Cast iron coin bank in the form of a bust of a caricatured boy. The boy is wearing a red shirt, with white collar and black bow tie. Mouth of boy is painted red with white teeth. The boy’s eyes are painted white with black dots at the center. Bank is made of two halves put together, with a vertical seam running down the sides of the bank. Raised lettering on the back of the bank reads, [THE / YOUNG NIGGER / BANK]. The bank of the boy's head has a small horizontal slot for inserting coins. There are five holes on bottom of bank. There is one dime is in the bank.
A black-and-white photographic postcard of an elderly man gathering possessions after the 1908 race riot in Springfield, Illinois. The man is depicted in the center of the image, outside of what appears to be a residential structure, amid a scattering of furniture, clothing, and other domestic objects. The man holds a small drawer of possessions in his proper left hand, against his proper left hip. In front of him is what appears to be dresser drawers stacked in the grass and full of tangled pieces of clothing and an upturned chair. Behind him, a small table piled with more random belongings and a chair sit in front of a tree. To the right side of the image, closer to the street, is a larger table with cookware and other items on it. In front of the table, standing in the street, are two white men, both looking towards the camera. The men are dressed in dark pants, jackets, and hats. The scene is in front of a single story dwelling with wooden siding, an open doorway, and two shutter-less windows. Written in white at the bottom of the image is [Old negro saving few articles after mob violence, many were destitute and homeless]. There is a small, round loss in the left side of the photograph, top center.
The postcard is unused and has a divided back with a space marked as [CORRESPONDENCE HERE] and a space marked as [NAME AND ADDRESS HERE]. The postcard is printed on AZO paper, with an AZO stamp mark in the upper right corner of the back. A handwritten inscription in graphite along the top of the back reads [Old Negro saving few articles after mob violence most went destitute and homeless. (SPRINGFIELD RACE RIOT ILL.)].
A cabinet card with a black-and-white photograph of an unidentified woman and three (3) unidentified children sitting on the steps of a raised wooden breezeway between two wooden buildings. The woman sits one step above the children and uses a comb to pick lice or other pests from the head of the child seated in the middle, whose head is resting on the woman's lap. The other two children look off frame to their left. The title and photographer name is in handwritten white text to the left of the woman and at the bottom left that is inherent to the print. The reverse of the gray card mount has a detailed list of other "Special Southern Views" available from Russell Bros. photographers printed in black ink.
A cabinet card with an albumen print of three (3) unidentified women and seven (7) unidentified children posed on the porch of a wooden house. The women all sit in chairs, with one woman seated at the right background alone. The other two women are surrounded by the children who are seated and standing, with one young child in the lap of one of the women. The building is surrounded by a swept yard and a rough-hewn fence. The title "Folks Al [sic] Home" is imprinted in the lower left facing side of the image. The photographer's name and address are printed in black ink on the reverse of the gray card mount, with an additional handwritten inscription on the back with the name Herman Barthmaier.
A stereograph titled "Plantation Scene; Folks All Home" printed by J. N. Wilson of Savannah, Georgia. The albumen prints depicts six (6) unidentified children in the yard outside a log building with a brick chimney. A girl stands near the center with her hands inside a wooden washtub on a stand. A boy stands to her right with his back at the corner of the building and holding a large full basket on his head. Two younger children sit on a bench outside the building in the background. Two toddlers sit on the left side of the frame, one on the wheel of a small wooden cart and another on the ground next to a box or bin. The prints are mounted on tan card stock. Black text printed on the reverse lists the photographer's name and address. A paper label is adhered below the printed text that reads "68. Plantation Scene; Folks all Home."
A cabinet card with a black-and-white print depicting an unidentified woman standing in front of a small log cabin that is surrounded by corn stalks. The corn is higher than the roof of the cabin and other thick foliage can be seen in the background. The woman stands in the doorway of the cabin with her hands crossed in front of her waist. The title is imprinted in the lower left corner of the image. The photographic series title and photographer name and location are printed in dark blue ink around on the bottom and both sides of the tan card mount. There is a long descriptive explanation for the photographic series, "The Land of the Sky," printed in black ink on the reverse side of the mount. The title of this photograph is handwritten in graphite along the upper edge.
A cabinet card with an albumen print of an unidentified man sitting in a dirt yard near a wooden structure. The man is sitting on an overturned wooden crate near a short homemade oven made from stacked bricks. A kettle and other cooking implements are gathered near the oven and the man's crate. He looks at the photographer and has his arms crossed and propped onto his thighs. A short wooden structure held up by two large sticks is in the left background. In the right background is a larger wooden structure with a sloped shingled roof that is made from boards, with several additional boards and sticks used to prop up the original structure. The print is mounted on gray cardboard. An inscription handwritten on the reverse reads, "Cooking his breakfast / Augusta Ga".
A cabinet card with an albumen print of five (5) women and three (3) men standing next to a row of white-washed wooden buildings identified in the title as "Negro Cabins on Kenilworth Plantation." The cabins are arranged in a line, with the photographer positioned so that they recede into the distance from right to left in the frame. Treetops are visible behind the buildings. The people are mostly gathered in front of the foremost cabin, though two men stand between this cabin and the one next to it. The photographer's name is imprinted in the image in the lower right. The title is handwritten in black ink on the bottom of the mount. A gilt frame is printed onto the mount around the outer front sides. The photographer's name and address are stamped upside down on the reverse of the tan card mount.