Skip to main content
National Museum of African American History and Culture
Smithsonian
  • Visit

    Visit

    Get the latest information about timed passes and tips for planning your visit
    • Plan Your Visit
    • Frequently Asked Questions
    • Accessibility Options
    • Sweet Home Café
    • Museum Store
    • Museum Maps
    • Our Mobile App
  • Explore

    Explore

    Search the collection and explore our exhibitions, centers, and digital initiatives
    • Search the Collection
    • Exhibitions
    • The Curator Chats Series
    • Collection Stories
    • NMAAHC Digital Resources Guide
    • Blog
    • Many Lenses
    • Building
    • Museum Centers
    • Initiatives
    • Open Access
    • Publications
  • Learn

    Learn

    Online resources for educators, students, and families
    • Educators
    • Students
    • Adults
    • Early Childhood
    • Library
    • Talking About Race
  • Connect

    Connect

    Engage with us and support the Museum from wherever you are
    • Strategic Partnerships
    • Ways to Give
    • Volunteer
    • Internships & Fellowships
    • Contact
  • Events

    Events

    View a calendar of our public programs
    • Today at the Museum
    • Host an Event at NMAAHC
    • Upcoming Events
    • Ongoing Tours and Activities
    • Recent Events
  • About

    About

    Learn more about the Museum and view recent news
    • About the Museum
    • Leadership
    • Meet Our Curators
    • Founding Donors
    • Corporate Leadership Council
    • Newsroom
    • NMAAHC Annual Reports
  • Donate
  • Search

Search form

Collection Home

Collection Search Results

Search:
Filter:
Close Facet Modal
Basic Advanced
  • Topic
    • Slavery 10 [-]
    • Trans Atlantic slave trade 10 [-]
    • Business 6 [-]
    • Art 2 [-]
    • Craftsmanship 2 [-]
    • African diaspora 1 [-]
    • American South 1 [-]
    • Architecture 1 [-]
    • Correspondence 1 [-]
    • Emancipation 1 [-]
    • Folklife 1 [-]
    • Graphic arts 1 [-]
    • Housing 1 [-]
    • Literature 1 [-]
    • Men 1 [-]
    • Music 1 [-]
    • Ornamentation 1 [-]
    • Photography 1 [-]
    • Religious groups 1 [-]
    • Spirituality 1 [-]
    • U.S. History, 1783-1815 1 [-]
    • U.S. History, 1815-1861 1 [-]
    • Urban life 1 [-]
    Search More Topics
    Show More Topics Show Fewer Topics
  • Name
    • Porter, Thomas 4 [-]
    • I. Nutting & Son 2 [-]
    • Baillie, David 1 [-]
    • Bearden, Romare 1 [-]
    • Boddie, Terry 1 [-]
    • Equiano, Olaudah 1 [-]
    • Knapp, Isaac 1 [-]
    • Selden, David 1 [-]
    • West, Mary J. 1 [-]
    Search More Names
    Show More Names Show Fewer Names
  • Object Type
    • Buttons 5 [-]
    • Buttons (fasteners) 5 [-]
    • Buttons (information artifacts) 5 [-]
    • Baskets (containers) 1 [-]
    • Books 1 [-]
    • Correspondence 1 [-]
    • Lithographs 1 [-]
    • Models (representations) 1 [-]
    • Narratives (document genres) 1 [-]
    • Photographs 1 [-]
    • Shackles 1 [-]
    Search More Object Types
    Show More Object Types Show Fewer Object Types
  • Date
    • 1780s 1 [-]
    • 1800s 1 [-]
    • 1810s 4 [-]
    • 1820s 5 [-]
    • 1830s 2 [-]
    • 1860s 1 [-]
    • 1890s 1 [-]
    • 1950s 1 [-]
    • 1970s 1 [-]
    • 2000s 1 [-]
    • 2010s 1 [-]
    Search More Dates
    Show More Dates Show Fewer Dates
  • Place
    • North and Central America 8 [-]
    • United States 8 [-]
    • Caribbean 6 [-]
    • Demerara-Mahaica 5 [-]
    • Georgia 5 [-]
    • Guyana 5 [-]
    • South America 5 [-]
    • Africa 1 [-]
    • Boston 1 [-]
    • Cape Town 1 [-]
    • Charleston 1 [-]
    • Chatham 1 [-]
    • Connecticut 1 [-]
    • East Hampton 1 [-]
    • England 1 [-]
    • Europe 1 [-]
    • Harlem, Manhattan 1 [-]
    • Massachusetts 1 [-]
    • Middlesex County 1 [-]
    • Mossuril 1 [-]
    • Mozambique 1 [-]
    • Nampula 1 [-]
    • New York City 1 [-]
    • Pennsylvania 1 [-]
    • Philadelphia 1 [-]
    • South Africa 1 [-]
    • South Carolina 1 [-]
    • Suffolk County 1 [-]
    • West Africa 1 [-]
    • West Indies 1 [-]
    • Western Cape 1 [-]
    Search More Places
    Show More Places Show Fewer Places
  • On View
    • Yes 6 [-]
    Search More On Views
    Show More On Views Show Fewer On Views
  • Media Type
    • Images 12 [-]
    Search More Media Types
    Show More Media Types Show Fewer Media Types
  • Open Access (CC0)
    • Yes 10 [-]
    Search More Open Access (CC0)s
    Show More Open Access (CC0)s Show Fewer Open Access (CC0)s
Filter Results
Applied Filters: clear all filters
    Included:
  • topic: "Middle Passage"
Your search found 12 result(s).
Print
  • CC0 Creative Commons - No Rights Reserved icon

