Southern black preacher and his wife, circa 1920-30, probably made in Alabama, S. or N. Carolina.
HANDMADE IN AMERICA 1760-1940 Experience and explore American folk art through handmade toys. Step into the folk artist s world. Delve into the social and economic issues that influenced and defined toy maker s design concepts. America s decorative arts and material culture are preserved in the form of captivating toy barns, farm animals, dolls, quilts, furniture, household furnishings, doll houses, paper dolls, action toys and more.
THE TOY STORE Folk art painting on an Amish bread board by A. Glazier of East Berlin. PA., circa 1950-1980. Black Boy Doll sculpted by Pat Lemkuhl FOLK DOLLS: THREE DIMENSIONAL PORTRAITS
Black Doll with glass eyes, Found in New England, circa 1850-1860. Remarkable resemblance between the ethnic features of the black doll and the man in the folk painting. Man,Cat and Mackerel by Caleb Purrington, 1854.
American folk dolls are captivating. They make us smile. Imagine the tales of childhood adventures these intriguing dolls could relate. They gaze at us in silence. We can only suppose what they experienced in their time and place. Black domestic cloth doll circa 1887-1885. Found in Philadelphia,Pa. Doll makers preserved a time, and place, in the engaging faces and clothing of these amazing dolls. Folk dolls express the spirit of 19 th and early 20 th century America. The unique character of each doll, titillates the senses with wonder and delight. These are the faces of the New Republic, real Americans, next door neighbors, and ordinary people in the doll maker s world.
Charleston or Savannah Domestic, circa 1880-1890 Evaluate each doll within the context of material culture and the decorative arts produced during the time period in which the doll was created. Popular styles and trends are integral components of the design of each doll. The selection of materials and method of construction were the result of the maker s skill level, available materials, cultural, and economic influences, and current fashion trends. The social environment played a significant role in how makers perceived fellow members of society. That perception influenced their design. Dolls made with meticulous detail, provide informational features that assist with historical research. Folk dolls accurately reflect the designer s surroundings with an intuitive sense of place, within an historical time line.
A great percentage of folk dolls are black. This alludes to the scarcity of commercially made black dolls throughout the 19 th and early 20 th century. Commercially made black dolls were not available to the consumer in any quantity, until late in the 19 th century. A few 19 th century black dolls with papier mache, wax, or china shoulder heads were available from European toy wholesalers. By the last quarter of the 19 th century, German and French manufacturers were exporting limited quantities of ethnic black dolls. These dolls were not marketed with the black consumer in mind. They were marketed as novelty character dolls.
COMMERCIALLY PRODUCED BLACKDOLLLS Effanbee, Fleisher & Baum, Lucifer by Virginia Curtis Austin, 1938 Pair of miliner type dolls with papier mache heads, wooden hands & feet, kid bodies, circa 1845-1850. China shoulder head boy, Germany, circa 1860-70
Forwhatever reason, the maker s original intent was to produce a child s toy. In the process, gifted artists produced objects of aesthetic and cultural value. The unconscious use of sophisticated design elements project dolls to the level of folk art. Dolls and toys comprise an important segment of material folk culture and decorative arts produced in the New American Republic. Southern Black Mother & Son Dolls with cast iron stove, circa 1900-15, Southeastern states, probably South Carolina or Alabama.
This is the era of Al Jolsen and black face vaudeville musicals. Popular styles and trends are integral components of the design of these dolls. The selection of materials and method of construction were the result of the maker s skill level, available materials, social, cultural, economic influences, and current fashion trends. F2.127 Sheet Music published in 1934. Notice the similarity between the blackface vaudeville actor and the black dolls. High Steppin 1920 s couple. Dressed in stylish 1920 s clothing. F2.124 Pictorial Review May 1929
Watercolor portrait from Savanah, Ga., circa 1900-1910
On the cover of 1882 Negro Oddities, the black children are portrayed as attractive children. There was no attempt to exaggerate features, to promote humor or satire. How differently we see black figures depicted within the next 17 year span on Whistling Rufus, published1899. Similar facial and costume characterization change also takes place in the making of handmade dolls. Graphic design for advertising illustrations, theatrical presentations, Currier & Ives prints, and genre paintings, all provide a social commentary of that time frame in history. F2.25 Sheet music, Whistling Rufus by Kenny Mills, published 1899. F2.26 Sheet music, Negro Oddities 1882.
Black Man & His Hound Marionettes, circa 1900-1920 Raise the curtain. Enter stage right. The stringed performers take on a life of their own. A hidden operator manipulates the strings that move the jointed man and dog across the stage. Lucifer, an Effanbee marionette, circa 1938
White Haired Black Character dolls, probably S. Carolina or N. Carolina, circa 1920-1940. This couple could have stepped out of a William Aiken Walker painting. They have carved wooden heads, hands and feet.
FOLK ART FOR CHILDREN, HANDMADE IN AMERICA 1760-1940 TOYS PRESERVE THE DECORATIVE ARTS & MATERIAL CULTURE TO ORDER THE BOOK: CALL 301-432-8108 : $61.00 + $5.50 SHIPPING AVAILABLE ON AMAZON BOOKS SEE INFORMATIONAL BOOK TRAILERS ON WEB SITE. WEB SITE: elakin.com