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, born 1953

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

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)

Type

facades

Place collected

Washington, District of Columbia, United States, North and Central America

Date

ca. 2013

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.

Topic

African American

African diaspora

Architecture

Design

Local and regional

Ornamentation

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

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National Museum of African American History and Culture Collection

Classification

Buildings and Structures

Data Source

National Museum of African American History and Culture

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, born 1953

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

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)

Type

facades

Place collected

Washington, District of Columbia, United States, North and Central America

Date

ca. 2013

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.

Topic

African American

African diaspora

Architecture

Design

Local and regional

Ornamentation

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

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National Museum of African American History and Culture Collection

Classification

Buildings and Structures

Data Source

National Museum of African American History and Culture

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, born 1953

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

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)

Type

facades

Place collected

Washington, District of Columbia, United States, North and Central America

Date

ca. 2013

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.

Topic

African American

African diaspora

Architecture

Design

Local and regional

Ornamentation

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

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National Museum of African American History and Culture Collection

Classification

Buildings and Structures

Data Source

National Museum of African American History and Culture

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, born 1953

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

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)

Type

facades

Place collected

Washington, District of Columbia, United States, North and Central America

Date

ca. 2013

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 F design, with an opacity or density of 90% (10% 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.

Topic

African American

African diaspora

Architecture

Design

Local and regional

Ornamentation

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture

Object number

2016.41.4

Restrictions & Rights

No Known Copyright Restrictions

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National Museum of African American History and Culture Collection

Classification

Buildings and Structures

Data Source

National Museum of African American History and Culture

Created by

Unidentified

Used by

Nazareno, Débora, Ecuadorian

Owned by

Juan García Salazar, Ecuadorian, 1944 - 2017

Medium

wood

Dimensions

H x W x D: 5 1/2 x 12 7/8 x 14 3/4 in. (14 x 32.7 x 37.5 cm)

Type

seating

Place made

Esmeraldas, Ecuador, Latin America, South America

Date

early 20th century

Description

A carved wooden boat seat with two legs and a concave center. The seat has a design etched into its surface of a spider web. A spider is at the center of the web.

Topic

African American

African diaspora

Art

Craftsmanship

Folklife

Ornamentation

Transportation

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Juan Garcia Salazar

Object number

2008.18

Restrictions & Rights

No Known Copyright Restrictions

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National Museum of African American History and Culture Collection

Classification

Decorative Arts, Craft, and Design

Exhibition

Cultural Expressions

On View

NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 050

Data Source

National Museum of African American History and Culture

Created by

Simmons, Philip, American, 1912 - 2009

Medium

iron alloy

Dimensions

79 1/2 × 29 × 4 in. (201.9 × 73.7 × 10.2 cm)

2008.11.1ab: 153 lb. (69.4 kg)

2008.11.1a: 77 lb. (34.9 kg)

2008.11.1b: 76 lb. (34.5 kg)

Type

gates

Place made

Charleston, Charleston County, South Carolina, United States, North and Central America

Place used

Charleston, Charleston County, South Carolina, United States, North and Central America

Date

1970s

Description

A wrought iron metalwork gate created by the blacksmith and artist Philip Simmons. The gate has two halves, one with a female latch with an inverted L-shaped vertical slide lock. The other has the male latch with a decorative hook that slides up and down on two bolts. Each door of the gate is primarily composed of seven evenly spaced vertical bars. Halfway up each gate is an open section with curving French scroll work positioned horizontally. Similar scroll work is present as the top decoration of the gate. The gate doors are taller at their center than on their hinge side.

Topic

African American

Art

Craftsmanship

Ornamentation

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture

Object number

2008.11.1ab

Restrictions & Rights

© Phillip Simmons Estate

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Classification

Decorative Arts, Craft, and Design

Data Source

National Museum of African American History and Culture

Created by

Unidentified

Medium

sterling silver

Dimensions

4 1/4 x 7/8 x 1/4 in. (10.8 x 2.2 x 0.6 cm)

Type

spoons

Date

ca. 1900-1930s

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 ·]

Topic

African American

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

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National Museum of African American History and Culture Collection

Collection title

Collection of James M. Caselli and Jonathan Mark Scharer

Classification

Tools and Equipment-Culinary

Exhibition

Defending Freedom, Defining Freedom: The Era of Segregation, 1876-1968

On View

NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse 2, C 2053

Data Source

National Museum of African American History and Culture

Created by

Bentzon, Peter, American, ca. 1783 - after 1850

Medium

silver and wood

Dimensions

H x W: 7 x 12 x 5 in. (17.8 x 30.5 x 12.7 cm)

Type

teapots

Place made

Philadelphia, Pennsylvania, United States, North and Central America

Date

ca. 1817-1829

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.