    Identification button used by Thomas Porter II

    Manufactured by
    I. Nutting & Son, British, ca.1805 - 1840
    Used by
    Porter, Thomas II, British, 1790 - 1857
    Date
    ca. 1820
    On View
    Concourse 3, C3 053
    Exhibition
    Slavery and Freedom
    Medium
    pewter
    Dimensions
    Diameter: 13/16 in. (2.1 cm), 3.9Grams
    Description
    A round pewter button with "TPORTER" stamped across the middle. This button would have been sewn onto an enslaved person's shirt to identify him or her as belonging to Thomas Porter II. On the reverse side of the button there are fine concentric circle impressions within a pronounced rim as well as a stamp which is now illegible. There is also evidence of a parting line for a two-part mold on the reverse of the button. The button has considerable wear with pitting on both sides.
    Place collected
    Georgia, United States, North and Central America
    Place used
    Demerara-Mahaica, Guyana, Caribbean, South America
    Classification
    Slavery and Freedom Objects
    Awards and Medals
    Type
    buttons (fasteners)
    buttons (information artifacts)
    Topic
    Commerce
    Middle Passage
    Slavery
    Trans Atlantic slave trade
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture
    Object number
    2009.32.1
    Restrictions & Rights
    No Known Copyright Restrictions
    Usage
    CC0
    GUID
    http://n2t.net/ark:/65665/fd538c17a61-69b3-46bf-a657-95362382579e
  • CC0 Creative Commons - No Rights Reserved icon

    Identification button used by Thomas Porter II

    Manufactured by
    I. Nutting & Son, British, ca.1805 - 1840
    Used by
    Porter, Thomas II, British, 1790 - 1857
    Date
    ca. 1820
    On View
    Concourse 3, C3 053
    Exhibition
    Slavery and Freedom
    Medium
    pewter
    Dimensions
    Diameter: 13/16 in. (2.1 cm), 3.2Grams
    Description
    A round pewter button with "TPORTER" stamped across the middle. This button would have been sewn onto an enslaved person's shirt to identify him or her as belonging to Thomas Porter II. On the reverse side of the button there is a pronounced concavity which may have occurred after fabrication. The button has considerable wear with pitting on both sides.
    Place collected
    Georgia, United States, North and Central America
    Place used
    Demerara-Mahaica, Guyana, Caribbean, South America
    Classification
    Slavery and Freedom Objects
    Awards and Medals
    Type
    buttons (fasteners)
    buttons (information artifacts)
    Topic
    Commerce
    Middle Passage
    Slavery
    Trans Atlantic slave trade
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture
    Object number
    2009.32.2
    Restrictions & Rights
    No Known Copyright Restrictions
    Usage
    CC0
    GUID
    http://n2t.net/ark:/65665/fd529db2a55-c81b-41b4-9282-68a33c342371
  • CC0 Creative Commons - No Rights Reserved icon

