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- topic: "Stereotypes"
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-
The Argument
- Created by
- Motley, Archibald John Jr., American, 1891 - 1981
- Owned by
- Barnett-Aden Gallery, American, 1943 - 1969
- Date
- 1940
- On ViewCulture/Fourth Floor, 4 052
- Exhibition
- Visual Art and the American Experience
- Medium
- oil on canvas
- Dimensions
- H x W (framed): 40 × 30 in. (101.6 × 76.2 cm)
- Description
- This oil painting depicts a street scene with a group of men arguing. In the painting's foreground are five men standing in a rough circle. Two men have their backs to the viewer, one tall thin figure wearing a grey suit and fedora. He carries a cigarette in his left hand, held behind his back. The second man is short, fat, and wears a light colored shirt and dark blue pants. He is balding and has his hands on his hips. He faces three taller men. The tallest wears a brown bowler hat over one eye and red tie with a dark blue suit. He stands with his legs spread and has a cigarette in his open mouth. Next to him is a man in a light colored suit with a flat blue cap. He holds a smoking cigarette in front of his face with his right hand. The third man wears a dark blue suit and flat cap. He leans against the wall behind him and gestures with his right hand. Slightly in front of him is an overflowing can of garbage. Slightly behind the group of men to the left is another man with his head tilted upwards, drinking from a flask. Above the men is an open window in the brick building behind them. A woman in a green sleeveless dress sits at the window, right hand on the sill, left hand touching her hair. Her head is turned downwards towards the men. Beyond the brick building is a small green yard with a laundry line. A woman in a red dress and white apron is hanging white sheets on the line. She looks over her shoulder at the group of men. Beyond the laundry line is a small house with a porch. A man in a white shirt and dark pants stands on the porch, leaning forward on the railings. It is signed and dated by the artist.
- Place depicted
- Chicago, Cook County, Illinois, United States, North and Central America
- Classification
- Visual Arts
- Type
- paintings
- Topic
- Art
- Communities
- Men
- Stereotypes
- Urban life
- Women
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Robert L. Johnson
- Object number
- 2015.2.5
- Restrictions & Rights
- © Valerie Gerrard Browne. Permission required for use.
-
CC0
Print of Cab Calloway with his band and dancers onstage at the Cotton Club
- Photograph by
- Unidentified
- Subject of
- Calloway, Cab, American, 1907 - 1994
- Cotton Club, American, 1923 - 1940
- Date
- 1937; printed 1970s
- Medium
- silver and photographic gelatin on photographic paper
- Dimensions
- H x W (Image): 3 11/16 × 4 3/4 in. (9.4 × 12 cm)
- H x W (Sheet): 4 × 5 in. (10.2 × 12.7 cm)
- Description
- A black-and-white photograph of dancers in matching outfits in front of Cab Calloway. Calloway is depicted wearing a light colored tuxedo. The large group of women dancers are wearing matching white tops with black and white vertically striped shorts. Calloway's band is also visible in the background.
- Place captured
- New York City, New York, United States, North and Central America
- Classification
- Media Arts-Photography
- Movement
- Harlem Renaissance (New Negro Movement)
- Type
- gelatin silver prints
- Topic
- Conductors (Musicians)
- Dance
- Entertainers
- Jazz (Music)
- Nightlife
- Popular music
- Segregation
- Singers (Musicians)
- Stereotypes
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Cabella Calloway Langsam
- Object number
- 2013.237.12
- Restrictions & Rights
- Public domain
-
White Supremacy and Negro Subordination; Or, Negroes A Subordinate Race, And (So-Called) Slavery its Normal Condition.
