8 inches. 464pp.
-- 1807 Parliamentary Act (2 copies of this particular
Act) -- “An Act for transferring to His Majesty, certain Possessions and
rights vested in the Sierra Leone Company, and for shortening the Duration
of the said Company, and for preventing any dealing or trafficking in the buying
or selling of Slaves within the Colony of Sierra Leone.” – 3 pages,
August 8th, 1807. The British Parliament felt the need to take over
the Sierra Leone company with all its land and buildings to
force the issue with known slave traffickers in the area. -- 1807
Parliamentary Act, under King George III -- An Act to
repeal so much of certain acts as relates to the regulations or conditions
under which coffee, coca nuts, sugar and rice are allowed to be secured in
warehouses, without payments of duty; and to authorize the collectors and
comptrollers of the customs in His Majesty's colonies and plantations in
America and the West Indies to administer certain oaths.
-- 1814 Parliamentary Act, under King George III -- "An Act
dated 27th May 1814 regarding the Registration of Condemned Slave
Ships as British-built Ships."
-- 1815 Parliamentary Act, under King George III -- "An Act
dated 11th July 1815 regarding the Support of Captured Slaves
During Period of Adjudication." -- 1817
Parliamentary Act, under King George III -- An Act of
fascinating text (after the War of 1812). "The Act
Extending to Newfoundland, Permitting Exportation of Wares from the British
Islands in the West Indies to any Other, and to and from the Colonies in
Parliamentary Act, under King George III -- An
intriguing Act carrying an execution (agreement) between His Majesty George
III and the King of Portugal for the preventing of traffic in Slaves.
Gives details of agreements for Royal Navy Warships to board and seize
vessels of both countries trading in slaves but gives (seemingly)
exceptions to some Portuguese vessels with "issued paperwork".
Mentions among others obscure West African colonies such as
"Molembo" and "Cabinda", and also the
-- 1819 Parliamentary Act, under King George III -- "An Act
dated 12th July 1819 regarding an Act for more speedy trial of
offences upon the Seas against the Laws of Abolition of the Slave Trade."
-- 1819 Parliamentary Act, under King George III -- "An Act
dated 12th July 1819 regarding an Act for making provision for
the Removal of Slaves from British Colonies."
KING GEORGE IV (1820 - 1830) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ -- 1821 Parliamentary Act, under King George IV --
"An Act for Abolishing the African Company, and Transferring to
and Vesting in His Majesty all Forts, Possessions, and Property now
belonging or held by Them." [7th May, 1821]. London: printed by George
Eyre and Andrew Strahan, Printers to the King’s Most Excellent Majesty.
1821, 4 pages long.
-- 1821 Parliamentary Act, under King George IV -- "An Act dated 10th
July 1821 regarding the Appropriation
of Proceeds Arising from Capture of Vessels & Cargoes belonging to Spain,
Portugal and the Netherlands in Prosecution of the Slave Trade."
A new Anti-Slavery Society was formed in 1823. Members
included Thomas Clarkson, Henry Brougham, William Wilberforce, Thomas
Fowell Buxton, Elizabeth Heyrick, Mary Lloyd, Jane Smeal, Elizabeth Pease
and Anne Knight).
-- 1824 Parliamentary Act, under King George IV -- "An Act
dated 31st March 1824 regarding the More Effectual Suppression of
the African Slave Trade."
-- 1827 Parliamentary Act, under King George IV -- "An Act
dated 2nd July 1827 regarding the Effect the Treaty with Sweden
relative to the Slave Trade."
-- 1827 Parliamentary Act, under King George IV -- "An Act dated 2nd
July 1827 regarding the Execution of a Convention between Britain
and Brazil on the Abolition of the Slave Trade."
-- 1828 Parliamentary Act, under King George IV -- "An Act
dated 25th July 1828 regarding Amending and Consolidating the
Laws relating to the Abolition of the Slave Trade."
-- 1830 Parliamentary Act, under King George IV -- "An Act
dated 16th July 1830 regarding the Reduction of Rate of Bounties
Payable on Seizure of Slaves."
KING WILLIAM IV (1830 - 1837) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ -- 1833 Parliamentary Bill (Very Rare) -- For the Abolition
of Slavery Throughout the British Colonies, For Promoting the Industry
of the Manumitted Slaves, and for Compensating the Owners of Such Slaves,
July 5, 1833. 25 pages. -- It was not until 1833 that Parliament
passed the Slavery Abolition Act, which made slavery illegal and gave all
slaves their freedom.
-- 1833 Parliamentary Act, under King George IV -- "An Act
dated 28th August 1833 regarding Two Conventions with the
King of France for Suppressing the Slave Trade."
-- 1834 Parliamentary Act [26th March 1834] (44 pages) -- "An
Act for Punishing Mutiny and Desertion, and for the Better Payment of the
Army and their Quarters. It includes "...That all Negroes
purchased by or on account of His Majesty...shall be considered as
Soldiers having voluntarily enlisted..."
-- 1834 Parliamentary Act [15th August 1834] (27 pages) -- (On August 1, 1834 all slaves in the British
Empire were emancipated, but still indentured to their former owners in an
apprenticeship system which was finally abolished in 1838. £20 million was paid in compensation to plantation
owners in the Caribbean.) -- An Act to apply a Sum
of Money out of the Consolidated Fund and the Surplus of Grants to the
Service of the Year 1834, and to appropriate the
Supplies granted in this Session of Parliament. This document details where
the money is to be spent: "£580 for Office of Registrar of Colonial
Slaves", "£16,200 for Commissioners for preventing the
Slave Trade", "£5,707 to defray the Charge of the Salaries of
the Inspectors and Superintendents of the Factories...to regulate the
Labour of Children and young Persons in the Mills and Factories...",
"£12,750 to the Baptist Missionary Society, and to
the Wesleyan Missionary Society, on account of Expenses incurred in
the Erection of certain Chapels destroyed in the Island of Jamaica",
£1,000 for the Female Orphan House, Dublin" and much more...<