32
Portfolios%3D%22356%22%20and%20Century%3D%2220th%20Century%22
Sculpture
Veranda Post
Olowe of Ise, (ca. 1875 - ca. 1938)
Ise, Olowe of
Nigeria
ca. 1875 - ca. 1938
Male
56 x 132 x 10 in. (142.2 x 335.3 x 25.4 cm)
.
.
.
maximum
Wood
Wood
Yoruba; made in Nigeria
1910-1914
1910
1914
1900-2000, African art, female figures, sculpture, Yoruba
Sculpture
A royal wife stands with her hands resting on the heads of her twin daughters who hold their breasts in a Yoruba gesture of greeting, devotion and humility. This post was carved to decorate a courtyard veranda in the palace of the Ogoga of Ikere, one of the kings of Yorubaland. The courtyard served as an official area where the king received important visitors and conducted affairs of state. It was important that he show off his wealth, power and sophistication in this space.
This veranda post was carved by one of the most renowned sculptors in Africa, Olowe of Ise. His sculptures were so beautiful that some people believed Olowe harnessed the power of spirits who carved for him. Elaborate hairstyles and scarification patterns (look at the royal wife’s back) demonstrate Olowe’s technical mastery and reflect Yoruba standards of beauty. Traces of layered pigments indicate that these were once brightly painted and regularly refurbished.
[Gallery label text, 2009]
1971.13
item
Memorial Art Gallery
11/1/2000
71.13TR2
transparency
back pink
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13TR4
transparency
3/4 view pink
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13TR3
transparency
side
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13TR1
transparency
front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13SL1
slide
full frontal
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13SL3
slide
full 3/4 left side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13SL2
slide
full profile-right side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full/F&B
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13DI1
digital image
front
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/71.13_A1.jpg
71.13SL5
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13Di2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/71.13_A2.jpg
71.13DI3
digital image
Detail small figures at base
6/25/2009
http://127.0.0.1:5000/Media/images/71.13_A3.jpg
71.13DI#6
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/71.13_A6.jpg
Sculpture
Fertility Doll (Akuaba)
Asante artist, (active )
Asante artist
Ghana
Primary
10 x 3 5/8 in. (25.4 x 9.2 cm)
.
.
.
Wood
Wood
Asante; made in Ghana
0
0
1900-2000, African art, Asante, fertility figures, sculpture
Sculpture
Fertility is a universal human concern that has long been a central issue in Africa where the infant mortality rate remains high to this day. An akuaba is a fertility talisman meant to aid an Asante woman yearning to become a mother.
Akuaba are affectionately bathed, dressed, fed and carried by women as they would a living child. Their slight, flat shape is designed to be carried on a woman’s back in her cloth wrapper. When the woman’s child survives childhood, the akuaba is sometimes placed in a shrine as an offering of thanks to the god responsible. Almost all of these fertility dolls are female as the Asante are a matrilineal society and most women wish for daughters to carry on their family line.
[Gallery label text, 2009]
1984.20
item
Memorial Art Gallery
11/28/2000
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.20SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.20DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/84.20_A1.jpg
84.20DI#2
digital image
Front
1/22/2008
http://127.0.0.1:5000/Media/images/84.20_A2.jpg
84.20DI#3
digital image
back
1/22/2008
http://127.0.0.1:5000/Media/images/84.20_A3.jpg
Sculpture
Female Figure (Akuaba)
Asante artist, (active )
Asante artist
Ghana
Primary
10 1/2 x 4 1/4 in. (26.7 x 10.8 cm)
.
.
.
Wood
Wood
Asante; made in Ghana
0
0
1900-2000, African art, Asante, fertility figures, sculpture
Sculpture
Asante women often carry dolls called akuaba to encourage fertility and ensure the health and beauty of the child. The figure is placed at an altar or held in the wrappers of a woman's clothing, treated as a real child until pregnancy occurs. If the resulting child dies, the akuaba might be kept as a memorial to the infant. Akuabas are representative of ideal beauty, demonstrating round or oval heads with high foreheads, and long necks with excess fat, indicating a good state of health.
[Gallery label text]
1984.19
item
Memorial Art Gallery
11/28/2000
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.19SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.19DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/84.19_A1.jpg
84.19DI#2
digital image
Front
1/22/2008
http://127.0.0.1:5000/Media/images/84.19_A2.jpg
84.19DI#3
digital image
back
1/22/2008
http://127.0.0.1:5000/Media/images/84.19_A3.jpg
Woodwork
Stool
Asante artist, (active )
Asante artist
Ghana
Primary
10 3/4 x 18 x 9 in. (27.3 x 45.7 x 22.9 cm)
.