- Written by
- Dr. Van Evrie, John H., American, 1814 - 1896
- Published by
- Van Evrie, Horton & Co., American, 1860 - 1870
- Printed by
- Smith & McDougal, American, 1860 - 1884
- Date
- 1867; Printed 1868
- Medium
- ink on paper, with leather
- Dimensions
- H x W x D: 7 1/2 × 5 1/4 × 1 5/16 in. (19.1 × 13.3 × 3.3 cm)
- H x W x D (Open): 7 1/2 × 7 3/8 × 3 3/4 in. (19.1 × 18.7 × 9.5 cm)
- Description
- A second edition of White Supremacy and Negro Subordination, by J. H. Van Evrie, a hardbound book covered in blue leather. The cover itself is blank, the spine of the book has the title [WHITE / SUPREMACY / and / NEGRO / SUBORDINATION / VAN EVRIE] in gold lettering with a makers stamp on the bottom that state [VE&Co]. There are approximately 410 pages. The stated intention of the book is to demonstrate “that the so-called slavery of the South was the Negro’s normal or natural condition.” Evrie cites phrenology, physical anthropology, comparative anatomy, and biological determinism in support of the argument that the enslaved were absolutely dependent on their masters. The work begins with a page of four illustrated figures and page numbers. Throughout the book, there are six colored lithographs depicting stereotypical figures of different races. The first illustration on page 16 is a man standing on a colorful tiled floor with Washington, D.C. in the background and is titled [CAUCASIAN]. The other lithographs are not titled. On page 67, an African figure is pictured wearing a loose white garment with swords tucked into a red sash. Behind the individual is a desert background. The third illustration, on page 89, is a color plate depicting an Asian indvidual holding a smoking pipe with a long shaft, standing next to a bamboo table, with mountains and a pagoda in the background. On page 221, an American Indian figure is depicted wearing a beaded and feathered headdress and animal skin leggings with a blanket wrapped around his shoulders. He carries a spear and stands on a rock. An Eskimo figure is shown on page 269. He is depicted wearing fur garments and holding an ice fishing spear, with snow covered mountains in the background. The last illustration plate on page 308 depicts a black man seated and smoking a pipe. He wears red striped pants that are soiled and torn at the knee, a white shirt and tan vest. He is barefoot. The tall masts of ships are visible in the background. The back of the book includes pages of advertisements for other works including those published by Van Evrie, Horton & Co.
- 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.
- Objects depicting symbols of hate or related to organized hate groups 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 history and culture.
- Place printed
- New York City, New York, United States, North and Central America
- Type
- books
- Topic
- Caricature and cartoons
- Literature
- Race discrimination
- Race relations
- Reconstruction, U.S. History, 1865-1877
- Slavery
- Stereotypes
- White supremacy movements
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Thomas P. Steward
- Object number
- 2017.37
- Restrictions & Rights
- Public domain
-
The Conjure Woman
- Written by
- Chesnutt, Charles W., American, 1858 - 1932
- Published by
- Houghton Mifflin Harcourt, American, founded 1880
- Produced by
- Riverside Press, American, 1852 - 1971
- Date
- 1899
- On ViewCulture/Fourth Floor, 4 050
- Exhibition
- Cultural Expressions
- Medium
- ink on paper with gold, cloth, cardboard and acetate film
- Dimensions
- H x W x D (Closed): 7 1/8 × 4 7/8 × 1 1/16 in. (18.1 × 12.4 × 2.7 cm)
- Description
- This book is a first edition, first printing of “The Conjure Woman," a collection of seven short stories, all set in "Patesville," North Carolina and told through the view point of the character Uncle Julius: The Goophered Grapevine, Po’ Sandy, Mars Jeems’s Nightmare, The Conjurer’s Revenge, Sis’ Becky’s Pickaninny, The Gray Wolf’s Ha’nt, and Hot-foot Hannibal. The book has a tan cloth binding. The front cover has three illustrations set in in red blocks at top center of the cover. From left to right the illustrations include a white hare, an elderly bald man with a beard, and a white hare. Title of book, [THE CONJURE WOMAN], is embossed beneath the red blocks in gold serif typeface and author's name, [CHARLES · W · CHESNUTT], centered at bottom of the front cover, also in gold serif typeface. The spine text is all printed in gold serif typeface. The text along the top third of the spine reads [THE / CONJURE / WOMAN]. The author's name [CHARLES W · / CHESNUTT], is embossed on the center of the spine and the name of the publishers [HOUGHTON / MIFFLIN CO] is embossed across the bottom of the spine. The book is two hundred and twenty-nine pages and includes a title page and contents page.