    Identification button used by Thomas Porter II

    Created by
    Unidentified
    Used by
    Porter, Thomas II, British, 1790 - 1857
    Date
    ca. 1820
    On View
    Concourse 3, C3 053
    Exhibition
    Slavery and Freedom
    Medium
    copper alloy
    Dimensions
    Diameter: 3/4 in. (1.9 cm), 2.7Grams
    Description
    A round copper-alloy button with the initials "T*P" on the front. This button would have been sewn onto an enslaved person's shirt to identify him or her as belonging to Thomas Porter II. There is an inscription on the reverse of the button in two concentric circles that reads, "FINE ORANGE STANDARD GILT." There is a considerable amount of verdigris on both sides of the button.
    Place collected
    Georgia, United States, North and Central America
    Place used
    Demerara-Mahaica, Guyana, Caribbean, South America
    Classification
    Slavery and Freedom Objects
    Awards and Medals
    Type
    buttons (fasteners)
    buttons (information artifacts)
    Topic
    Commerce
    Middle Passage
    Slavery
    Trans Atlantic slave trade
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture
    Object number
    2009.32.3
    Restrictions & Rights
    No Known Copyright Restrictions
    Usage
    CC0
    GUID
    http://n2t.net/ark:/65665/fd5a07edb0b-8c52-4a51-9b88-359fbe47e475
  • CC0 Creative Commons - No Rights Reserved icon

    Identification button used by Thomas Porter II

    Created by
    Unidentified
    Used by
    Porter, Thomas II, British, 1790 - 1857
    Date
    ca. 1820
    On View
    Concourse 3, C3 053
    Exhibition
    Slavery and Freedom
    Medium
    copper alloy
    Dimensions
    Diameter: 3/4 in. (1.9 cm), 2.8Grams
    Description
    A round copper-alloy button with the initials "T*P" on the front. This button would have been sewn onto an enslaved person's shirt to identify him or her as belonging to Thomas Porter. There is an inscription on the reverse of the button in two concentric circles that reads, "FINE ORANGE STANDARD GILT."
    Place collected
    Georgia, United States, North and Central America
    Place used
    Demerara-Mahaica, Guyana, Caribbean, South America
    Classification
    Slavery and Freedom Objects
    Awards and Medals
    Type
    buttons (fasteners)
    buttons (information artifacts)
    Topic
    Commerce
    Middle Passage
    Slavery
    Trans Atlantic slave trade
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture
    Object number
    2009.32.4
    Restrictions & Rights
    No Known Copyright Restrictions
    Usage
    CC0
    GUID
    http://n2t.net/ark:/65665/fd574df6dda-c31e-41e3-89fe-beddd9022be7
  • CC0 Creative Commons - No Rights Reserved icon

    Identification button worn by enslaved persons on Golden Grove Plantation

    Created by
    Unidentified
    Used by
    Baillie, David, British, 1786 - 1861
    Date
    1828-1834
    Medium
    pewter
    Dimensions
    Diameter: 13/16 in. (2.1 cm), 4.4Grams
    Description
    A round pewter button with "D BAILLIE / G•GROVE" stamped on the front. This button would have been sewn onto an enslaved person's shirt to identify him or her as belonging to David Baillie of Golden Grove Plantation, British Guyana. The button has considerable wear with pitting on both sides.
    Place collected
    Georgia, United States, North and Central America
    Place used
    Demerara-Mahaica, Guyana, Caribbean, South America
    Classification
    Slavery and Freedom Objects
    Awards and Medals
    Type
    buttons (fasteners)
    buttons (information artifacts)
    Topic
    Commerce
    Middle Passage
    Slavery
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture
    Object number
    2009.32.5
    Restrictions & Rights
    No Known Copyright Restrictions
    Usage
    CC0
    GUID
    http://n2t.net/ark:/65665/fd5a6f0d26f-672b-4d64-9b1b-1af477dfeb48
  • CC0 Creative Commons - No Rights Reserved icon

    The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African

    Written by
    Equiano, Olaudah, 1745 - 1797
    Published by
    Knapp, Isaac, American, 1808 - 1858
    Owned by
    West, Mary J., American
    Date
    1789; republished 1837
    On View
    Concourse 3, C3 053
    Exhibition
    Slavery and Freedom
    Medium
    ink on paper, leather
    Dimensions
    H x W x D: 7 × 4 1/2 × 1 1/8 in. (17.8 × 11.5 × 2.8 cm)
    H x W x D (open at 90 degrees): 7 × 4 1/2 × 5 in. (17.8 × 11.4 × 12.7 cm)
    Description
    A hardcover book titled The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African written by Eqiano Olaudah. The book has a brown leather cover with gold colored lettering. A paper dust jacket with "Gustavus Vassa" on the front surrounds the leather cover. There are inscriptions on the front pastedown endpaper and the front endpaper. The book has 294 pages.
    Place printed
    Boston, Suffolk County, Massachusetts, United States, North and Central America
    Place depicted
    West Africa, Africa
    England, Europe
    Philadelphia, Pennsylvania, United States, North and Central America
    West Indies, Caribbean, North and Central America
    Classification
    Slavery and Freedom Objects
    Documents and Published Materials-Published Works
    Type
    books
    narratives
    Topic
    Africa
    Emancipation
    Literature
    Men
    Middle Passage
    Religious groups
    Slavery
    Spirituality
    Trans Atlantic slave trade
    U.S. History, 1815-1861
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture, Gift of William E. West, Sr. and Family
    Object number
    2014.44
    Restrictions & Rights
    Public Domain
    Usage
    CC0
    GUID
    http://n2t.net/ark:/65665/fd590f81561-b437-40c1-8a0b-4b80a76ab2bc
  • CC0 Creative Commons - No Rights Reserved icon

