This dark brown, pink, and off-white overshot coverlet was hand woven on a four-harness loom with six treadles using a single-ply z-spun undyed cotton warp and weft with supplementary single-ply z-spun wool weft dyed brown and pink. The colored wool supplementary weft creates a striped geometric design that is mirrored on the reverse. There are three identical panels machine-stitched selvage to selvage to form the coverlet, with rolled hems on the exterior edges. There is no border pattern for the outside sections. The wool is colored brown using an iron-tannate dye, while the pink colored wool is colored with an aniline dye.
A baby slept in this cradle made by an enslaved person who loved her. Enslaved families made their children’s lives more comfortable by fashioning furniture, clothing, quilts, and toys out of available materials.
Source: Nancy Bercaw, Curator, Slavery and Freedom
The slave-made wooden cradle consists of 5 wooden boards nailed together to form a five-sided bed with open top on 2 rockers. The long sides are sloped, and the short sides have a rounded top edge.
Banjo made in the style of William Esperance Boucher, Jr. (circa 1850s). The banjo has a circular head, with a tension head pulled tight across the front. There is a slightly tilted bridge on the head, with a tailpiece at the bottom holding the strings bottom in place along the rim. Both the tailpiece and the bridge are made of the same medium brown wood. There are metal brackets surrounding the rim of the banjo. This banjo is an early style of five-string banjos, which has four full-length strings alongside a short fifth-string. The neck and fingerboard of the banjo is made of the same medium glossy wood as the back of the head. There are four wooden turning keys and pegs on the top, with a 5th string turning peg, also made of wood, about halfway up the neck or fingerboard.
This model was made by an unknown artist in the first half of the 20th century. The ship and the figures are not to scale. Nor are the figures arranged in an historically accurate way. Yet the object speaks an emotional truth. Most of the artist's work has been poured into the carving of the figures on board the ship. They are each hand-carved and represent different people in different states - some with ribs showing, others with rounded bellies, tall, short, male and female. The emotion invested in the carvings is palpable.
Scholars estimate that of every group of 100 people seized in Africa, only 64 would survive the march from the interior to the coast; only 57 would board ship; and just 48 would live to be placed in slavery in the Americas.
Source: Nancy Bercaw, Curator, Slavery and Freedom
This model of a slave ship consists of a wooden hull (a), a removable deck (b), and a wooden stand (c).
The wooden hull (a) is made of a soft wood painted black on the outside, with a cream border around the top where sixteen square holes are carved, eight on each side. The interior of the hull is painted cream. At the interior of the stern is an enclosed white structure. A functioning door is attached at the center front of the enclosed structure, with carved slats and a small metal pin as a door knob. Two stained wooden circular pieces reach up out of the hull from the lower deck and extend above the removable upper deck (b) when it is in place. The rudder of the ship is functional. The exterior front of the bow has a decorative curled element with a carved outline detail. Above this is a stained wooden circular piece that protudes from the bow as a bowsprit. The lower deck has two rectangular cut-outs trimmed in cream raised edges. The one nearest the bow is larger than the one nearest the stern. They correspond to the rectangular openings on the removable deck (b). These cutouts are open to the hold. Lined along the lower deck are carved ivory figures painted or stained black. Each figure is an individually carved piece adhered to the ship, with individualized faces, bodies, and heights. Additional figures are visible in the hold from the rectangular openings. The figures are adult males and females, and some short figures may be meant to represent children or adolescents. All of the figures are wearing cloths around their genitals, but are bare-chested.
The removable deck (b) is made of a soft wood painted black on the top and left untreated on the bottom. The top of the deck has four cut-outs that are trimmed in cream painted wood. The first and third cut-outs from the bow are circular, the second is a rectangle with a raised cream edge, and the fourth is a rectangle with a box-like cream structure that is open on the back side but with a covered roof. In addition to the four larger cutouts there are two small square cut-outs in front of and flanking the circular cutout nearest the bow that are not trimmed in white detailing. There are three small holes, one at each side and one in front of the circular cut-out nearest the stern also not trimmed in white. There are two sets of two small holes at the edges of the deck flanking the cream roofed structure nearest the stern.
The stand (c) is made from wood and formed of two quatrefoil endcaps and a center dowel. There is decorative outline carving on the endcaps. The dowel is attached at a slight angle to accomodate the slope of the hull (a). The bottom of the hull sits parrallel to the dowel, resting on red wool pads that are adhered along the top edges of the endcaps. The wood is stained with a dark finish, of a different color than the black painted hull. The stand was clearly made for this ship model, but may not be original to it considering the different finish color.
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.
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.
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.
A wooden four poster bed frame with head board and foot board. The side rails screw into the frame providing greater strength and limited hiding places for vermin. This type of frame is known as the "Boyd Bedstead."
A pair of men's boudoir slippers in a stars and stripes design attributed to Elizabeth Keckley. The slippers were likely commissioned by Mrs. Gideon Welles to be presented to her husband, Hon. Gideon Welles, Secretary of the Navy under President Lincoln. The slippers are crocheted in stripes of red and white from the toe to the heel. Across the top of the vamp is a blue band embroidered with scattered white stars. The throat of the slippers is edged in a twisted blue and red cord. The slippers have a flat, leather sole and a squarish toe.
Side chair created by Thomas Day. The chair has mahogany legs and back with scroll and floral detailing. There is an engraved floral motif on the center top rail. The seat is upholstered and filled with burlap. The fabric has cream, green, and red striped sections with black borders and an overall floral motif. The upholstery is worn with small areas of loss. The chairs springs are visible through the loose fabric backing below the seat.