- Place depicted
- Cumberland County, North Carolina, United States, North and Central America
- Place printed
- Cambridge, Middlesex County, Massachusetts, United States, North and Central America
- Classification
- Documents and Published Materials-Published Works
- Type
- hardcover books
- Topic
- American South
- Caricature and cartoons
- Folklife
- Language
- Literature
- Race relations
- Stereotypes
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2014.280
- Restrictions & Rights
- Public domain
-
Native Son
- Written by
- Wright, Richard, American, 1908 - 1960
- Published by
- Harper & Brothers, American, 1817 - 1962
- Owned by
- O'Hara, John, American, 1905 - 1970
- Date
- 1940
- Medium
- cardboard , ink on book paper
- Dimensions
- 8 1/4 x 5 3/4 x 1 1/2 in. (21 x 14.6 x 3.8 cm)
- Description
- At hardcover book with a dust jacket. The jacket has a green background with black print on it. At center right, a yellow and white text box with black and green print gives the title and author.
- Classification
- Documents and Published Materials-Published Works
- Type
- hardcover books
- Topic
- Caricature and cartoons
- Identity
- Law
- Literature
- Men
- Race relations
- Resistance
- Stereotypes
- U.S. History, 1933-1945
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2010.42.6
- Restrictions & Rights
- © 1940 Richard Wright (renewed 1968 by Ellen Wright). Permission required for use.
-
Negroes in Brazil: A Study of Race Contact at Bahia
- Written by
- Pierson, Donald, American, 1900 - 1995
- Illustrated by
- Debret, Jean-Baptiste, French, 1768 - 1848
- Published by
- University of Chicago Press, American, founded 1890
- Date
- 1947
- Medium
- ink on paper (fiber product), cardboard, and thread
- Dimensions
- H x W x D: 7 11/16 × 5 1/2 × 1 7/16 in. (19.6 × 14 × 3.6 cm)
- Description
- A 392-page hard bound book entitled Negroes in Brazil: A study of Race Contact at Bahia by Donald Pierson. The cover is green with yellow text and graphics. The cover shows an outline of a map of South America with all countries except for Brazil filled in with yellow. Brazil has horizontal yellow lines crossing through its entirety. These lines continue to the left side of the South America outline. The uppermost and bottommost lines extend to the right side of the continent and frame the title of the book [NEGROES / IN BRAZIL] and the author’s name [DONALD PIERSON], which are both in yellow. The spine of the book is green with [PIERSON] underlined along the top edge. The title of the book is written between two sets of horizontal yellow lines. The University of Chicago Press publisher’s insignia is along the bottom edge.
- The first page of the book includes a portrait of woman with the caption: [TYPICAL BAHIAN NEGRO GIRL].
- In the Preface the author writes that the book will “contribute toward making better known and understood one aspect of Brazilian life, namely, the career of the Brazilian Negro.” The book hopes to answer the question: “What happened to the Africans who were imported in such large numbers into this part of the New World?” The book focuses on Bahia, the main Brazilian entry point for enslaved Africans. The first part of the book analyzes the racial, economic, and cultural factors that shape Bahian society. The second part examines the slave trade and race relations. The third part details miscegenation and the fading color line. The fourth part surveys with the racial composition of the classes in Bahia. The fifth section examines elements of the African culture that have survived in Bahia. The sixth section is a summary of Pierson’s findings and he argues that class over race is the determining factor in social position in Bahia.
- There are a variety of illustrations and graphics in the book.
- Page 5 has a geopolitical map of South America with [BAHIA] in Brazil filled in with thin diagonal lines. The caption for this photo is [MAP OF SOUTH AMERICA SHOWING BAHIA AND SURROUNDING AREA].
- Facing page 16 shows an image of a large structure in the Portuguese colonial style labelled [THE RICOS OF THE RIDGES] which translated to the “The Rich of the Ridges”.
- Facing page 19 shows an image of multiple, cramped homes with tile rooves and other features common in regional vernacular architecture. The image is labeled [THE POBRES OF THE VALLEYS] which translates to “The Poor of the Valleys”.
- Facing page 76 shows a painting by Jean-Baptiste Debret with the caption [A BRAZILIAN FAMILY OF THE EARLY NINETEENTH CENTURY]. This graphic shows a Brazilian family leaving their home dressed in gala attire for a [customary Sunday promenade]. The family is in a single file line, led by the patriarch, followed by two young daughters and the mother. At least six enslaved individuals follow behind the family as they leave their home.
- Facing page 78 shows another painting by Jean-Baptiste Debret with the caption [A DOMESTIC SCENE IN COLONIAL BRAZIL]. This painting shows a Portuguese woman and children and five enslaved individuals engaging in a variety of domestic activities. The scene looks peaceful, but at the far-left side of the sofa sits a whip, suggesting that the scene could turn violent at any given moment.
