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- topic: "Ornamentation"
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Les Animaux vus par les Meilleurs Animaliers: Volume 1 Animaux Décoratif
- Written by
- Dayot, Armand, French, 1851 - 1934
- Published by
- Editions d'Art Charles Moreau, French
- Owned by
- Jones, Loïs Mailou, American, 1905 - 1998
- Date
- 1930
- Medium
- ink on paper
- Dimensions
- H x W x D: 13 3/16 × 10 1/4 × 9/16 in. (33.5 × 26 × 1.5 cm)
- Title
- Book from the library of artist Loïs Mailou Jones
- Description
- Hardcover Volume 1 of 2 with fifty (50) plates in the book. The top half of the front cover is blue with printed black text which reads [VOLUME 1 / LES ANIMAUX / VUS PAR LES MEILLEURS ANIMALIERS / REALISATIONS _ DESSINS _ ETUDES _ ETC]. The bottom half is tan with printed black text [ANIMAUX / DECORATIFS / PRESENTES PAR ARMAND DAYOT]. At the bottom is [EDITIONS D'ART CHARLES MOREAU / 8 ET 10 RUE DE PRAGUE _ PARIX XII J. DE. SNOS] printed in black. There is a small ribbon closure connecting the front and back covers over the plates. The spine has [Vol. 1 AUX DECORATIFS] printed in black. The back cover is blank. The interior front cover has a black and white bookplate with an image of Notre Dame and a woman painting which reads [EX LIBRIS / Lois Mailou Jones / DKW]. The book has handwritten inscriptions.
- Classification
- Documents and Published Materials-Published Works
- Type
- hardcover books
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2016.26.5.12.1
- Restrictions & Rights
- Unknown - Restrictions Possible
-
Les Animaux vus par les Meilleurs Animaliers: Volume 2 Animaux Stylises Poils
- Written by
- Dayot, Armand, French, 1851 - 1934
- Published by
- Editions d'Art Charles Moreau, French
- Owned by
- Jones, Loïs Mailou, American, 1905 - 1998
- Date
- 1930
- Medium
- ink on paper
- Dimensions
- H x W x D: 13 1/8 × 10 1/8 × 13/16 in. (33.4 × 25.7 × 2.1 cm)
- Title
- Book from the library of artist Loïs Mailou Jones
- Description
- Hardcover Volume 2 of 2 with fifty-two (52) plates. The top half of the front cover is blue with printed black text which reads [VOLUME 1 / LES ANIMAUX / VUS PAR LES MEILLEURS ANIMALIERS / REALISATIONS _ DESSINS _ ETUDES _ ETC]. The bottom half is tan with printed black text [ANIMAUX / STYLISES: POILS / PRESENTES PAR ARMAND DAYOT]. At the bottom is [EDITIONS D'ART CHARLES MOREAU / 8 ET 10 RUE DE PRAGUE _ PARIX XII J. DE. SNOS] in black. There is a small ribbon closure connecting the front and back covers over the plates. The back cover is blank. The interior front cover has a black and white bookplate with an image of Notre Dame and a woman painting which reads [EX LIBRIS / Lois Mailou Jones / DKW]. The book has handwritten inscriptions.