.
.
Wood
Wood
Asante; made in Ghana
0
0
1900-2000, African art, Asante, chairs
Woodwork
In many African cultures, objects (such as carved figures and masks) can act as physical surrogates for spirits wishing to communicate and interact with the living. Stools are central objects in Asante spirituality. The Asante believe the stool used in life houses the owner’s soul in death. This is based in the story of The Golden Stool that descended from the heavens to land in (and thereby legitimize) the lap of the first Asante king. The Asante saying goes, “A man with no stool is a man with no dignity.”
[Gallery label text, 2009]
The treatment of stools as sacred objects is unique to the Asante kingdom - an Akan empire founded by the great leader Osei Tutu in the late seventeenth century. The tradition began with the great Golden Stool which legend relates floated down from the sky and fell in the lap of Osei Tutu. To this day, the Golden Stool stands as a representation of the soul, or spirit (sunsum) of the Asante people. It is not a throne, but rather a powerful, sacred object, that is guarded by each successive king and forbidden to be sat upon or to touch the ground.
The most lavish stools are rewarded to important chiefs or members of the royal court, but commoners also maintain more modest stools. The stool is said to absorb some of the sunsum, or spirit, of his owner. Such an intimate link between owner and stool is reflected in the treatment of the stool after the owner's death. A high official's stool is linked to his role in office and when the owner dies, it is said that "a stool has fallen." The stool is then "blackened" and kept on its side in a separate "stool room." The soul of the ancestor is said to be embodied in the blackened stool.
[Gallery label text]
1962.24
item
Memorial Art Gallery
11/28/2000
62.24SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
62.24DI#3
digital image
62.24_A3.jpg
1/22/2008
http://127.0.0.1:5000/Media/images/62.24_A3.jpg
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
62.24DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/62.24_A1.jpg
62.24DI#2
digital image
Front
1/22/2008
http://127.0.0.1:5000/Media/images/62.24_A2.jpg
Sculpture
Crest Mask: Female Antelope (Chi Wara)
Bamana artist, (active )
Bamana artist
Mali
Primary
30 1/2 x 7 5/8 x 8 in. (77.5 x 19.4 x 20.3 cm)
.
.
.
Wood
Wood
Bamana; made in Mali
0
0
African art, antelopes, Bamana, chi wara, sculpture
Sculpture
In many cultures, gods and spirits take the form of animals. Selected for their physical or behavioral traits, features of different animals are combined to create mythical creatures whose symbolic powers are greater than those of ordinary beasts. This antelope crest mask combines the curved horns of an antelope, the curious snout and scales of a pangolin (a kind of anteater) and the squat body of an aardvark—all animals that dig up the earth. This makes them fitting representations of Chi Wara, the supernatural being the Bamana believe taught humans to farm. The masks were worn in male/female pairs during dance performances in the fields that taught and encouraged good farming. Today, because of conversion to Islam and a variety of social changes due to westernization, the Chi Wara masquerade is now performed for entertainment and cultural pride.
[Gallery label text, 2009]
1993.14
item
Memorial Art Gallery
9/8/1999
93.14SL1
slide
3/4 view
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
93.14DI1
digital image
3/4 view
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/93.14_A1.jpg
93.14DI#2
digital image
Three-quarter
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A2.jpg
93.14DI#3
digital image
side
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A3.jpg
93.14DI#4
digital image
Front
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A4.jpg
93.14DI#5
digital image
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A5.jpg
93.14TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Sculpture
Crest Mask: Male Antelope (Chi Wara)
Bamana artist, (active )
Bamana artist
Mali
Primary
40 9/16 x 2 15/16 x 13 9/16 in. (103 x 7.5 x 34.5 cm)
.
.
.
overall
overall
Wood
Wood
Bamana; made in Mali
0
0
African art, antelopes, Bamana, chi wara, sculpture
Sculpture
In many cultures, gods and spirits take the form of animals. Selected for their physical or behavioral traits, features of different animals are combined to create mythical creatures whose symbolic powers are greater than those of ordinary beasts. This antelope crest mask combines the curved horns of an antelope, the curious snout and scales of a pangolin (a kind of anteater) and the squat body of an aardvark—all animals that dig up the earth. This makes the mask a fitting representations of Chi Wara, the supernatural being the Bamana believe taught humans to farm. Chi wara masks were worn in male/female pairs during dance performances in the fields that taught and encouraged good farming. Today, because of conversion to Islam and a variety of social changes due to westernization, the Chi Wara masquerade is now performed for entertainment and cultural pride.