- Page 259 shows an artistic duplicate of [SYMBOLS OF THE SOOTHSAYER’S ART PAINTED ON THE WALL OF A NEGRO DWELLING IN MATATU]. This artistic depiction is circular in form, with vines making up the bottom two thirds of the circle. Two decorative sugar bowls are depicted at the top of the image. Below the sugar bowls there is a circle with an illustration of an upside-down U-shaped object with circular shapes throughout. Above the circle is a book open to pages that read [THE LORD / IS MY / HELPER / WAIT ON / THE LORD / AND KEEP / HIS WAY]. On the left side of the circle, there is a flogger and, on the right, a knife. Two pears are below the circle. There is a phrase at the top of the image which reads [Suru ni ogun aiye] which translates to “Calm/patience conquers the world”.
- Facing page 287 is an image of a woman in traditional Candomblé festival attire with a white garment and layers of long and short necklaces. The caption reads [FILHA DE SANTO IN CEREMONIAL COSTUME READY TO ASSIST IN Candomblé RITUAL / In her hand is the symbol of Xangô, the orixá of lightning. (Photo- / graph by Friar Tomaz.)].
- Appendix B, which begins on page 262 features [COMMON SAYINGS REGARDING THE NEGRO] which are composed of misconceptions and stereotypes.
- The book has no markings, signatures, or inscriptions on the exterior or interior of the object.
- Place depicted
- Bahia, Brazil, Latin America, South America
- Place printed
- Chicago, Illinois, United States, North and Central America
- Classification
- Documents and Published Materials-Published Works
- Type
- hardcover books
- Topic
- African diaspora
- Caricature and cartoons
- Colonialism
- Communities
- Cooking and dining
- Emancipation
- Families
- Folklife
- Foodways
- Free communities of color
- Holidays and festivals
- Portuguese colonialism
- Race relations
- Religion
- Stereotypes
- Trans Atlantic slave trade
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2010.1.247
- Restrictions & Rights
- © Donald Pierson. Permission required for use.
-
The Negro a Beast, or, In the Image of God?
- Written by
- Prof. Carroll, Charles, American
- Published by
- American Book and Bible House, American
- Date
- 1900
- On ViewConcourse 2, C 2053
- Medium
- paper (fiber product) with cardboard and cloth
- Dimensions
- H x W: 8 1/2 × 6 × 1 5/16 in. (21.6 × 15.2 × 3.3 cm)
- Description
- A hardcover paper book titled: [The Negro A Beast or In The Image of God]. The book's cover is red with black writing for the title and a caricatured depiction of an African American. The interior pages, 382 in total, consist of off-white paper and black type.
- 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.
- Place printed
- Saint Louis, Missouri, United States, North and Central America
- Type
- books
- Topic
- Caricature and cartoons
- Race discrimination
- Segregation
- Stereotypes
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2010.13
- Restrictions & Rights
- Public Domain
-
Is It True What They Say About Dixie?
- Published by
- Caesar, Irving Music, Inc., American, 1930s - 1970s
- Created by
- Caesar, Irving, American, 1895 - 1996
- Lerner, Sammy, Romanian American, 1903 - 1989
- Marks, Gerald, American, 1900 - 1997
- Herbert, Jean, born 1905
- Date
- 1936
- Medium
- ink on paper
- Dimensions
- H x W: 12 3/8 × 9 3/16 in. (31.4 × 23.3 cm)
- Description
- Sheet music for “Is It True What They Say About Dixie?” The cover has a black background with white printed text. The title [Is It True / What They Say About / Dixie / ?] is at the top of the front cover. There is a drawing of a man in a black suit, white gloves, and blackface standing in the center of the cover with his arms outstretched. The bottom right corner has the composers [IRVING CAESAR / SAMMY LERNER / GERALD MARKS]. There are three (3) pages, printed on both sides. The back of the front cover has [Try this over on your Piano / The Rooster’s Crowin’] by Irving Caesar, Jean Herbert, and Gerald Marks. “Is It True What They Say About Dixie?” begins on the loose middle page and continues onto the interior back page. The back cover has an excerpt of [Dust Off That Old Pianna [sic]] inside a decorative border. There is chipping and loss around the edges of all the pages.
- 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.