    Letter to Reverend David Selden from his son David Selden

    Received by
    Rev. Selden, David, American, 1761 - 1825
    Written by
    Selden, David, American, born 1785
    Date
    March 5, 1808
    Medium
    ink on paper
    Dimensions
    H x W (folded): 9 15/16 × 7 7/8 in. (25.2 × 20 cm)
    H x W (unfolded): 9 15/16 × 15 5/8 in. (25.2 × 39.7 cm)
    Description
    This letter was written from Charleston, South Carolina, on March 5, 1808, by David Selden to his parents in Chatham, Connecticut. Selden lists several cities he has recently traveled to including New York and Philadelphia, with future destinations including Georgetown and Georgia. After describing the weather and spring blossoms of Charleston, Selden writes, "I cannot but reflect on the awfull sight to be seen at a place called Gadsdens wharf of about four thousand poor africans naked/in a manner/ and lousy[.] The most distressing sight I ever beheld offered for sale every day at Auction to him who will give the most." The letter is posted specifically to his father Reverend David Selden of Chatham, Connecticut, but the salutation reads "Dear parents".
    Transcription Center Status
    Transcribed by digital volunteers
    Place used
    Charleston, South Carolina, United States, North and Central America
    Chatham, East Hampton, Middlesex County, Connecticut, United States, North and Central America
    Classification
    Documents and Published Materials
    Slavery and Freedom Objects
    Type
    letters (correspondence)
    Topic
    Africa
    American South
    Business
    Correspondence
    Middle Passage
    Slavery
    Trans Atlantic slave trade
    U.S. History, 1783-1815
    Urban life
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture
    Object number
    2014.174.2
    Restrictions & Rights
    No Known Copyright Restrictions
    Usage
    CC0
    GUID
    http://n2t.net/ark:/65665/fd530151c56-34ac-4e30-a885-30b7b7bf0126
  • CC0 Creative Commons - No Rights Reserved icon

    Shackles

    Created by
    Unidentified
    Date
    Before 1860
    Medium
    iron
    Dimensions
    H x W x D: 2 1/2 x 9 x 1 1/4 in. (6.4 x 22.9 x 3.2 cm)
    Description
    Shackles consist of an iron bolt with a pair of loops slid onto it thorugh a hole in each end of the loop. One end of the bar is fixed closed by an integral metal flange large enough to prevent the loops from being removed. The other end of the bar ends in an "eye" and is locked by a large "lock washer" inserted at the time the shackles were applied.
    Classification
    Slavery and Freedom Objects
    Type
    shackles
    Topic
    Africa
    Middle Passage
    Slavery
    Trans Atlantic slave trade
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture
    Object number
    2008.10.4
    Restrictions & Rights
    No Known Copyright Restrictions
    Usage
    CC0
    GUID
    http://n2t.net/ark:/65665/fd5964f8211-4ed9-4291-b9dc-686ae3d6daf0
  • CC0 Creative Commons - No Rights Reserved icon