The small pieces of red cloth attached to the snout of this male Chi Wara may have originated in the woolen bandages imported by the French during the First World War. In Bamana culture, red is the color of danger and is often restricted to men of certain status.
[Gallery label text, 2009]
1969.107
item
Memorial Art Gallery
11/28/2000
69.107SL2
slide
worn w fiber costume
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.107SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.107DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/69.107_A2.jpg
69.107DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/69.107_A1.jpg
69.107DI#3
digital image
Three-quarter
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A3.jpg
69.107DI#4
digital image
Side
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A4.jpg
69.107DI#5
digital image
Front
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A5.jpg
69.107DI#6
digital image
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A6.jpg
69.107TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Sculpture
Twin Figure (Ere Ibeji)
Yoruba artist, (active )
Yoruba artist
Nigeria
9 3/8 x 2 5/8 x 2 3/4 in. (23.8 x 6.7 x 7 cm)
.
.
.
Wood
Wood
Yoruba; made in Nigeria
0
0
1900-2000, African art, religious & ritual objects, sculpture, Yoruba
Sculpture
The Yoruba have one of the highest rates of twinning in the world. Twins are endowed with powerful attributes, both auspicious and dangerous. Due to the high mortality rate of twins, when one or both dies, Yoruba mothers procure small wooden statues (ere ibeji) to house the spirits of the deceased. If there is a single ibeji, it is likely that one twin died and one survived. If there are two ibeji figures, then it is likely that both twins died. Wealthy women clothe their ere ibeji in beaded or shelled vests.
Surface accumulation and signs of wear are common as ibeji figures are cared for in the same manner as a living child and are handled, clothed, washed, fed and honored with dances and songs. Lyrics from a Yoruba song explain how the care of ere ibeji can control the potentially negative influence of twins’ spirits, “Abuse me and I shall follow you home. Praise me and I shall leave you alone.” Subsequent generations inherit the care of ere ibeji from their ancestors.
[Gallery label text, 2009]
1965.9.1
item
Memorial Art Gallery
3/10/2001
65.9.1_.2DI1
digital image
2 detail
2 x 2
12/1/2001
http://127.0.0.1:5000/Media/images/65.9.1-.2_A1.jpg
65.9.1-.2SL1
slide
full with 65.9.2
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
65.9.1DI2
digital image
2 detail
2 x 2
12/1/2001
http://127.0.0.1:5000/Media/images/65.9.1_A1.jpg
65.9.1DI#3
digital image
Front
1/22/2008
http://127.0.0.1:5000/Media/images/65.9.1_A5.jpg
negative
frontal with 65.9.2
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
frontal with 65.9.2
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
frontal with 65.9.2 side
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
frontal with 65.9.2 side
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
65.9.1DI#4
digital image
back
1/22/2008
http://127.0.0.1:5000/Media/images/65.9.1_A6.jpg
65.9.1_.2DI#5
.1&.2
digital image
1/22/2008
http://127.0.0.1:5000/Media/images/65.9.1-.2_A4.jpg
Sculpture
Twin Figure (Ere Ibeji)
Yoruba artist, (active )
Yoruba artist
Nigeria
Primary
9 1/4 x 2 5/8 x 2 5/8 in. (23.5 x 6.7 x 6.7 cm)
.
.
.
Wood
Wood
Yoruba; made in Nigeria
0
0
1900-2000, African art, religious & ritual objects, sculpture, Yoruba
Sculpture
The Yoruba have one of the highest rates of twinning in the world. Twins are endowed with powerful attributes, both auspicious and dangerous. Due to the high mortality rate of twins, when one or both dies, Yoruba mothers procure small wooden statues (ere ibeji) to house the spirits of the deceased. If there is a single ibeji, it is likely that one twin died and one survived. If there are two ibeji figures, then it is likely that both twins died. Wealthy women clothe their ere ibeji in beaded or shelled vests.
Surface accumulation and signs of wear are common as ibeji figures are cared for in the same manner as a living child and are handled, clothed, washed, fed and honored with dances and songs. Lyrics from a Yoruba song explain how the care of ere ibeji can control the potentially negative influence of twins’ spirits, “Abuse me and I shall follow you home. Praise me and I shall leave you alone.” Subsequent generations inherit the care of ere ibeji from their ancestors.
