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- topic: "Ornamentation"
Your search found 62 result(s).
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Square metal design by Art Smith
- Created by
- Smith, Art, American, 1917 - 1982
- Date
- mid 20th century
- Medium
- copper alloy and silver
- Dimensions
- Archives: 7.8Feet (0.1Meters)
- H x W x D: 1 × 1 × 3/16 in. (2.5 × 2.6 × 0.5 cm)
- Description
- The piece is made up of squares or diamonds (depending on proper orientation) of various metals overlaid and increasing in size from top to bottom. The smallest and top square is most likely silver. The second square is a copper alloy and the third is a darker colored copper alloy. The last and largest square could be a white metal, possibly silver.
- Place made
- New York City, New York, United States, North and Central America
- Collection title
- Art Smith Archive
- Classification
- Decorative Arts, Craft, and Design
- Type
- metalwork
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Charles L. Russell
- Object number
- A2018.110.1.1.1
- Restrictions & Rights
- © Estate of Art Smith. Permission required for use.
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Triangular metal logo design by Art Smith
- Created by
- Smith, Art, American, 1917 - 1982
- Date
- ca. 1981
- Medium
- copper alloy, brass (alloy), and silver
- Dimensions
- Archives: 7.8Feet (0.1Meters)
- H x W x D: 1 × 1 5/16 × 1/8 in. (2.5 × 3.4 × 0.3 cm)
- Description
- The second piece has Art Smith’s initials [as] over lapping to form a flat-topped pyramid. The piece consists of 3 different metals overlaid and soldered together. The [a] in the lower left corner is probably made of silver. The [s] is brass and the back plate holding both letters together is likely copper.
- Place made
- New York City, New York, United States, North and Central America
- Collection title
- Art Smith Archive
- Classification
- Decorative Arts, Craft, and Design
- Type
- metalwork
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Charles L. Russell
- Object number
- A2018.110.1.1.2
- Restrictions & Rights
- © Estate of Art Smith. Permission required for use.
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"Three Gap" cuff in process
- Created by
- Smith, Art, American, 1917 - 1982
- Date
- ca. 1949
- Medium
- brass (alloy)
- Dimensions
- Archives: 7.8Feet (0.1Meters)
- H x W x D (unfinished three-hole wrist cuff): 3 1/8 × 5 7/8 × 5/16 in. (8 × 15 × 0.8 cm)
- Caption
- This unfinished cuff is an example of an Art Smith design mid-production process. The brass plate has been cut according to a three hole design pattern. The four pencil drawn lines, two on either side of the holes, most likely were used to determine the placement of the holes. The brass piece is ready to be shaped, finished and polished into a wearable bracelet. According to Smith's partner, Charles L. Russell, this design preceded and was the basic model for the "Three Hole" cuff.
- Description
- An unfinished brass wrist cuff with scalloped edges and three teardrop-shaped holes. There is an additional scallop edge cut into the center of the piece. This central scallop takes up about three quarters of the piece. The teardrop-shaped holes have a star-burst pattern radiating outwards from the holes. There are four straight lines drawn in graphite on either side of the holes. The sunburst motif does not continue on the holes of the verso. The artist's mark [Art Smith] has been imprinted into the lower edge of the verso.
- Place made
- New York City, New York, United States, North and Central America
- Collection title
- Art Smith Archive
- Classification
- Decorative Arts, Craft, and Design
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Charles L. Russell
- Object number
- A2018.110.1.2
- Restrictions & Rights
- © Estate of Art Smith. Permission required for use.
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Necklace pendant worn by Baba Chuck
- Designed by
- Unidentified
- Owned by
- Davis, Charles Rudolph, American, 1937 - 2017
- Date
- late 20th-early 21st century
- On ViewCulture/Fourth Floor, 4 053
- Exhibition
- Musical Crossroads
- Medium
- sterling silver
- Dimensions
- H x W x D (Overal with lanyard): 23 5/8 × 3 1/4 × 7/16 in. (60 × 8.3 × 1.1 cm)
- H x W x D (Pendant): 7 1/4 × 3 1/4 × 5/16 in. (18.4 × 8.3 × 0.8 cm)
- H x W x D (A2018.98.1.2 (necklace in curled display position)): 9 × 7 × 3/4 in. (22.9 × 17.8 × 1.9 cm)
- Description
- A large necklace pendant attached to a lanyard (A2018.98.1.2.2) worn by dancer Charles Rudolph Davis, also known as Baba Chuck. The pendant is comprised of two (2) pieces: a large spoon shaped piece and a squat column shaped piece. The large spoon shaped piece has a roughly oval shaped body that narrows at the shoulders of the spoon to a rounded off point at the top. The point at the top is decorated with a molded floral pattern: two (2) five (5) petal flowers and a rose. The top of the spoon pendant has a small hole that is threaded through with a jump ring, attached to a teardrop shaped bail. The body of the spoon pendant is polished silver with cutouts shaped like Africa and Madagascar. The name [BabaChuck], in silver, runs across the top half of the Africa cut out. There are two (2) small round perforations at the bottom of the spoon pendant where it is attached it to the squat column shaped piece with three (3) jump rings on each side. The squat column shaped piece has an ovular cutout in the middle with a depiction of a stylized dancer, depicted in full length profile. The back of the pendant is undecorated.