Topic

African American

African diaspora

Craftsmanship

Free communities of color

Ornamentation

United States--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

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National Museum of African American History and Culture Collection

Classification

Slavery and Freedom Objects

Decorative Arts, Craft, and Design

Exhibition

Slavery and Freedom

On View

NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse 3, C3 053

Data Source

National Museum of African American History and Culture

Created by

C. Edgar Patience, American, 1906 - 1972

Designed by

Patience, Harry Brazier, American, 1877 - 1926

Medium

anthracite, pyrite, and metal

Dimensions

H x W x D: 3/16 × 1 × 1 1/4 in. (0.5 × 2.5 × 3.1 cm)

Type

pendants (jewelry)

Place collected

Wilkes-Barre, Luzerne County, Pennsylvania, United States, North and Central America

Date

1969

Description

This heart-shaped pendant carved from anthracite coal is attributed to C. Edgar Patience from a design by his father Harry Brazier Patience. A design of inlaid pyrite of a circle with four (4) small leaves, two on each side of the circle, is placed on the front of the pendant. The reverse of the pendant is plain with the numbers "1969" engraved across it. A length of wire is attached around the sides of the pendant, coming to a loop at the center top so the pendant can be attached to a necklace.

Topic

African American

Art

Beauty culture

Craftsmanship

Folklife

Ornamentation

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift from Dr. Juanita Patience Moss and descendants

Object number

2016.70.2

Restrictions & Rights

© Harry Brazier Patience

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National Museum of African American History and Culture Collection

Classification

Adornment

Exhibition

A Century in the Making

On View

NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse, C X06

Data Source

National Museum of African American History and Culture

Created by

Smith, Art, American, 1917 - 1982

Medium

copper and brass (alloy)

Dimensions

2 5/8 × 2 5/8 × 4 in. (6.7 × 6.7 × 10.2 cm)

Type

bracelets (jewelry)

Place made

New York City, New York, United States, North and Central America

Date

ca. 1948

Description

A copper and brass "Modern Cuff" bracelet by Art Smith.The bracelet consists of curved pieces of copper with six (6) brass cylindrical pieces that wrap around and interlock to the pieces of copper. A small inscription reading: [Art Smith] is on inside copper portion of the bracelet.

Topic

African American

Art

Craftsmanship

Design

Fashion

Ornamentation

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture

Object number

2014.322

Restrictions & Rights

© Estate of Art Smith

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National Museum of African American History and Culture Collection

Classification

Decorative Arts, Craft, and Design

Exhibition

Cultural Expressions

On View

NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 050

Data Source

National Museum of African American History and Culture

Created by

Greenwood China, founded 1861

Used by

Wormley & Son, American, 1888 - 1903

Subject of

Wormley's Hotel, American, 1871 - 1897

Medium

ceramic

Dimensions

Depth x Diameter: 1 3/16 × 9 in. (3 × 22.8 cm)

Type

dinner plates

Place made

Trenton, Mercer County, New Jersey, United States, North and Central America

Place used

Washington, District of Columbia, United States, North and Central America

Date

1888 - 1903

Description

A white ceramic dinner plate with a blue printed design around the border. The design is a repeating motif of birds, leaves and curving tendrils. On the verso, the plate is stamped with the business name of "WORMLEY & SON", the name of the catering business owned and operated by James Wormley and his sons in the late 19th century in Washington, DC. The plate also is stamped with the maker's mark “GREENWOOD CHINA, Trenton, N.J.", a style of stamp that Greenwood China started using in 1886.