- Classification
- Documents and Published Materials-Published Works
- Type
- hardcover books
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2016.26.5.12.2
- Restrictions & Rights
- Unknown - Restrictions Possible
-
Traité de Composition Decorative
- Written by
- Gauthier, Joseph Stany, French, 1883 - 1969
- Capelle, Louis
- Published by
- Éditions Plon, French, founded 1845
- Owned by
- Jones, Loïs Mailou, American, 1905 - 1998
- Signed by
- Jones, Loïs Mailou, American, 1905 - 1998
- Date
- 1950
- Medium
- ink on paper
- Title
- Book from the library of artist Loïs Mailou Jones
- Description
- Paperback copy of "Traité de Composition Decorative" in fragile condition with tan wrapper. The front cover has black printed text which reads [LIBRARIES / JOSEPH GIBERT] above handwritten text [DESIGN] and printed text [S 250 8° Rais.]. Below this there is a central paragraph of French text that begins [LIBRAIRIE CLASSIQUE / livres d'enseignement...]. At the bottom of the front of the wrapper is the address [30, BOULEVARD St-MICHEL, 26 / A L'ANGLE DES RUES / RACINE, ÉCOLE DE MÉDECINE, P. SARRAZIN]. There is an orange dot and line design above and below the title on the upper part of the spine. The spine is heavily torn with areas of loss. Only the second half of each word of the title is visible. The back cover has an image and text advertising [JOSEPH GIBERT / LIBRAIRIE GENERALE]. This design is repeated on the back flap of the book jacket. The interior flap of the front cover has black printed text in French that begins [SERVICE D'ACHATS...]. A color title page is inserted behind the front flap and has handwritten inscriptions. The back cover has the same orange dot and bar design from the spine with [Les petit-fils de Plon et Nourrit / Imprimeurs - Éditeurs / 8, RUE GARACIÈRE - PARIS] in the center. The books has handwritten inscriptions.
- Classification
- Documents and Published Materials-Published Works
- Type
- paperbacks
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2016.26.5.17
- Restrictions & Rights
- Unknown - Restrictions Possible
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Modern Geometric Design
- Written by
- Lorch, Adolf, German American, 1883 - 1971
- Published by
- Sterling Publishing Company, Inc., American, founded 1949
- Distributed by
- Ward Lock & Co. Ltd., British, founded 1854
- Owned by
- Jones, Loïs Mailou, American, 1905 - 1998
- Date
- 1971
- Medium
- ink on paper
- Dimensions
- H x W x D: 11 5/16 × 8 3/4 × 9/16 in. (28.7 × 22.2 × 1.5 cm)
- Title
- Book from the library of artist Loïs Mailou Jones
- Description
- Hardcover copy of “Modern Geometric Design” with seventy-nine (79) pages. The cover has a green, black, white, and grey design. The upper right and bottom left corners have multicolored geometric patterns in a circular design. In black printed text on a green background is [MODERN / GEOMETRIC / DESIGN] in the center of the front cover. The text repeats in separate columns to the edge of the cover with [MODERN] AND [DESIGN] in white and [GEOM / TRIC] in green. A vertical grey column on the right has white text [by Adolf Lorch]. The title and author are in black on the center spine. The publisher [STERLING] is printed in green on the bottom spine. The back cover has geometric circular designs and multicolored sections like the front cover. The center of the back cover has black text describing the book which begins [Good design is simple and attractive.]. The first blank page has a black and white bookplate with three images of Lois Mailou Jones which reads [Lois Jones / Pierre-Noel / EX LIBRIS]. The book has a handwritten inscription.
- Classification
- Documents and Published Materials-Published Works
- Type
- hardcover books
- Topic
- Art
- Caricature and cartoons
- Design
- Graphic design
- Ornamentation
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2016.26.5.23
- Restrictions & Rights
- © 1971 Sterling Publishing Co., Inc. Permission required for use.
-
CC0
Nautical clock gifted from Pres. Theodore Roosevelt to William L. Houston
- Created by
- Unidentified
- Commissioned by
- President Roosevelt, Theodore, American, 1858 - 1919
- Received by
- Houston, William Lepre, American, 1870 - 1953
- Owned by
- Houston, Charles Hamilton, American, 1895 - 1951
- Date
- 1905-1919
- Medium
- glass, metal and marble
- Dimensions
- H x W x D (.4a Clock): 7 × 4 3/8 × 4 3/8 in. (17.8 × 11.2 × 11.2 cm)
- H x W x D (.4b Stand): 10 × 4 1/2 × 15 1/2 in. (25.4 × 11.4 × 39.4 cm)
- Caption
- William LePre Houston (1870-1953) was a prominent Washington, DC attorney who was active in the Republican Party and worked for African American labor organizations, including the Railway Men's International Benevolent Industrial Association. According to son and law partner Charles Hamilton Houston, this nautical clock was a gift from President Theodore Roosevelt for his father's role as an unofficial African American advisor.The clock was a significant family heirloom that resided on the mantelpiece of the family's home on Washington's northwest side.