- Place made
- New York City, New York, United States, North and Central America
- Type
- sheet music
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Stokes/Washington Family
- Object number
- 2017.14.12
- Restrictions & Rights
- © Irving Caesar. Permission required for use.
-
Bust in the form of a caricatured man wearing a watermelon bow tie
- Created by
- Unidentified
- Date
- 20th century
- On ViewConcourse 2, C 2053
- Medium
- wood and paint
- Dimensions
- 10 1/8 x 6 15/16 x 7 1/16 in. (25.7 x 17.6 x 17.9 cm)
- Description
- A carved and painted wooden bust in the form of a caricatured man. The man is depicted from the neck up wearing a green bow tie with a yellow center knot and raised watermelon reliefs on each tie loop. His face, neck, and hair are painted black. His hair is textured, with numerous small cuts. His eyes are painted white with black centers. He has a large nose, large ears and wide red lips. He is wearing a green bow tie with a yellow knot. The bust is mounted on a brown, square wooden base.
- 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
- Furnishings, Housewares, and Décor
- Racist and Stereotypical Objects
- Type
- busts
- 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
- 2007.7.306
- Restrictions & Rights
- No Known Copyright Restrictions
-
No. 220, Searching for Ideas
- Photograph by
- Russell Bros., 1883-1941
- Subject of
- Unidentified Woman or Women
- Unidentified Child or Children
- Date
- early 20th century
- Medium
- silver and photographic gelatin or collodion on printing out paper on card mount
- Dimensions
- H x W (Image): 4 5/8 × 7 7/8 in. (11.7 × 20 cm)
- H x W (Sheet): 5 1/4 × 8 1/2 in. (13.3 × 21.6 cm)
- Description
- A cabinet card with a black-and-white photograph of an unidentified woman and three (3) unidentified children sitting on the steps of a raised wooden breezeway between two wooden buildings. The woman sits one step above the children and uses a comb to pick lice or other pests from the head of the child seated in the middle, whose head is resting on the woman's lap. The other two children look off frame to their left. The title and photographer name is in handwritten white text to the left of the woman and at the bottom left that is inherent to the print. The reverse of the gray card mount has a detailed list of other "Special Southern Views" available from Russell Bros. photographers printed in black ink.
- 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.
- Place captured
- Anniston, Calhoun County, Alabama, United States, North and Central America
- Collection title
- Liljenquist Family Collection
- Portfolio/Series
- Special Southern Views
- Classification
- Media Arts-Photography
- Racist and Stereotypical Objects
- Type
- cabinet photographs
- Topic
- American South
- Children
- Domestic life
- Hair
- Health
- Photography
- Stereotypes
- U.S. History, 1865-1921
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift from the Liljenquist Family Collection
- Object number
- 2016.166.11
- Restrictions & Rights
- No Known Copyright Restrictions
-
Komic Klan Kracks Vol. 1, No. 2
- Published by
- Patriotic American Publishing Co., American
- Subject of
- Ku Klux Klan, 2nd, American, 1915 - 1944
- Date
- 1920s
- Medium
- ink on paper
- Dimensions
- H x W x D: 7 9/16 × 5 1/4 × 1/16 in. (19.2 × 13.4 × 0.2 cm)
- Description
- A magazine titled “Komic Klan Kracks” published by the Patriotic American Publishing Company. The front cover is red and features a black and white illustration of a Klansmen lighting a fire. The path the flame will take leads to a giant teapot with “TEA POT DOME” written on it. The figures wearing dark suits and hats are sitting on the teapot. In black lettering below the illustration is “Oil Number / “oil” right!” the magazine has thirty-two pages. The interior of the magazine features articles, jokes and anecdotes of racial stereotypes. The back cover has an advertisement for contributors to the magazine.
- 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.
- Objects depicting symbols of hate or related to organized hate groups 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 history and culture.