[Gallery label text, 2009]
1965.9.2
item
Memorial Art Gallery
3/10/2001
65.9.1-.2DI1
slide
2 detail
2 x 2
12/1/2001
http://127.0.0.1:5000/Graphics/blank.gif
65.9.2SL1
slide
full w 65.9.1
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
65.9.1-.2DI1
digital image
2 detail
2 x 2
12/1/2001
http://127.0.0.1:5000/Media/images/65.9.1-.2_A1.jpg
65.9.2DI2
digital image
2 detail
2 x 2
12/1/2001
http://127.0.0.1:5000/Media/images/65.9.2_A1.jpg
negative
frontal with 65.9.1
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
frontal with 65.9.1
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
side with 65.9.1 frontal
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
side with 65.9.1 frontal
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
65.9.2DI#3
digital image
Front
1/22/2008
http://127.0.0.1:5000/Media/images/65.9.2_A7.jpg
65.9.2DI#4
digital image
back
1/22/2008
http://127.0.0.1:5000/Media/images/65.9.2_A8.jpg
65.9.1&.2DI#5
.1&.2
digital image
1/22/2008
http://127.0.0.1:5000/Media/images/65.9.1-.2_A4.jpg
Sculpture
Rhythm Pounder (Deble)
Senufo artist, (active )
Senufo artist
Côte d'Ivoire
42 1/2 in. (108 cm)
.
.
.
Wood
Wood
Senufo; made in Côte d'Ivoire
0
0
1900-2000, African art, religious & ritual objects, Senufo
Sculpture
In many African societies, life on earth is seen as part of a continuum that permits movement between the spirit and earthly worlds. As ancestors are in a position to assist the living, they must be respected and attended to. The rhythm pounders of the Senufo originally functioned as communication devices in calling the spirits of ancestors to participate in funerals. Held by the upper arms, the rhythm pounder’s thick base is thumped into the earth in rhythm with the sounds of chants, drums and rattles.
[Gallery label text, 2009]
1969.72
item
Memorial Art Gallery
3/10/2001
69.72SL1
slide
3/4 full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
3/4 full L
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
3/4 full R
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3/4 full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.72SL2
slide
detail-torso/head
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.72DI1
digital image
3/4 full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/69.72_A1.jpg
69.72DI#3
digital image
Front
3/10/2009
http://127.0.0.1:5000/Media/images/69.72_A3.jpg
69.72DI#2
digital image
Three-quarter
3/10/2009
http://127.0.0.1:5000/Media/images/69.72_A2.jpg
Drawing
Street Scene, Rabat (Une Rue a Rabat)
Azouaou Mammeri, (Kabylie, Algeria, 1890 - 1954)
Mammeri, Azouaou
Algeria
1890 - 1954
Male
10 x 13 in. (25.4 x 33 cm)
.
.
.
Ink
Ink
0
0
20th century, architecture in art, drawing
Drawing
illegible, below image
1926.28
item
Memorial Art Gallery
2/22/2001
26.28DI#1
digital image
5/8/2008
http://127.0.0.1:5000/Media/images/26.28_A1.jpg
Woodwork
Double Cup
Lunda artist, (active )
Lunda artist
Democratic Republic of the Congo
3 1/2 x 7 x 3 5/8 in. (8.9 x 17.8 x 9.2 cm)
.
.
.
Wood
Wood
Lunda; made in Democratic Republic of the Congo
0
0
1900-2000, African art, dishes, figure, figures, people in art, woodwork
Woodwork
1951.112
item
Memorial Art Gallery
3/10/2001
51.112SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.112DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/51.112_A1.jpg
51.112DI#2
digital image
7/28/2009
http://127.0.0.1:5000/Media/images/51.112_A2.jpg
Metalwork
Goldweight
Asante artist, (active )
Asante artist
Ghana
Primary
1 1/4 x 1 3/8 x 5/8 in. (3.2 x 3.5 x 1.6 cm)
.
.
.
Brass
Brass
Asante, made in Ghana
0
0
1900-2000, African, African art, birds, metalwork, sculpture
Metalwork
Fueled by rich deposits of gold, the Asante engaged in extensive trade relations with European and African nations. Buyers and vendors used brass weights such as these to counterbalance gold dust on scales. Each Asante family had their own set of brass pieces. Unsurprisingly the vendors’ weights were often too heavy and the buyer’s weights too light. Many goldweights represented local proverbs with social or moral meanings that served as ethical reminders during the sometimes fraught ordeal of gold-weighing. If this weight was associated with a proverb, the cultural association has been lost to us.