- Description
- A table clock with nautical design gifted from President Theodore Roosevelt to William L. Houston. The clock is comprised of two separate pieces, the clock itself (.4a) and the base (.4b). The bottom of the clock is made of marble resting on four metal pedestals at each corner. The greenish marble is cracked throughout but still intact. The largest feature of the clock is a brass arm on the right side that curves to the left. On the front of the arm is a propeller. The top of the arm has a piece that connects the chain to the block and tackle pulley system that holds up the clock. The clock is spherical and hangs from a post connected to a circle. The circle rests on the hook of the pulley system. The back of the clock is metal and opens on a hinge to show the inner mechanics. The front of the clock is glass with a numbered face. The metal chain connected to the pulley continues through the top circle of an anchor mounted to the marble base and then wraps around a ship's wheel secured to the base just below the hanging clock sphere. Inside the top of the wheel is a compass.
- Place made
- United States, North and Central America
- Classification
- Decorative Arts, Craft, and Design
- Type
- mantel clocks
- Topic
- Families
- Labor
- Law
- Local and regional
- Ornamentation
- Politics (Practical)
- U.S. History, 1865-1921
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Charles Hamilton Houston, Jr. and Dr. Rosemary Jagus
- Object number
- 2018.59.4ab
- Restrictions & Rights
- No Known Copyright Restrictions
-
CC0
Voodoo Guitar "Marie" made by Don Moser with debris from Hurricane Katrina
- Created by
- Moser, Don, American
- Date
- 2005
- On ViewCulture/Fourth Floor, 4 053
- Exhibition
- Musical Crossroads
- Medium
- Wood, copper, brass, tin, and plastic with fabric and rhinestone
- Dimensions
- H x W x D (guitar): 41 3/4 × 13 3/4 × 2 3/8 in. (106 × 34.9 × 6 cm)
- H x W x D (Wood box): 5 x 47 7/8 x 17 in. (12.7 x 121.6 x 43.2 cm)
- Description
- The Voodoo Guitar (.1) used by Don Moser of Swampkat. The 6-string electric guitar is wooden with metal-plated head and body. A plaque on the head features text that reads [KATRINA - AUG - 29- 2005]. Metal letters are adhered along one side and the bottom of the head, following the curve [NEW ORLEANS / VOODOO]. Multiple "windows" were built into the guitar head. Contents include objects such as a voodoo doll and rhinestone fleur de lis brooch. At the center of the head, a figurine is attached atop the strings. It is shaped like a cross. Its top half is black, while the bottom is white and covered with multi-colored beads. Brown hair-like fibers extend out of the top and two arms. A handwritten letter (.2) on white paper with rough, burned edges is attached under the strings. It visually blocks part of the head and reads [DEAR KEVIN, / THANKS FOR ALL THE HARD WORK YOU AND / YOUR TEAM HAS PUT INTO THE VOODOO GUITAR / PROJECT. / I'VE ENJOYED EVERY MIN. OF THE JOURNEY. / THIS IS THE VOODOO GUITAR. PLEASE TAKE / EXTRA CARE OF HER, I GROWN QUITE FOND OF HER! / THE GUITAR IS SET UP AND PLAYS GREAT, SHE SOUNDS / LIKE THE DEVIL MOVING FURNITURE! / BLESSINGS / DON]. The back of the neck is light-colored wood, and the back of the head is dark wood. A gold-colored metal plaque situated at the base of the neck features engraved text that reads [KATRINA / YOU THOUGHT / YOU COULD KEEP / THE OL BIG EASY / DOWN BUT WE / STILL HEAR OUR / BRASS BANDS / BLOWIN OH WHAT/ A BEAUTIFUL / SOUND]. A clear plastic cylinder is attached to the underside of the head. It has a metal top & bottom and contains a fuzzy object.