    Folk art model of a slave ship on stand

    Created by
    Unidentified
    Date
    1890-1950
    On View
    Concourse 3, C3 053
    Exhibition
    Slavery and Freedom
    Medium
    wood and ivory
    Dimensions
    H x W x D (abc): 6 1/8 × 21 × 6 in. (15.6 × 53.3 × 15.2 cm)
    H x W x D (a): 5 3/8 × 21 × 6 in. (13.7 × 53.3 × 15.2 cm)
    H x W x D (b): 1 1/4 × 15 1/2 × 5 1/16 in. (3.2 × 39.4 × 12.9 cm)
    H x W x D (c): 2 5/8 × 8 3/8 × 4 1/2 in. (6.7 × 21.3 × 11.4 cm)
    Caption
    This model was made by an unknown artist in the first half of the 20th century. The ship and the figures are not to scale. Nor are the figures arranged in an historically accurate way. Yet the object speaks an emotional truth. Most of the artist's work has been poured into the carving of the figures on board the ship. They are each hand-carved and represent different people in different states - some with ribs showing, others with rounded bellies, tall, short, male and female. The emotion invested in the carvings is palpable.
    Scholars estimate that of every group of 100 people seized in Africa, only 64 would survive the march from the interior to the coast; only 57 would board ship; and just 48 would live to be placed in slavery in the Americas.
    Source: Nancy Bercaw, Curator, Slavery and Freedom
    Description
    This model of a slave ship consists of a wooden hull (a), a removable deck (b), and a wooden stand (c).
    The wooden hull (a) is made of a soft wood painted black on the outside, with a cream border around the top where sixteen square holes are carved, eight on each side. The interior of the hull is painted cream. At the interior of the stern is an enclosed white structure. A functioning door is attached at the center front of the enclosed structure, with carved slats and a small metal pin as a door knob. Two stained wooden circular pieces reach up out of the hull from the lower deck and extend above the removable upper deck (b) when it is in place. The rudder of the ship is functional. The exterior front of the bow has a decorative curled element with a carved outline detail. Above this is a stained wooden circular piece that protudes from the bow as a bowsprit. The lower deck has two rectangular cut-outs trimmed in cream raised edges. The one nearest the bow is larger than the one nearest the stern. They correspond to the rectangular openings on the removable deck (b). These cutouts are open to the hold. Lined along the lower deck are carved ivory figures painted or stained black. Each figure is an individually carved piece adhered to the ship, with individualized faces, bodies, and heights. Additional figures are visible in the hold from the rectangular openings. The figures are adult males and females, and some short figures may be meant to represent children or adolescents. All of the figures are wearing cloths around their genitals, but are bare-chested.
    The removable deck (b) is made of a soft wood painted black on the top and left untreated on the bottom. The top of the deck has four cut-outs that are trimmed in cream painted wood. The first and third cut-outs from the bow are circular, the second is a rectangle with a raised cream edge, and the fourth is a rectangle with a box-like cream structure that is open on the back side but with a covered roof. In addition to the four larger cutouts there are two small square cut-outs in front of and flanking the circular cutout nearest the bow that are not trimmed in white detailing. There are three small holes, one at each side and one in front of the circular cut-out nearest the stern also not trimmed in white. There are two sets of two small holes at the edges of the deck flanking the cream roofed structure nearest the stern.
    The stand (c) is made from wood and formed of two quatrefoil endcaps and a center dowel. There is decorative outline carving on the endcaps. The dowel is attached at a slight angle to accomodate the slope of the hull (a). The bottom of the hull sits parrallel to the dowel, resting on red wool pads that are adhered along the top edges of the endcaps. The wood is stained with a dark finish, of a different color than the black painted hull. The stand was clearly made for this ship model, but may not be original to it considering the different finish color.
    Classification
    Slavery and Freedom Objects
    Decorative Arts, Craft, and Design
    Type
    models (representations)
    Topic
    Africa
    African diaspora
    Craftsmanship
    Middle Passage
    Trans Atlantic slave trade
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture
    Object number
    2013.196.1abc
    Restrictions & Rights
    No Known Copyright Restrictions
    Usage
    CC0
    GUID
    http://n2t.net/ark:/65665/fd54ca4e926-2a35-4f89-a357-5b87bf5e399d
  • Blueprint