- Place used
- United States, North and Central America
- Collection title
- Dr. Baba Chuck Davis Archive
- Classification
- Adornment
- Type
- pendants (jewelry)
- Topic
- Africa
- African diaspora
- Craftsmanship
- Fashion
- Identity
- Modern dance
- Ornamentation
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Ngoma & Normadien Woolbright in memory of Dr. Chuck Davis
- Object number
- A2018.98.1.2.1
- Restrictions & Rights
- Unknown - Restrictions Possible
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"Lady Day" necklace
- Created by
- Smith, Art, American, 1917 - 1982
- Date
- ca. 1971
- Medium
- silver and glass
- Dimensions
- Archives: 7.8Feet (0.1Meters)
- H x W x D (Lady Day necklace): 7 1/16 × 4 1/8 × 1 3/16 in. (18 × 10.5 × 3 cm)
- Caption
- Like Smith’s ‘Baker’ Cuff was named in honor of Josephine Baker, this necklace has Billie Holiday, often called Lady Day, as its namesake. Smith did not have a habit of naming his individual pieces, but his partner, Charles Russell, designated names for many of the designs years after Smith’s death.
- Russell may have been inspired by Smith’s love of jazz and connections to Holiday when naming this piece. An abiding jazz aficionado, jazz was one of the inspirations for Smith’s work. He liked to attend live jazz performances in Harlem and collected record albums by his favorite artists. Smith began his career working as an apprentice to modernist jewelry designer, Winifred Mason Chenet, who counted Billie Holiday among her high profile clientele. Holiday wore pieces likely designed by Smith in a December 1946 Ebony magazine article about Mason and her work.
- Description
- A silver collar-style necklace composed of two separate semi-circular metal pieces conjoined by a metal connector clasp set with a marble of clear and gold glass. The connector clasp allows for the bottom semi-circular portion to move freely while the piece is worn.
- The artist has no mark engraved into this particular piece.
- Place made
- New York City, New York, United States, North and Central America
- Collection title
- Art Smith Archive
- Classification
- Decorative Arts, Craft, and Design
- Type
- necklaces
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Charles L. Russell
- Object number
- A2018.110.1.3
- Restrictions & Rights
- © Estate of Art Smith. Permission required for use.
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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
- 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.
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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
- Movement
- Harlem Renaissance (New Negro Movement)
- Type
- hardcover books
- Topic
- Art
- Design
- Ornamentation
- 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
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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
- Movement
- Harlem Renaissance (New Negro Movement)
- Type
- hardcover books
- Topic
- Art
- Design
- Ornamentation
- 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
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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
- Topic
- Art
- Design
- Ornamentation
- 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
-
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
- 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
-
Mask shaped sign used in a Black Men of Labor parade in New Orleans, LA
- Manufactured by
- Unidentified
- Used by
- Black Men of Labor, Inc., American, founded 1993
- Date
- 2012
- Medium
- cloth, plastic
- Dimensions
- H x W x D: 35 × 17 × 10 in. (88.9 × 43.2 × 25.4 cm)
- Caption
- The Black Men of Labor (BMOL) is an exclusively all-male krewe, or parading group in New Orleans founded in 1993. The founding generation of the organization all came from building arts trade families and the group originally paraded the Sunday of Labor Day weekend in honor of the working men and women of New Orleans.
- This mask was used by BMOL members during their 2013 annual parade, which had an African-inspired theme. The 2013 theme also reflects the BMOL’s recognition of and connection to the African diaspora.
- The mission of the BMOL is to "educate, preserve and perpetuate the rich African and African American culture of New Orleans traditional Jazz music. Through arts and culture the BMOL promote civic engagement and creates opportunity for those interested in building sustainable income and wealth" (Black Men of Labor 2013). BMOL is considered one of many benevolent societies that were created in the 18th, 19th, and 20th centuries to help free and enslaved Africans cope with financial hardships.
- Description
- A mask shaped sign used in a Black Men of Labor parade in New Orleans. The mask lacks openings in the face and is not meant to be worn. The mask is predominantly orange and white with black, brown and white sequence adhered to the front cheeks and mouth area. Red, blue, green, orange and silver sequence are adhered to the bridge and nose area. The eyes of the mask are yellow. The mask has orange horns and a white crown. Blue, pink, red, green and orange colored pompoms are adhered to the eyes, chin and top of the mask.