- Place made
- New Orleans, Louisiana, United States, North and Central America
- Classification
- Musical Instruments
- Topic
- Art
- Communities
- Folklife
- Music
- Musicians
- Ornamentation
- U.S. History, 2001-
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Musician/Artist Don Louis Moser
- Object number
- 2015.119.1-.2
- Restrictions & Rights
- No Known Copyright Restrictions
-
Ivory powder horn with carved decoration
- Created by
- Unidentified
- Date
- 18th century; engraved after 1861
- On ViewCommunity/Third Floor, 3 053
- Medium
- horn and wood
- Dimensions
- L x diameter x weight: 10 1/2 × 3 1/16 in., 152Grams (26.7 cm, 0.2 kg)
- Description
- A powder horn with scrimshaw decorations. The powder horn shaft is made from cow horn. On one side of the horn's base, there is an engraved illustration of a seated African American officer smoking a cigar inside a tent, guarded by a white soldier in a tattered uniform. The text underneath the image reads: [Negro officer / & / White Soldier]. On the reverse side of the powder horn is an engraving of an African American man dancing with a white woman. The African American man is wearing trousers but no shirt, and the woman is wearing a long-sleeved dress with her long hair pulled back into a bun. The text above the image reads: [New England Ladies / teaching Negroes]. These images are surrounded by decorative, architectural borders. Most engraved areas appear to have been colored with an iron-based substance, possibly iron gall ink, and the surface of the horn appears yellow, whether by age or artificial coloration. The circumference of the base has jagged edges, with some remaining peg holes through which pegs or nails would have been placed to secure the base, although none remain. A replacement circular wooden butt plug is glued into the base. The narrow end of the powder horn is carved, turned, and colored dark brown. Originally it would have been closed with a peg or stopper, now missing.
- Classification
- Slavery and Freedom Objects
- Tools and Equipment-Military
- Type
- powder horns
- Topic
- American South
- Education
- Emancipation
- Folklife
- Military
- Ornamentation
- Race relations
- U.S. History, Civil War, 1861-1865
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Marion T. Lane, Ed.D.
- Object number
- 2015.247.3
- Restrictions & Rights
- No Known Copyright Restrictions
-
CC0
Teapot made by Peter Bentzon
- Created by
- Bentzon, Peter, American, ca. 1783 - after 1850
- Date
- ca. 1817-1829
- On ViewConcourse 3, C3 053
- Exhibition
- Slavery and Freedom
- Medium
- silver and wood
- Dimensions
- H x W: 7 x 12 x 5 in. (17.8 x 30.5 x 12.7 cm)
- Description
- The silver teapot has an oval vase-shape on a spreading pedestal foot, with curved spout capped by an incised patera and wooden leaf-capped scroll handle, and hinged domed cover with acorn finial. The scripted monogram "MC" has been engraved on the side and the name "Rebecca Dawson" has been engraved along the bottom rim.
- Place made
- Philadelphia, Pennsylvania, United States, North and Central America
- Cultural Place
- Virgin Islands of the United States, United States, Caribbean, North and Central America
- Classification
- Slavery and Freedom Objects
- Decorative Arts, Craft, and Design
- Type
- teapots
- Topic
- African diaspora
- Craftsmanship
- Free communities of color
- Ornamentation
- U.S. History, 1815-1861
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2010.14
- Restrictions & Rights
- No Known Copyright Restrictions
-
Souvenir spoon depicting a caricature of a boy and an alligator
- Created by
- Unidentified
- Date
- ca. 1900-1930s
- On ViewConcourse 2, C 2053
- Medium
- sterling silver
- Dimensions
- 4 1/4 x 7/8 x 1/4 in. (10.8 x 2.2 x 0.6 cm)
- Description
- A souvenir spoon from Florida. The raised design on the bowl features a flamingo standing next to a tree on a shoreline with the text [FLORIDA]. The design on the front of the handle features a caricature of a boy's face and an alligator, its tail wrapped around the boy's head. The back of the handle features the back of the boy’s head and three palm trees. Raised lettering on the handle, next to a small four-leaf clover, reads [STERLING · THOMAS TUGBY ·]
- Statement
- Objects depicting racist and/or stereotypical imagery or language may be offensive and disturbing, but the NMAAHC aims to include them in the Collection to present and preserve the historical context in which they were created and used. Objects of this type provide an important historical record from which to study and evaluate racism.