[Gallery label text, 2009]
1953.76.2
item
Memorial Art Gallery
11/28/2000
53.76.2DI#1
digital image
Side
1/22/2008
http://127.0.0.1:5000/Media/images/53.76.2_A1.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/53.76.2_A2.jpg
Metalwork
Goldweight
Asante artist, (active )
Asante artist
Ghana
1 5/8 x 1 1/8 x 1/2 in. (4.1 x 2.9 x 1.3 cm)
.
.
.
Brass
Brass
Asante; made in Ghana
0
0
1900-2000, African, African art, male figures, men, metalwork
Metalwork
Fueled by rich deposits of gold, the Asante engaged in extensive trade relations with European and African nations. Buyers and vendors used brass weights such as these to counterbalance gold dust on scales. Each Asante family had their own set of brass pieces. Unsurprisingly the vendors’ weights were often too heavy and the buyer’s weights too light. Many goldweights represented local proverbs with social or moral meanings that served as ethical reminders during the sometimes fraught ordeal of gold-weighing. If this weight was associated with a proverb, the cultural association has been lost to us.
[Gallery label text, 2009]
1953.76.1
item
Memorial Art Gallery
11/27/2000
53.76.1DI#1
digital image
Three-quarter
1/22/2008
http://127.0.0.1:5000/Media/images/53.76.1_A1.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/53.76.1_A2.jpg
Woodwork
Heddle Pulley
Guro artist, (active )
Guro artist
Côte d'Ivoire
6 1/4 in. (15.9 cm)
.
.
.
Wood
Wood
Guro; made in Côte d'Ivoire
0
0
1900-2000, African, African art, busts, mixed media, textiles, women, woodwork
Woodwork
Hand looms are traditionally used by West African men in weaving narrow-strips of cloth. While the heddle pulley is a crucial functional element of the loom, the elaborately carved figure is not. These decorative figures, which fell out of fashion at the end of the last century, were made beautiful simply for the delight and pleasure of the weaver. The human compulsion to beautify functional objects is explained simply by a Guro artist who said, “We cannot live without such beautiful things.”
[Gallery label text, 2009]
1953.75.1
item
Memorial Art Gallery
3/10/2001
53.75.1SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
3/4 right
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3/4 right
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.75.1DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/53.75.1_A1.jpg
53.75.1DI#4
digital image
back
1/22/2008
http://127.0.0.1:5000/Media/images/53.75.1_A4.jpg
53.75.1DI#3
digital image
three-quarter view
1/22/2008
http://127.0.0.1:5000/Media/images/53.75.1_A3.jpg
53.75.1DI#2
digital image
Front
1/22/2008
http://127.0.0.1:5000/Media/images/53.75.1_A2.jpg
Woodwork
Heddle Pulley
Guro artist, (active )
Guro artist
Côte d'Ivoire
Primary
8 3/8 in. (21.3 cm)
.
.
.
Wood
Wood
Guro; made in Côte d'Ivoire
0
0
1900-2000, African, African art, busts, textiles, woodwork
Woodwork
Hand looms are traditionally used by West African men in weaving narrow-strips of cloth. While the heddle pulley is a crucial functional element of the loom, the elaborately carved figure is not. These decorative figures, which fell out of fashion at the end of the last century, were made beautiful simply for the delight and pleasure of the weaver. The human compulsion to beautify functional objects is explained simply by a Guro artist who said, “We cannot live without such beautiful things.”
[Gallery label text, 2009]
1953.75.2
item
Memorial Art Gallery
3/10/2001
53.75.2DI#3
digital image
back
1/22/2008
http://127.0.0.1:5000/Media/images/53.75.2_A3.jpg
53.75.2DI#2
digital image
Three-quarter
1/22/2008
http://127.0.0.1:5000/Media/images/53.75.2_A2.jpg
53.75.2DI#1
digital image
front
1/22/2008
http://127.0.0.1:5000/Media/images/53.75.2_A1.jpg
Jewelry
Necklace
Teke artist, (active )
Teke artist
Democratic Republic of the Congo
11 5/16 in. (28.8 cm)
.
.
.
Brass
Brass
Teke; made in Democratic Republic of the Congo
0
0
Jewelry
Originally worn only by Teke chiefs, these bronze necklaces became a kind of currency that was traded for food, livestock and even wives.
[Gallery label text, 2009]
1968.106
item
Memorial Art Gallery
3/10/2001
68.106DI#1
digital image
6/18/2008
http://127.0.0.1:5000/Media/images/68.106_A1.jpg
Sculpture
Fertility Doll (Akuaba)
Asante artist, (active )
Asante artist
Ghana
Primary
12 3/8 x 4 7/8 in. (31.4 x 12.4 cm)
.
.
.
