The lawn ornament, popular in certain parts of the United States in years past, was a cast replica, usually about half-scale or smaller, usually of a man dressed in jockey's clothing and holding up one hand as though taking the reins of a horse. The hand sometimes carries a metal ring (suitable for hitching a horse in the case of solid concrete or iron versions) and in some cases a lantern, which may or may not be operational.
Originally designed in the 18th century as a symbol to welcome guests on horseback by providing them with a practical and novel hitching post, later statues eventually became only decorative and not suited for hitching a horse, and favored by those wishing to evoke an Old South or equestrian ambiance.
Most today are white jockeys, but historically black jockeys were commonplace. Several styles have been produced, with the most prolific being a shorter version commonly known as "jocko" and a taller version known as "cavalier spirit." The former is of stockier build, with a hunched posture; the latter is generally slender and erect. Typically these statues are made of concrete but are also made of other materials such as iron, and can be found in poly resin and aluminum. Despite being controversial, lawn jockeys are still in demand. Both styles are still manufactured and sold.
The earlier "jocko" design usually depicts the right arm raised, and was styled like a cartoonish young black boy, often with exaggerated features, such as big eyes with the whites painted in; large lips painted red; a large, flat nose and curly hair. These pieces were typically painted in gaudy colors for the uniform, with the flesh of the statue a gloss black. As of the late 20th century, these statues have been considered racially insensitive and many remaining samples have now been repainted using pink paint for the skin while the original sculpture's exaggerated features remain.
The "cavalier spirit" design usually depicts the left arm raised, and uses a less exaggerated likeness of a young man, with features that are non-descript. These statues would also be painted in stark colors, with skin in either gloss black or pastel pink, red lips, etc., white breeches, black boots, and usually with the vest and cap of either bright red or dark green. Occasionally, the vest and cap might be painted in the bright shades of a jockey's racing silks. Several of the "cavalier spirit" jockey statues are prominently displayed at both the entrance of New York's 21 Club and the entrance of the Los Angeles' Santa Anita Park clubhouse.
A 1947 magazine advertisement uses two images of cavalier-style lawn jockeys to underscore the statue's use as a symbol of hospitality and the hospitality associated with Old Taylor Kentucky Bourbon, stating: "Jockey hitching posts that invited guests to tarry are an old Kentucky tradition - another sign of a good host."
However, some accounts of the figure's origin cause some to see the statue as representing a hero of African American history and culture. According to the River Road African American Museum the figure originated in commemoration of heroic dedication to duty: "It is said that the 'lawn jockey' actually has its roots in the tale of one Jocko Graves, an African-American youth who served with General George Washington at the time that he crossed the Delaware to carry out his surprise attack on British forces at Trenton, NJ. The General thought him too young to take along on such a dangerous attack, so left him on the Pennsylvania side to tend to the horses and to keep a light on the bank for their return. So the story goes, the boy, faithful to his post and his orders, froze to death on the river bank during the night, the lantern still in his hand. The General was so much moved by the boy's devotion to his duty that he had a statue sculpted and cast of him, holding the lantern, and had it installed at his Mount Vernon estate. He called the sculpture 'The Faithful Groomsman'." The most frequently-cited source for the story is Kenneth W. Goings in "Mammy and Uncle Mose" (Indiana University Press), though he regards it as apocryphal. The story was told as well in a 32 page children's book by Earl Kroger Sr., "Jocko: A Legend of the American Revolution." Moreover, there is a 13-page typescript titled "A Horse for the General: The Story of Jocko Graves" by Thomas William Halligan in the archives of the Alaska Pacific University/ University of Alaska-Anchorage consortium library 
Charles L. Blockson, Curator Emeritus of the Afro-American Collection at Temple University in Philadelphia, claims that the figures were used in the days of the Underground Railroad to guide escaping slaves to freedom: "Green ribbons were tied to the arms of the statue to indicate safety; red ribbons meant to keep going ... People who don’t know the history of the jockey have feelings of humiliation and anger when they see the statue..."  Blockson has installed an example of the statue at the entrance to the University's Sullivan Hall.
Neither the Revolutionary War nor the Civil War legends are corroborated by historical records. Mount Vernon's librarian Ellen McCallister Clark wrote in a letter to Baltimore's Enoch Pratt Free Library: "No record of anybody by the name of Jocko Graves, nor any account of somebody freezing to death holding Washington's horses, exists in the extensive historical record of the time." Nor do any of the many historical inventories and descriptions of Washington's estate mention any such statue. Moreover, stories about the Underground Railroad using lawn jockeys as signals are rendered suspect by the fact that red and green as signal colors meaning "stop" and "go" (or "danger" and "safe") were standardized by railway signals during the World War I era. 
In popular culture
- A black lawn jockey plays a symbolic role (as well as providing the story's title, in the protagonist's southern vernacular) in Flannery O'Connor's short story "The Artificial Nigger."
- Le Neg', a 1992 film by Québécois director Robert Morin, about a black adolescent who resents lawn jockeys as racist and destroys one, resulting in his murder.
- 33 lawn jockeys donated long ago by wealthy patrons adorn the balcony above the entrance of New York City's 21 Club. They're painted to resemble famous jockeys.
- In the song "Uncle Remus" by Frank Zappa from the album Apostrophe ('), he sings of knocking jockeys off of rich people's lawns in Beverly Hills.
- In an episode[which?] of All in the Family, Archie Bunker was given a black lawn jockey as a gift by Burt Munson and Tommy Kelcy, for paying off his mortgage. After seeing it Archie thanked his friend, but refused to put it outside, because he didn't want people bothering him about it.
- In episode 5-07-Art Burn (2001) of Daria, near 14m41s, wondering if it is the original.
- 1947 advertisement for Old Taylor Kentucky Straight Bourbon Whiskey
- [dead link]
- "Jockey statues marked Underground Railroad". Loudounhistory.org. 1998-02-22. Retrieved 2011-08-01.
- "lawn jockey@Everything2.com". Everything2.com. 2005-06-21. Retrieved 2011-08-01.
- "21 Club, New York City / Famous NYC Restaurant with Banquet Rooms - History". 21club.com. Retrieved 2011-08-01.
- Article on lawn jockeys Link is broken
- Article debunking story of lawn jockeys
- Newspaper article about children's book author who wrote about the origin of lawn jockeys