- Collection title
- Collection of James M. Caselli and Jonathan Mark Scharer
- Classification
- Tools and Equipment-Culinary
- Racist and Stereotypical Objects
- Type
- spoons
- Topic
- Caricature and cartoons
- Cooking and dining
- Ornamentation
- Stereotypes
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Collection of James M. Caselli and Jonathan Mark Scharer
- Object number
- 2007.7.39
- Restrictions & Rights
- No Known Copyright Restrictions
-
CC0
Glass oil lamp from the home of Robert Smalls
- Created by
- Unidentified
- Owned by
- Smalls, Robert, American, 1839 - 1915
- Date
- 19th century
- On ViewConcourse 2, C 2053
- Medium
- glass, metal
- Dimensions
- H x W x D: 25 × 10 × 10 in., 9 lb. (63.5 × 25.4 × 25.4 cm, 4.1 kg)
- Description
- This oil lamp has been converted from oil to electric. It has a hand-painted base that is white with pink flowers. There is a matching lamp with hand-painted glass shade and a clear glass chimney.
- Place used
- Beaufort, South Carolina, United States, North and Central America
- Classification
- Decorative Arts, Craft, and Design
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2010.28.10a-e
- Restrictions & Rights
- No Known Copyright Restrictions
-
CC0
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
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2016.168ab
- Restrictions & Rights
- No Known Copyright Restrictions
-
Modernist copper cuff bracelet by Art Smith
- Designed by
- Smith, Art, American, 1917 - 1982
- Date
- ca. 1950
- Medium
- copper
- Dimensions
- H x W x D: 2 1/4 × 2 5/16 × 1 5/8 in. (5.7 × 5.9 × 4.1 cm)
- Description
- A modernist copper cuff bracelet made by Art Smith.
- The bracelet has an organic wave shaped design and features an abstract oval hole with a raised edge on the front. The edge of the cut out and the edges of the bracelet are a warm copper, with a darker swath through the center. The cuff is nearly cylindrical shape with an opening at the back to fit around the wrist.
- There are some small scuffs and areas of discoloration on the exterior of the cuff.
- The interior of the cuff is mostly dark black/green in color from the patina. There is an engraved signature which reads "Art Smith".
- Place made
- New York City, New York, United States, North and Central America
- Classification
- Adornment
- Type
- jewelry
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2016.173.1
- Restrictions & Rights
- © Estate of Art Smith
-
Sterling silver necklace by Art Smith
- Designed by
- Smith, Art, American, 1917 - 1982
- Date
- 1946-1979
- Medium
- sterling silver
- Dimensions
- H x W x D: 7 × 5 1/2 × 3/4 in. (17.8 × 14 × 1.9 cm)
- Description
- A sterling silver necklace made by Art Smith.
- The necklace features a vertical chain of ten (10) interlocking sterling silver rings extending from a circular necklace. There are four (4) flat, oblong pieces with rounded ends set horizontally through the vertical chain, with each piece decreasing in size from the top to the bottom. The circular necklace is composed of three pieces of sterling silver. The top or back piece, which would fit behind the neck, connects at each end with a nearly closed hook clasp to holes set into the front right and front left pieces, both of which extend to curved hooks at the other end. The hooks interlock with each other to close the necklace at the center, from which the vertical chain is extended.
- The name "Art Smith" is imprinted into the back of the left side piece near the clasp in a cursive font, with "STERLING" below the name.
- There are a few areas with small scuffs and scratches.