Wood
Wood
Asante; made in Ghana
0
0
African art, religious & ritual objects
Sculpture
Fertility is a universal human concern that has long been a central issue in Africa where the infant mortality rate remains high to this day. An akuaba is a fertility talisman meant to aid an Asante woman yearning to become a mother. The horned hairdo of this akuaba is that of a priestess and indicates the child, if allowed to live, will become a priestess dedicated to a goddess. Normally it is not necessary to dedicate a child; this is more common among older women who had already lost several children.
Akuaba are affectionately bathed, dressed, fed and carried by women as they would a living child. Their slight, flat shape is designed to be carried on a woman’s back in her cloth wrapper. When the woman’s child survives childhood, the akuaba is sometimes placed in a shrine as an offering of thanks to the god responsible. Almost all of these fertility dolls are female as the Asante are a matrilineal society and most women wish for daughters to carry on their family line.
[Gallery label text, 2009]
1967.31
item
Memorial Art Gallery
11/28/2000
67.31SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
67.31DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/67.31_A1.jpg
67.31DI#2
digital image
Front
1/22/2008
http://127.0.0.1:5000/Media/images/67.31_A2.jpg
67.31DI#3
digital image
back
1/22/2008
http://127.0.0.1:5000/Media/images/67.31_A3.jpg
negative
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Sculpture
Door Lock
Bamana artist, (active )
Bamana artist
Mali
26 x 16 5/8 x 3 1/4 in. (66 x 42.2 x 8.3 cm)
.
.
.
Wood
Wood
Bamana; made in Mali
0
0
Sculpture
This is a door lock of the Bamana people. Inside the lock, metal pins attach the horizontal and vertical elements. A metal key must be inserted into the hole between the creature’s shoulders to release the pins in the lock. But in truth, the functional value of a Bamana door lock is secondary to its spiritual value. An individual determined to break into a house with a sculpted door lock would find it an easy matter. Bamana door locks are primarily meant to protect a home against malevolent spirit forces seeking entry. This lock is in the form of a crocodile or water iguana. In Bamana mythology, these lizards are representatives of Faro, a powerful and beneficent deity who protects against sorcery.
[Gallery label text, 2009]
1969.71
item
Memorial Art Gallery
11/28/2000
69.71SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.71DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/69.71_A1.jpg
69.71DI#2
digital image
6/18/2008
http://127.0.0.1:5000/Media/images/69.71_A2.jpg
Sculpture
Female Figure with Child
Asante artist, (active )
Asante artist
Ghana
Primary
11 1/4 x 3 3/4 x 3 7/8 in. (28.6 x 9.5 x 9.8 cm)
.
.
.
Wood
Wood
Asante; made in Ghana
0
0
Sculpture
This is likely a representation of the Asante Queen Mother, a female relative of the king who has the authority to nominate his successor. The infant’s dependence on the mother for nourishment and protection symbolizes the kingdom’s dependence upon the Queen Mother for guidance. Associated with earth goddesses, agriculture and fertility, this Queen Mother figure was probably kept as part of a fertility shrine where sacrificial offerings were made (remnants of eggshell still remain on her surface). Scholars are confused by the weapon in the mother’s hand and think perhaps it was added at a later date.
[Gallery label text, 2009]
1970.62
item
Memorial Art Gallery
11/28/2000
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.62SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.62DI#1
digital image
Front
1/22/2008
http://127.0.0.1:5000/Media/images/70.62_A1.jpg
70.62DI#2
digital image
side
1/22/2008
http://127.0.0.1:5000/Media/images/70.62_A2.jpg
70.62DI#3
digital image
back
1/22/2008
http://127.0.0.1:5000/Media/images/70.62_A3.jpg
Woodwork
Granary Door or Shutter
Dogon artist, (active )
Dogon artist
Mali
34 1/2 x 24 1/2 x 4 in. (87.6 x 62.2 x 10.2 cm)
.
.
.
Wood
Wood
Dogon; made in Mali
0
0
Woodwork
For hundreds of years the Dogon have lived along a very steep cliff called the Bandiagara Escarpment in buildings made of clay with thatch roofs. Doors like this, still in use by the Dogon, secure access to the variety of food stuffs stored in their granary buildings. The repetitive shapes on this door are stylized representations of male and female ancestors, and the cone-shaped elements on the left refer to fertility and the female breast. This imagery encourages abundance in life and crops and reflects values held by agricultural communities.