    Created by
    Boddie, Terry, American, born 1965
    Date
    2001
    Medium
    Gelatin silver emulsion, iron blue toner on paper
    Dimensions
    H x W (Sheet): 22 1/2 × 29 1/2 in. (57.2 × 74.9 cm)
    H x W x D (Frame): 28 11/16 × 35 15/16 × 1 11/16 in. (72.8 × 91.3 × 4.3 cm)
    Caption
    ARTIST STATEMENT: In the image Blueprint, I juxtapose the image of a housing project on 135th Street and Broadway in Harlem, with the slave ship icon that shows the way African [sic] were stowed in the holds of the ships on the journey from the African continent to the Americas and the Caribbean. The title Blueprint suggests that both of these acts were premeditated. One was to efficiently expedite the shipment of as many bodies that could physically fit into the holds of the ships. The other was to warehouse the descendants of those Africans post-Emancipation in as efficient a manner as possible. The color blue also references the blues, the uniquely American musical idiom created by enslaved African [sic] in response to their social and political position within American society. -- Terry Boddie, 2017
    Description
    Photographic print by Terry Boddie. The blue print shows two (2) images referencing housing issues among Africans and African Americans. The lower image is a detail view of the conditions for enslaved Africans during the Middle Passage. The illustration of a ship’s cargo hold shows each figure lying confined in rows. The upper half shows a multi-story housing project at 135th Street and Broadway in Harlem. The white paper is visible around the border with some staining on the edges. The work is signed on the bottom. The print is adhered to a Fome-Cor board.
    Place depicted
    Harlem, Manhattan, New York City, New York, United States, North and Central America
    Classification
    Visual Arts
    Media Arts-Photography
    Type
    photographic prints
    Topic
    Architecture
    Art
    Blues (Music)
    Graphic design
    Housing
    Middle Passage
    Music
    Photography
    Slavery
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture
    Object number
    2017.75
    Restrictions & Rights
    © Terry Boddie
    Usage
    Usage conditions apply
    GUID
    http://n2t.net/ark:/65665/fd534217100-9df1-4cb0-b30a-a2770ad95036
  • CC0 Creative Commons - No Rights Reserved icon

    Ceremonial basket adorned with cowrie shells

    Created by
    Unidentified
    Date
    2015
    Medium
    fiber and cowrie shell
    Dimensions
    H x W x D: 5 5/8 × 6 1/2 × 6 1/2 in. (14.3 × 16.5 × 16.5 cm)
    Caption
    This cowrie shell basket was created by artisans in Mossuril, Mozambique, in 2015 to hold soil from the region, which was then deposited at the site of the São José shipwreck. After a solemn ceremony on May 30, 2015, the village and tribal elder in Mossuril, Evano Nhogache, entrusted this basket to Lonnie Bunch, instructing him to place the enclosed soil as close to the wreck site as possible to symbolically reconnect those Mozambicans who were lost with their homeland. He then asked that the basket become part of the collections of the NMAAHC. On June 2, 2015, at a second memorial in Clifton, the soil was poured into the ocean near the wreck site. The slave ship São José Paquete Africa sank on December 3, 1794 off the coast of South Africa. It had left Mozambique 24 days prior bound for Maranhão, Brazil.
    Description
    A basket created by artisans in Mossuril, Mozambique for ceremonial transport of soil from Mozambique to the site of the São José shipwreck in Cape Town, South Africa. The round basket is in two parts, a base and lid, and is made from worked plant material. Cowrie shells placed closely together adorn and cover the outside of both the top and bottom of basket.
    Place made
    Mossuril, Nampula, Mozambique, Africa
    Place used
    Cape Town, Western Cape, South Africa, Africa
    Classification
    Slavery and Freedom Objects
    Decorative Arts, Craft, and Design
    Tools and Equipment-Ceremonial Tools
    Type
    baskets
    Topic
    Africa
    Craftsmanship
    Folklife
    Middle Passage
    Ornamentation
    Trans Atlantic slave trade
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture
    Object number
    2016.168ab
    Restrictions & Rights
    No Known Copyright Restrictions
    Usage
    CC0
    GUID
    http://n2t.net/ark:/65665/fd5c1dcaef5-0d51-4e34-8df7-27f2ee6dd95a
  • Roots

    Created by
    Bearden, Romare, American, 1911 - 1988
    Date
    1977
    Medium
    lithographic ink on paper (fiber product)
    Dimensions
    H x W: 29 7/16 x 21 9/16 in. (74.8 x 54.8 cm)
    Description
    Print of a profile-view of a man shown in foreground with Middle Passage slave ship and continent of Africa in background. American flag shown at bottom right.
    Classification
    Visual Arts
    Type
    lithographs
    Topic
    Africa
    Art
    Middle Passage
    Slavery
    Trans Atlantic slave trade
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture
    Object number
    2010.3.3
    Restrictions & Rights
    © Romare Bearden Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY . Permission required for use.
    Usage
    Usage conditions apply
    GUID
    http://n2t.net/ark:/65665/fd5d98da94d-c1e9-4eb7-be7b-fe27431bb6dd
National Museum of African American History and Culture
Museum Address

1400 Constitution Ave NW, Washington, DC 20560

  • Become a Member
  • Make a Donation

Get Updates

 
    Please leave this field empty
Email powered by Blackbaud Privacy Policy | Terms of Use
  • Facebook
  • Twitter
  • Instagram
  • Snapchat
  • YouTube

Privacy | Terms of Use

Back to Top