- Place made
- New York City, New York, United States, North and Central America
- Classification
- Adornment
- Type
- jewelry
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2016.173.2
- Restrictions & Rights
- © Estate of Art Smith
-
CC0
Copper and brass diamond design cuff by Winifred Mason Chenet
- Designed by
- Chenet, Winifred Mason, American, 1912 - 1993
- Date
- ca. 1945
- Medium
- copper and brass
- Dimensions
- H x W x D: 1 3/4 × 2 3/4 × 1 3/4 in. (4.4 × 7 × 4.4 cm)
- Caption
- This bracelet was made around 1945, the same year Winifred Mason Chenet spent five months in Haiti studying the island's art and culture. Chenet had been awarded a Rosenwald Fellowship grant, "to gather folk material and basic art patterns used by West Indians and to express these feelings in jewelry." The design of this bracelet, with the thin strands of copper wrapped around copper pegs in a criss-crossign diamond pattern, may have been inspired by the peg drums Chenet saw in Haiti.
- Description
- A copper and brass bracelet made by Winifred Mason Chenet.
- The bracelet is made of a curved band of copper with an opening of approximately two inches so that it can be placed on the wrist. The bracelet has two thin brass bands set on top of the copper, running horizontally through the center of the bracelet, breaking the copper up into three (3) section. There are six (6) raised copper dots across the top 1/3 of the bracelet and six (6) across the bottom 1/3 of the bracelet. Two (2) raised copper wires wrap around the raised copper dots, connecting top to bottom in a diamond pattern.
- The bracelet has some scuffs, scratches, and areas of discoloration. On the underside of the bracelet there are more scratches and areas of discoloration. The backs of the raised copper dots can be seen. At the back center is a double imprint of [chenet].
- Place made
- New York City, New York, United States, North and Central America
- Cultural Place
- Haiti, Caribbean, Latin America, North and Central America
- Classification
- Decorative Arts, Craft, and Design
- Adornment
- Type
- jewelry
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2016.173.3
- Restrictions & Rights
- No Known Copyright Restrictions
-
Brass loop earrings by Art Smith
- Designed by
- Smith, Art, American, 1917 - 1982
- Owned by
- Williams, Anne, American, born 1924
- Date
- 1946-1979
- Medium
- brass
- Dimensions
- H x W x D (2016.174.1a): 3 1/4 × 2 1/2 × 1/2 in. (8.3 × 6.4 × 1.3 cm)
- H x W x D (2016.174.1b): 3 1/4 × 2 1/2 × 1/4 in. (8.3 × 6.4 × 0.6 cm)
- Description
- A pair of brass loop earrings. Each individual earring is made of one piece of brass. The top part of the earring is an incomplete circle and most of the brass is flattened. At the bottom of the circle the two ends twist together and the brass is rounded. Once the twist is complete the two ends stick out horizontally to the sides. The brass is flattened and the ends are tear drop shaped. There is a second piece of brass connected at each of the the tops of the earrings. The top of the piece is flattened and tear drop shaped. The brass then becomes rounded and twists around the circle. There is a hook with a pointed end attached to the back. This is where the earrings go into the pierced ears. The earrings dangle and are approximately 2 1/2 inches wide. The coloring is not completely even and there are some minor scratches on the earrings.
- Place made
- New York City, New York, United States, North and Central America
- Collection title
- Art Smith Jewelry Collection
- Classification
- Adornment
- Type
- earrings
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2016.174.1ab
- Restrictions & Rights
- © Estate of Art Smith
-
Silver "dinner gong" and "wishbone" earrings by Art Smith
- Designed by
- Smith, Art, American, 1917 - 1982
- Owned by
- Williams, Anne, American, born 1924
- Date
- 1946-1979
- Medium
- silver
- Dimensions
- H x W x D (Dimensions for both): 4 × 1 1/2 × 1 1/4 in. (10.2 × 3.8 × 3.2 cm)
- Description
- A pair of silver wishbone earrings with dinner gongs. The tops of the earrings feature a piece of silver that is flattened at the top with a tear drop shaped edge. The silver then splits into to rounded pieces of silver that curve towards the back and then flatten and come to a point at the ends. This top part somewhat resembles a wish bone. Each hooked piece of silver has a hole in it. This equals four (4) holes, two (2) on each of the earrings. The holes have rounded pieces of silver going through them. These pieces are almost triangular in shape but have curved corners. There is a hooked piece of silver attached to the back of the "wishbone" It has a pointed end and is the part that goes into the pierced ears. The coloring is not completely even and there are some minor scratches. The backs of the earrings where the hooks are attached are peeling slightly.