- Place used
- New Orleans, Orleans Parish, Louisiana, United States, North and Central America
- Place made
- New Orleans, Orleans Parish, Louisiana, United States, North and Central America
- Classification
- Memorabilia and Ephemera
- Type
- signs
- Topic
- Building Arts
- Communities
- Costume
- Fraternal organizations
- Holidays and festivals
- Labor
- Men
- Ornamentation
- Social reform
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of The Black Men of Labor, Inc.
- Object number
- 2015.260.4
- Restrictions & Rights
- Unknown - Restrictions Possible
-
Fan used in a Black Men of Labor parade in New Orleans
- Manufactured by
- Unidentified
- Used by
- Black Men of Labor, Inc., American, founded 1993
- Date
- 2012
- Medium
- cloth, plastic
- Dimensions
- H x W x D: 24 1/2 × 7 1/2 × 3 1/2 in. (62.2 × 19.1 × 8.9 cm)
- Caption
- The Black Men of Labor (BMOL) is an exclusively all-male krewe, or parading group in New Orleans founded in 1993. The founding generation of the organization all came from building arts trade families and the group originally paraded the Sunday of Labor Day weekend in honor of the working men and women of New Orleans.
- This fan was used by BMOL members during their 2013 annual parade, which had an African-inspired theme. The 2013 theme also reflects the BMOL’s recognition of and connection to the African diaspora.
- The mission of the BMOL is to "educate, preserve and perpetuate the rich African and African American culture of New Orleans traditional Jazz music. Through arts and culture the BMOL promote civic engagement and creates opportunity for those interested in building sustainable income and wealth" (Black Men of Labor 2013). BMOL is considered one of many benevolent societies that were created in the 18th, 19th, and 20th centuries to help free and enslaved Africans cope with financial hardships.
- Description
- Fan used in a Black Men of Labor parade in New Orleans, Louisiana. The fan is made of several braided tassels fastened together and include orange, silver pink and yellow materials. Three plastic yellow flowers and one orange flower are fastened to the front of the fan. Orange, pink, blue and yellow pompoms are fastened to the fan. The fan has a silver handle made of braided fabric. Braided silver and yellow fabric are attached to the handle.
- Place used
- New Orleans, Orleans Parish, Louisiana, United States, North and Central America
- Place made
- New Orleans, Orleans Parish, Louisiana, United States, North and Central America
- Classification
- Clothing-Costume
- Topic
- Building Arts
- Communities
- Costume
- Fraternal organizations
- Holidays and festivals
- Labor
- Men
- Ornamentation
- Social reform
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of The Black Men of Labor, Inc.
- Object number
- 2015.260.7.2
- Restrictions & Rights
- Unknown - Restrictions Possible
-
CC0
Boat seat with spider web design from Ecuador
- Created by
- Unidentified
- Used by
- Nazareno, Débora, Ecuadorian
- Owned by
- Juan García Salazar, Ecuadorian, 1944 - 2017
- Date
- early 20th century
- On ViewCulture/Fourth Floor, 4 050
- Exhibition
- Cultural Expressions
- 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)
- 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.
- Place made
- Esmeraldas, Ecuador, Latin America, South America
- Cultural Place
- West Africa, Africa
- Classification
- Decorative Arts, Craft, and Design
- Type
- seating
- 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
-
CC0
Wooden hat stand from Mae's Millinery Shop
- Created by
- Unidentified
- Owned by
- Reeves, Mae, American, 1912 - 2016
- Subject of
- Mae's Millinery Shop, American, 1941 - 1994
- Date
- 1941-1994
- On ViewCommunity/Third Floor, 3 051
- Exhibition
- Power of Place
- Medium
- paint on wood
- Dimensions
- H x W x D (ab): 8 × 7 5/16 × 7 5/16 in. (20.3 × 18.6 × 18.6 cm)
- H x W x D (a): 6 × 5 7/8 × 5 3/4 in. (15.2 × 14.9 × 14.6 cm)
- H x W x D (b): 3 5/8 × 7 5/16 × 7 5/16 in. (9.2 × 18.6 × 18.6 cm)
- Description
- A wooden hat stand base (a) and form (b) painted white. The base is circular with one groove carved into the top of the base. A turned wooden dowel is screwed into the center of the base. The form is circular and tapers in toward the bottom where it attaches to the stand via a hole in the center of the underside.
- Place collected
- Philadelphia, Pennsylvania, United States, North and Central America
- Collection title
- Mae's Millinery Shop Collection
- Classification
- Tools and Equipment-Occupational
- Type
- hat stands
- Topic
- Business
- Ornamentation
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift from Mae Reeves and her children, Donna Limerick and William Mincey, Jr.
- Object number
- 2010.6.129ab
- Restrictions & Rights
- No Known Copyright Restrictions
-
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