[Gallery label text, 2009]
1970.63
item
Memorial Art Gallery
3/10/2001
70.63SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.63DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/70.63_A1.jpg
70.63DI#2
digital image
6/18/2008
http://127.0.0.1:5000/Media/images/70.63_A2.jpg
70.63DI#3
digital image
front
1/13/2009
http://127.0.0.1:5000/Media/images/70.63_A3.jpg
70.63TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Woodwork
Champion-Cultivator Staff
Senufo artist, (active )
Senufo artist
Côte d'Ivoire
Primary
54 in. (137.2 cm)
.
.
.
Wood
Wood
Senufo; made in Côte d'Ivoire
0
0
Woodwork
During the annual hoeing contests of the Senufo, the farmer with the most agricultural prowess wins the champion-cultivator staff for one year. The voluptuous and regal figure, the epitome of Senufo beauty, is posted in the ground during competition to watch over and spur on the contestants. These contests are more than simple agricultural competitions; they weave a rich tapestry of art forms—drumming, singing, dancing, and sculpture—to turn back-breaking labor into an inspiring community ritual. The shiny area visible near the figure’s eye is likely residue from the ritual application of oil, a sacrificial offering made to the powers embodied in the staff.
[Gallery label text, 2009]
1971.64
item
Memorial Art Gallery
3/10/2001
71.64SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.64DI#3
digital image
Side
3/10/2009
http://127.0.0.1:5000/Media/images/71.64_A3.jpg
71.64DI#1
digital image
3/10/2009
http://127.0.0.1:5000/Media/images/71.64_A1.jpg
71.64DI#4
digital image
Side
3/10/2009
http://127.0.0.1:5000/Media/images/71.64_A4.jpg
71.64DI#2
digital image
Three-quarter
3/10/2009
http://127.0.0.1:5000/Media/images/71.64_A2.jpg
Woodwork
Ladle
Murik artist, (active )
Murik artist
Papua New Guinea
24 1/2 x 5 1/2 x 5 1/2 in. (62.2 x 14 x 14 cm)
.
.
.
Wood
Wood
Murik; made in Murik Lakes Region, New Guinea
0
0
Oceanic, Oceanic art (Pacific Islands)
Woodwork
1972.44
item
Memorial Art Gallery
3/20/2001
72.44DI#1
digital image
6/18/2008
http://127.0.0.1:5000/Media/images/72.44_A1.jpg
Textiles
Shoowa Velvet
Kuba artist, (active )
Kuba artist
Democratic Republic of the Congo
Primary
22 5/8 x 21 15/16 in. (57.5 x 55.8 cm)
.
.
.
Raffia
Raffia
Kuba; made in Democratic Republic of the Congo
ca. 1900
1895
1905
Textiles
1992.80
item
Memorial Art Gallery
4/24/2001
92.80SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
92.80_A1.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/92.80_A1.jpg
92.80_A2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/92.80_A2.jpg
92.80_A3.jpg
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/92.80_A3.jpg
92.80DI#4
digital image
7/28/2017
http://127.0.0.1:5000/Media/images/92.80_A4.jpg
Woodwork
Mask (lipiko) of Makonde Man with Incised Tattoos
Makonde Helmut Mask
Makonde artist
Makonde artist
Mozambique
9 3/4 x 7 1/2 x 11 in. (24.8 x 19.1 x 27.9 cm)
Wood
Wood
Makonde; made in Mozambique
ca. 1950-1960
1950
1960
763
Woodwork
Makonde people are producing more masks and types of masquerades now than ever before. This living, thriving tradition favors innovation, so styles of mask and dance change continually. Masked dancers perform before enthusiastic audiences for holidays or important occasions in the village.
This mask, from the 1950s or 60s is in the classic style favored by Makonde people today. The style and design of facial tattoos are unique to the Makonde and would have identified this face as belonging to a specific region or tribe. Most Makonde tattooing ended in the 1960s, so only the older generation wears the distinctive marks today. The specificity of the shaved hairline and the scar on the scalp near the left temple indicate that perhaps this mask was a portrait.
[Gallery label text, 2009]
underside, Base coat: Acryloid B-72 in acetone
Accession number: Golden Fluid Acrylics (black)
Both layers soluble in Acetone
2006.71
item
Memorial Art Gallery
10/20/2006
763DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/2006.71_I1.jpg
2006.71DI#2
digital image
Three-quarter
7/2/2007
http://127.0.0.1:5000/Media/images/2006.71_A1.jpg
Sculpture
Spoon
Yaoure or Baule artist, (active )
Yaoure or Baule artist
Côte d'Ivoire
7 1/16 x 1 3/4 x 3 3/8 in. (18 x 4.5 x 8.5 cm)
.
.