- Place made
- New York City, New York, United States, North and Central America
- Collection title
- Art Smith Jewelry Collection
- Classification
- Adornment
- Type
- earrings
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2016.174.2ab
- Restrictions & Rights
- © Estate of Art Smith
-
"Three Hole" brass cuff by Art Smith
- Designed by
- Smith, Art, American, 1917 - 1982
- Owned by
- Williams, Anne, American, born 1924
- Signed by
- Smith, Art, American, 1917 - 1982
- Date
- 1946-1979
- Medium
- brass
- Dimensions
- H x W x D: 3 × 2 1/2 × 2 in. (7.6 × 6.4 × 5.1 cm)
- Description
- A brass cuff with three holes. There is an opening on the back where it goes over the wrist. The "holes" are curved openings with pointed ends that stick out. The design is not symmetrical. There are two holes on the top and one on the bottom. The holes are textured. The insides are rippled and the designs around the outside of the holes are crackled. The cuff has an uneven color and minor scratches. The inside of the cuff is a darker color and has Art Smith's signature carved into it.
- Place made
- New York City, New York, United States, North and Central America
- Collection title
- Art Smith Jewelry Collection
- Classification
- Adornment
- Type
- bracelets (jewelry)
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2016.174.3
- Restrictions & Rights
- © Estate of Art Smith
-
CC0
Corona panel designed for NMAAHC (Type A: 65% opacity)
- Designed by
- Freelon Adjaye Bond/SmithGroup, American, founded 2008
- Adjaye, David, British, born 1966
- Bond, J. Max Jr., American, 1935 - 2009
- Freelon, Philip G., American, 1953 - 2019
- SmithGroupJJR, American, founded 1853
- Manufactured by
- Peerless Pattern Works, Inc., founded 1923
- Morel Industries, founded 1917
- Dura Industries, American, ca. 1985
- Northstar Contracting, Inc., American
- Date
- ca. 2013
- Medium
- cast aluminum coated with vinyl paint
- Dimensions
- H x W x D: 63 × 41 1/4 × 1 1/2 in. (160 × 104.8 × 3.8 cm)
- Description
- An openwork cast aluminum panel of the type used to fabricate the cladding that covers the exterior of the National Museum of African American History and Culture, located on the National Mall in Washington, DC. The panel's bronze color is the final finish, and is the same as the color of the panels installed on the NMAAHC building. Panels were constructed in differing levels of opacity or thickness, in order to regulate the amount of light that enters the building. Panels with varying levels of opacity are used on each side of the building. This panel is the Type A design, with an opacity or density of 65% (35% open). The panel sometimes is referred to as a "corona panel," because these panels encapsulate the stacked upper levels of the building's design, referred to as the "corona" levels by the architects. The stacked shape of the building itself was designed to relfect the stacked top portions of Yoruba carved wood columns by Olowe of Ise found on traditional buildings in Nigeria. This top portion is known as a "capital" in architectural vocabulary, and the architects also use the words "crown" and "corona" to refer to the design inspiration they gained from this top portion of Yoruba column. This panel was fabricated at the same time as the panels installed on the building.
- Place collected
- Washington, District of Columbia, United States, North and Central America
- Classification
- Buildings and Structures
- Type
- facades
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2016.41.1
- Restrictions & Rights
- No Known Copyright Restrictions
-
CC0
Corona panel designed for NMAAHC (Type C: 75% opacity)
- Designed by
- Freelon Adjaye Bond/SmithGroup, American, founded 2008
- Adjaye, David, British, born 1966
- Bond, J. Max Jr., American, 1935 - 2009
- Freelon, Philip G., American, 1953 - 2019
- SmithGroupJJR, American, founded 1853
- Manufactured by
- Peerless Pattern Works, Inc., founded 1923
- Morel Industries, founded 1917
- Dura Industries, American, ca. 1985
- Northstar Contracting, Inc., American
- Date
- ca. 2013
- Medium
- cast aluminum coated with vinyl paint
- Dimensions
- H x W x D: 63 × 41 1/4 × 1 1/2 in. (160 × 104.8 × 3.8 cm)
- Description
- An openwork cast aluminum panel of the type used to fabricate the cladding that covers the exterior of the National Museum of African American History and Culture, located on the National Mall in Washington, DC. The panel's bronze color is the final finish, a Custom Artisan 3.5 in a 5-coat Kynar system, a costum Valspare mixture used for each layer of the 5-coats, and is the same as the color of the panels installed on the NMAAHC building. Panels with varying levels of opacity are used on each side of the building, to regulate the amount of light that enters the building. This panel is the Type C design, with an opacity or density of 75% (25% open). This panel was fabricated at the same time as the panels installed on the building.