- Place printed
- Pittsburgh, Allegheny County, Pennsylvania, United States, North and Central America
- Topic
- Fraternal organizations
- Mass media
- Stereotypes
- U.S. History, 1919-1933
- White supremacy movements
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Anonymous Gift
- Object number
- 2013.231.22
- Restrictions & Rights
- No Known Copyright Restrictions
-
The Colored Volunteer
- Created by
- Nast, Thomas, American, 1840 - 1902
- Date
- 1861 - 1865
- Medium
- printing paper
- Dimensions
- H x W: 3 7/8 x 2 3/8 in. (9.8 x 6 cm)
- Description
- Image of an African American boy marching with a broom for a rifle at his side. Signed in the image: Th. Nast. The card appears trimmed down; caption is truncated: "The Colored Volunteer. Entered according to act of Congress, in the year 1863, by"
- 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
- Liljenquist Family Collection
- Classification
- Slavery and Freedom Objects
- Memorabilia and Ephemera
- Racist and Stereotypical Objects
- Type
- cards
- Topic
- Caricature and cartoons
- Children
- Slavery
- Stereotypes
- U.S. History, Civil War, 1861-1865
- United States Colored Troops
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift from the Liljenquist Family Collection
- Object number
- 2011.51.14
- Restrictions & Rights
- Public domain
-
Film poster for No Vietnamese Ever Called Me Nigger
- Issued by
- United States Student Association, American, founded 1947
- Designed by
- Glaser, Milton, American, born 1929
- Subject of
- Weiss, David Loeb, Polish American, 1912 - 2005
- Paradigm Films
- Date
- 1968
- Medium
- ink on paper (fiber product)
- Dimensions
- H x W: 35 7/16 × 21 15/16 in. (90 × 55.7 cm)
- Description
- A poster advertising the documentary film No Vietnamese Ever Called Me Nigger as available for rent by the National Student Association. The film chronicled the 1967 Harlem Fall Mobilization March. One side of the poster features a design by Milton Glaser. The design has a bright orange-red background and features a black-and-white photographic image of a child wearing a straw hat, holding a large piece of watermelon. The image has been torn in two and separated to reveal a larger, two-tone partially abstract image of a boy against a yellow rectangular background. At bottom left corner of the watermelon image is [MILTON GLASER], at bottom right corner of the image is [COPYRIGHT, 1903, BY M/ TOOBIN]. Below the images is [First Prize Mannheim Film Festival] and then, in larger print, [A Film by David Loeb Weiss / Produced by Paradigm Films]. The other side of the poster is black-and-white and features a photocollage of film stills at the center, as well as quotes from the film and reviews, and booking information.
- 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.
- Place made
- Washington, District of Columbia, United States, North and Central America
- Place depicted
- New York City, New York, United States, North and Central America
- Classification
- Memorabilia and Ephemera-Political and Activist Ephemera
- Memorabilia and Ephemera-Advertisements
- Racist and Stereotypical Objects
- Movement
- Civil Rights Movement
- Type
- posters
- Topic
- Activism
- Civil rights
- Film
- Graphic design
- Race relations
- Stereotypes
- Vietnam War, 1961-1975
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2019.28.28
- Restrictions & Rights
- Unknown - Restrictions Possible
-
Box for Kennebec Spruce Gum
- Created by
- Kennebec Spruce Gum, American, c. 1900 - 1970
- Date
- 1900-1940
- Medium
- ink on cardboard
- Dimensions
- H x W x D: 11/16 × 2 9/16 × 1 in. (1.7 × 6.5 × 2.5 cm)
- Description
- This is the packaging box for a pack of Kennebec Spruce Gum. The box consists of rectangular brown cardboard with green text and a red logo of a Native American figure. Text is written on all four sides that state, [Kennebec / Spruce Gum / Made of gum base], [edible softening agents. / Rolled in cornstarch. / PRICE 10 CENTS], [PUT UP BY / C.A. McMAHAN Co. / FIVE ISLANDS, MAINE] and [FROM THE . . . /FORESTS OF MAINE]. The red logo is a silhouette of a Native American figure wearing a long, feathered war bonnet and carrying a stick in one raised hand and a hatchet in the other. One foot is raised as if dancing. One end of the box is missing.
- 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.
- Place made
- Five Islands, Sagadahoc County, Maine, United States, North and Central America
- Classification
- Tools and Equipment-Personal use
- Racist and Stereotypical Objects
- Type
- packaging
- Topic
- Advertising
- Amusements
- Stereotypes
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Alan Laird
- Object number
- 2017.111.14
- Restrictions & Rights
- No Known Copyright Restrictions
-
Tin chewing tobacco tag with "Black Maria" and stereotypical figure
- Distributed by
- Taylor Brothers Co., American, founded 1883
- Date
- ca. 1929
- Medium
- enamel on metal
- Dimensions
- H x W: 7/8 × 5/8 in. (2.2 × 1.6 cm)
- Description
- This tin chewing tobacco tag has a yellow background with a dark figure on the front wearing an ornate headdress with a red weapon in her left hand. She wears a yellow cloth around her waist and points to the right with her free hand. The text [Black Maria] is in red next to the figure. The tag back is blank metal, with two small protruding triangular shaped prongs, one at the top and at the bottom of the pin. Each prong is folded flat against the metal back.