Topic

African American

Business

Cooking and dining

Local and regional

Ornamentation

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture. Gift of Mavis Wormley Davis Family

Object number

2015.107

Restrictions & Rights

No Known Copyright Restrictions

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National Museum of African American History and Culture Collection

Classification

Decorative Arts, Craft, and Design

On View

Smithsonian Castle (1000 Jefferson Dr. NW), The Commons, Room 162

Data Source

National Museum of African American History and Culture

Manufactured by

Unidentified

Owned by

Imam Mohammed, Warith Deen, American, 1933 - 2008

Medium

yarn, thread, cloth, plastic, metal, and water

Dimensions

H x W x D (with fringe): 47 1/4 × 25 7/8 × 3/16 in. (120 × 65.7 × 0.5 cm)

H x W x D (without fringe): 40 3/4 × 25 7/8 × 3/16 in. (103.5 × 65.7 × 0.5 cm)

Place made

Frankfurt, Hesse, Germany, Europe

Date

1980s

Description

The prayer rug is a low-pile carpet with a primarily gray-blue background with black and white design details. The design featured in the top third of the rug is the image of an architectural dome with a small floral spire at the top. Below the dome is a geometric pattern running horizontally across the rug. Below the geometric pattern in the lower two-thirds of the rug is a stylized architectural interior with geometric columns on either side of the space. At the top of the columns is a stylized arch of floral and scalloped patterns. At the top of the arch, attached to the rug, is a white plastic compass. The compass is a Qibla directional compass. Below the compass needle, at the bottom, is the manufacturer information [HILAL/Tel. 069-28 77 69/Praying carpets/W.-Germany]. Below the compass, in the center, is a floral motif. Surrounding the edges of the rug is a border with a floral pattern. At the top and bottom of the rug is white fringe.

Topic

African American

Identity

Men

Ornamentation

Religion

Religious groups

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Laila Muhammad, Daughter of Imam W. Deen Mohammed

Object number

2015.133.1

Restrictions & Rights

No Known Copyright Restrictions

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National Museum of African American History and Culture Collection

Classification

Religious and Sacred Objects

Data Source

National Museum of African American History and Culture

Created by

Moser, Don, American

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)

Type

musical instruments

guitars

Place made

New Orleans, Louisiana, United States, North and Central America

Date

2005

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.

Topic

African American

Art

Communities

Folklife

Music

Musicians

Ornamentation

United States--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

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National Museum of African American History and Culture Collection

Classification

Musical Instruments

Exhibition

Musical Crossroads

On View

NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 053

Data Source

National Museum of African American History and Culture

Created by

Unidentified

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)

Type

baskets

Place made

Mossuril, Nampula, Mozambique, Africa

Place used

Cape Town, Western Cape, South Africa, Africa

Date

2015

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.

Topic

African American

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

2016.168

Restrictions & Rights

No Known Copyright Restrictions

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National Museum of African American History and Culture Collection

Classification

Slavery and Freedom Objects

Decorative Arts, Craft, and Design

Tools and Equipment-Ceremonial Tools

Data Source

National Museum of African American History and Culture

Designed by

Smith, Art, American, 1917 - 1982

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)

Type

jewelry

Place made

New York City, New York, United States, North and Central America

Date

ca. 1950

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".

Topic

African American

Art

Craftsmanship

Design

Fashion

Ornamentation

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

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National Museum of African American History and Culture Collection

Classification

Adornment

Data Source

National Museum of African American History and Culture

Designed by

Smith, Art, American, 1917 - 1982

Medium

sterling silver

Dimensions

H x W x D: 7 × 5 1/2 × 3/4 in. (17.8 × 14 × 1.9 cm)

Type

jewelry

Place made

New York City, New York, United States, North and Central America

Date

1946-1979

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.

Topic

African American

Art

Craftsmanship

Design

Fashion

Ornamentation

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

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National Museum of African American History and Culture Collection

Classification

Adornment

Data Source

National Museum of African American History and Culture

Designed by

Chenet, Winifred Mason, American, 1912 - 1993

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)

Type

jewelry

Place made

New York City, New York, United States, North and Central America

Date

ca. 1945

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].

Topic

African American

Art

Craftsmanship

Design

Fashion

Ornamentation

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

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National Museum of African American History and Culture Collection

Classification

Decorative Arts, Craft, and Design

Adornment

Data Source

National Museum of African American History and Culture

Designed by

Smith, Art, American, 1917 - 1982

Owned by

Williams, Anne, American, born 1924

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)

Type

earrings

Place made

New York City, New York, United States, North and Central America

Date

1946-1979

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.

Topic

African American

Art

Craftsmanship

Design

Fashion

Ornamentation

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

See more items in

National Museum of African American History and Culture Collection

Collection title

Art Smith Jewelry Collection

Classification

Adornment

Data Source

National Museum of African American History and Culture