- The tooling for the Corona panels was made at Peerless Pattern Works in Portland, Oregon. The panels were cast at Morel Industries in Portland, Oregon. After painting, the panels were sent to Cleveland, Ohio to Northstar Contracting for assembly onto carrier frames prior to installation on site.
- The panel sometimes is referred to as a "corona panel," because these panels encapsulate the stacked upper levels of the building's design, referred to as the "corona" levels by the architects. The stacked shape of the building itself was designed to relfect the stacked top portions of Yoruba carved wood columns by Olowe of Ise found on traditional buildings in Nigeria. This top portion is known as a "capital" in architectural vocabulary, and the architects also use the words "crown" and "corona" to refer to the design inspiration they gained from this top portion of Yoruba column.
- Place collected
- Washington, District of Columbia, United States, North and Central America
- Classification
- Buildings and Structures
- Type
- facades
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2016.41.2
- Restrictions & Rights
- No Known Copyright Restrictions
-
CC0
Corona panel designed for NMAAHC (Type E: 85% opacity)
- Designed by
- Freelon Adjaye Bond/SmithGroup, American, founded 2008
- Adjaye, David, British, born 1966
- Bond, J. Max Jr., American, 1935 - 2009
- Freelon, Philip G., American, 1953 - 2019
- SmithGroupJJR, American, founded 1853
- Manufactured by
- Peerless Pattern Works, Inc., founded 1923
- Morel Industries, founded 1917
- Dura Industries, American, ca. 1985
- Northstar Contracting, Inc., American
- Date
- ca. 2013
- Medium
- cast aluminum coated with vinyl paint
- Dimensions
- H x W x D: 63 × 41 1/4 × 1 1/2 in. (160 × 104.8 × 3.8 cm)
- Description
- An openwork cast aluminum panel of the type used to fabricate the cladding that covers the exterior of the National Museum of African American History and Culture, located on the National Mall in Washington, DC. The panel's bronze color is the final finish, a Custom Artisan 3.5 in a 5-coat Kynar system, a costum Valspare mixture used for each layer of the 5-coats, and is the same as the color of the panels installed on the NMAAHC building. Panels with varying levels of opacity are used on each side of the building, to regulate the amount of light that enters the building. This panel is the Type E design, with an opacity or density of 85% (15% open). This panel was fabricated at the same time as the panels installed on the building.
- The tooling for the Corona panels was made at Peerless Pattern Works in Portland, Oregon. The panels were cast at Morel Industries in Portland, Oregon. After painting, the panels were sent to Cleveland, Ohio to Northstar Contracting for assembly onto carrier frames prior to installation on site.
- The panel sometimes is referred to as a "corona panel," because these panels encapsulate the stacked upper levels of the building's design, referred to as the "corona" levels by the architects. The stacked shape of the building itself was designed to relfect the stacked top portions of Yoruba carved wood columns by Olowe of Ise found on traditional buildings in Nigeria. This top portion is known as a "capital" in architectural vocabulary, and the architects also use the words "crown" and "corona" to refer to the design inspiration they gained from this top portion of Yoruba column.
- Place collected
- Washington, District of Columbia, United States, North and Central America
- Classification
- Buildings and Structures
- Type
- facades
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2016.41.3
- Restrictions & Rights
- No Known Copyright Restrictions