- 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.
- Place used
- United States, North and Central America
- Classification
- Memorabilia and Ephemera
- Racist and Stereotypical Objects
- Type
- tags
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Hiram-Alfredo Rodríguez-Mora
- Object number
- 2017.11
- Restrictions & Rights
- No Known Copyright Restrictions
-
"Honey, Does Yo Lub Yo Man!"
- Photograph by
- Rau, William H., American, 1855 - 1920
- Distributed by
- Universal View Co., American, active 1890s - 1900s
- Subject of
- Unidentified Man or Men
- Unidentified Child or Children
- Unidentified Woman or Women
- Date
- 1897
- Medium
- silver and photographic gelatin on photographic paper on card mount
- Dimensions
- H x W (image): 3 1/8 × 6 in. (8 × 15.2 cm)
- H x W (card): 3 9/16 × 7 1/16 in. (9 × 17.9 cm)
- Description
- This stereoview card depicts a group of men, women, and children in a wedding scene. Consisting of two similar images side by side, the card is arranged with the images in the center. At either end of the card is vertical script. Words at the left side read “Sold only by Universal View Co. / Philadelphia PA, Lawrence Kan." Words at the right side read “William H. Rau Publishers/ Philadelphia, U.S.A." At the bottom right margin of the card are the words ""Honey, Does Yo Lub Yo Man?" /Copyrighted 1897, by William H. Rau."
- 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.
- Place captured
- United States, North and Central America
- Classification
- Media Arts-Photography
- Racist and Stereotypical Objects
- Type
- gelatin silver prints
- stereographs
- Topic
- Families
- Language
- Marriage customs and rites
- Photography
- Stereotypes
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2015.248.4.2
- Restrictions & Rights
- Public domain
-
Standup of the radio show character Amos Jones
- Printed by
- Pepsodent Company, American, 1915 - 1944
- Subject of
- Amos 'n' Andy, American, 1928 - 1960
- Gosden, Freeman, American, 1899 - 1982
- Correll, Charles, American, 1890 - 1972
- Date
- 1930
- Medium
- ink on paper
- Dimensions
- H x W: 7 5/8 × 3 15/16 in. (19.3 × 10.1 cm)
- Description
- A die cut cardboard standup of the character Amos Jones from the radio show "Amos 'n' Andy," an advertisement for the 1930 Amos n' Andy movie Check and Double Check. The doll is an illustration of a man depicted in blackface wearing a polka-dotted shirt with a hole in the proper right elbow. He also wears a stripped vest with three pockets in the front. The pockets contain a pencil, envelopes and a black book with the title [BANK BOOK] on the front cover. His brown pants have a red patch on the proper left knee. He has blue eyes, brown hair, and a wide, red mouth. He is petting the snout of a white dog with black ears standing on its hind legs with its front paws resting on Amos' proper left knee. The dog's back is facing the viewer. The man's proper left hand rests in his pocket. On the proper left flap at the bottom is black text that reads [COPYRIGHT 1930 / BY THE PEPSODENT CO. / LITHO. IN U.S.A.]. On the proper right flap at the bottom is additional black text that reads [A-pdm-11L]. On the back of the doll in the upper half is a handwritten inscription in blue ink.
- 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.
- Classification
- Toys and Games
- Racist and Stereotypical Objects
- Type
- paper dolls
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Kathleen M. Kendrick
- Object number
- 2015.64.10.1
- Restrictions & Rights
- No Known Copyright Restrictions
-
Down In Memphis -They're Wearing Out Their Shoes, Dancing To "The Blues"
- Composed by
- Wilson, Hi
- Written by
- Byers, Hale N.
- Published by
- Johnson, Charles Leslie, American, 1876 - 1950
- Chas. L. Johnson Music Company, American
- Owned by
- McDonald, Vernon Sugg, American, 1906 - 1982
- Date
- 1916
- Medium
- ink on paper
- Dimensions
- H x W: 13 3/4 × 10 5/16 in. (34.9 × 26.2 cm)
- Description
- Sheet music for the song Down in Memphis. The front cover for the sheet music features an illustration of an African American man dancing while several other people look on and play instruments. The scene takes place on a dock at night and a boat can be seen in the water. Red and white type on the front cover above the image reads: [DOWN IN MEMPHIS / -THEY'RE WEARING OUT THEIR SHOES, DANCING TO "THE BLUES"]. Below the image, red type reads: [The / great "levee" / song of the South / by / HI WILSON / HALE BYERS]. A text box logo in blue ink on the bottom of the front cover reads: [CHAS. L. JOHNSON / MUSIC COMPANY / GORDON-KOPPEL BLDG. / LIVE-WIRE / MUSIC / MUSIC COMPANY / KANSAS CITY, MO.]. The front inside cover has sheet music in black ink for additional songs. The interior of the sheet music consists of three pages of sheet music in black ink for Down in Memphis. The top of the back cover has a drawing in black ink of a man playing a trombone. There is also sheet music for a song titled: [Doodle De-Dum].
- 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.
- Place collected
- Sugg McDonald House, Sonora, Tuolumne County, California, United States, North and Central America
- Place printed
- Kansas City, Missouri, United States, North and Central America
- Cultural Place
- Memphis, Shelby County, Tennessee, United States, North and Central America
- Type
- sheet music
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Sylvia Alden Roberts
- Object number
- 2014.275.3
- Restrictions & Rights
- Public domain
-
Comic illustration of a man who has lost his mule
- Published by
- Newspaper Enterprise Association, American, founded 1902
- Illustrated by
- Williams, James Robert, Canadian, 1888 - 1957
- Date
- mid 20th century
- Medium
- ink on paper (fiber product)
- Dimensions
- H x W (Image and sheet): 5 1/4 × 5 5/8 in. (13.3 × 14.3 cm)
- Description
- This comic features an illustration depicting a man who has lost his mule out west. The man is holding his boots in his hands and is wearing pants, chaps, shirt and hat. The mule is walking away in the distance. The text bubble at the top of the comic reads [AH GOT TER HAB A / NEW PAIR OB BOOTS / MADE -- AN', BOY, DEY'S / GWINE TER BE MADE / OB MULE SKIN!] The title of the comic is printed at the bottom center and reads [FROM A CERTAIN MULE]. Copyright information is printed in the bottom left corner and reads [REQ. US. PAT. OFF / NEA SERVICE, INC.] The illustrator's name is printed in the bottom right corner J.R. WILLIAMS].
- 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.
- Classification
- Memorabilia and Ephemera
- Racist and Stereotypical Objects
- Type
- comics
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2014.37.35.28
- Restrictions & Rights
- Unknown - Restrictions Possible
-
Poster of the character Old Bob playing a banjo with his mule Calamity Jane
- Created by
- Unidentified
- Date
- ca. 1900
- Medium
- ink on paper with linen backing
- Dimensions
- H x W: 27 × 20 1/2 in. (68.6 × 52.1 cm)
- Description
- A chromolithographic print poster with linen backing for [JAMES H. WALLICK'S BANDIT KING CO.] featuring Fred Lyons as the character "Old Bob" with his mule, Calamity Jane. The poster illustration depicts Lyons, "Old Bob," seated on a chair playing a banjo and singing with the mule, Calamity Jane, braying at his side. Lyons is dressed in a minstrel style, wearing a tan jacket, red and white striped shirt, green and tan striped pansts, and a tan top hat. He is seated in what appears to be a living room. At the top of the poster, green text in an Art Nouveau style with floral illustrations reads, [JAMES H. WALLICK'S / BANDIT KING CO.]. Small black text in the lower left corner of the image reads, [Great Western Saint Louis]. Along the bottom of the poster, white and black text in an Art Noveau style reads, [Fred Lyons / as Old Bob / With His Donkey / Calamity Jane] set against a red background with blue and pink floral illustrations.
- 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.
- Place printed
- Saint Louis, Missouri, United States, North and Central America
- Type
- posters
- Topic
- Caricature and cartoons
- Instrumentalists (Musicians)
- Minstrel (Music)
- Minstrel shows
- Stereotypes
- Vaudeville
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2014.63.86
- Restrictions & Rights
- Public domain