.
overall
overall
Wood
Wood
Yaoure or Baule; made in Côte d'Ivoire
0
0
eating & serving utensils
Sculpture
1964.102
item
Memorial Art Gallery
11/28/2000
64.102SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.102SL2
slide
detail- handle
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.102DI1
digital image
front
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/64.102_I1.jpg
64.102DI#2
digital image
front
1/22/2008
http://127.0.0.1:5000/Media/images/64.102_A1.jpg
64.102DI#3
digital image
Three-quarter
1/22/2008
http://127.0.0.1:5000/Media/images/64.102_A2.jpg
64.102DI3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/64.102_A3.jpg
64.102DI4
digital image
00/00/00
http://127.0.0.1:5000/Media/images/64.102_A4.jpg
Jewelry
Bracelet
Fur artist, (active )
Fur artist
Sudan
1 5/8 x 3 1/4 x 3 1/4 in. (4.1 x 8.3 x 8.3 cm)
.
.
.
Ivory
Ivory
Fur; made in Sudan
0
0
African art, jewelry
Jewelry
1967.64
item
Memorial Art Gallery
3/10/2001
67.64SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
67.64DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/67.64_A1.jpg
67.64DI#2
digital image
7/28/2009
http://127.0.0.1:5000/Media/images/67.64_A2.jpg
Sculpture
Helmet Mask (Waniougo)
Senufo artist, (active )
Senufo artist
Côte d'Ivoire
Primary
14 3/8 x 25 3/4 x 13 in. (36.5 x 65.4 x 33 cm)
.
.
.
Wood
Wood
Senufo; made in Côte d'Ivoire
0
0
masks
Sculpture
The sharp edges and angular forms of this double-faced mask (waniougo) result in a fierce and expressive presence. A fearsome appearance is desirable as waniougo’s role is to frighten away evil spirits wishing to harm a Senufo village at times of particular vulnerability, for example at funerals. Their appearance in nighttime masquerades enhances the otherworldly presence of these “firespitter” masks; embers or burning grass are held in front of the mouths through which the wearer blows to creating a dramatic shower of sparks into the night sky.
Waniougo combines the features of crocodiles (teeth), hippos (tusks), warthogs (upper tusks) and chameleons (two are visible on the top). In order to empower the mask before the ceremony, the cup held by the chameleons is filled with magical materials and the mask freshly painted with spots.
[Gallery label text, 2009]
1970.22
item
Memorial Art Gallery
3/10/2001
70.22TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.22SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.22DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/70.22_A1.jpg
Sculpture
Female Figure (Blolo Bla or Asie Usu)
Baule artist, (active )
Baule artist
Côte d'Ivoire
Primary
17 1/8 x 3 1/8 x 3 in. (43.5 x 7.9 x 7.6 cm)
.
.
.
Wood
Wood
Baule; made in Côte d’Ivoire
0
0
Sculpture
The Baule believe each person has a spirit spouse (husband=blolo bian, wife=blolo bla). The presence of a troublesome, jealous spirit spouse can result in illness or misfortune. A carving can be commissioned to ensure the spirit’s protection and good will. These extremely private sculptures are kept hidden in the owner’s bedroom where they are attended to and anointed with oil. Raised scarification patterns represent Baule standards of beauty and identity, while their contained posture and introspective expression reflect social virtues of tradition and decorum.
Bush spirit figures (asye usu) are carved when an uncivilized bush spirit forms an attachment to a human and makes trouble in their life. Asye usu can only be appeased by a sculpted figure kept enshrined and placated with offerings that, over time accumulate in a thick crust. This surface (often cleaned off when the sculpture is sold) is the only way to distinguish between a spirit spouse and a bush spirit, as in all other ways they look the same. For this reason, it is impossible to know if this figure is a spirit spouse or a bush spirit figure.
[Gallery label text, 2009]
verso, Base coat: acryloid B-67 in naptha
Number: acrylic paint
Top coat: acryloid B-67 in naptha
1969.33
item
Memorial Art Gallery
11/28/2000
69.33SL1
slide
full 3/4 right
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full 3/4 R
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full 3/4 L
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full 3/4 R
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full 3/4 L
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.33DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/69.33_A1.jpg
69.33SL2
slide
full 3/4 left
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.33SL3
slide
full frontal
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.33DI#2
digital image
7/28/2009
http://127.0.0.1:5000/Media/images/69.33_A2.jpg
Sculpture
Male Figure (Blolo Bian or Asie Usu)
Baule artist, (active )
Baule artist
Côte d'Ivoire
Primary
18 x 4 x 4 1/4 in. (45.7 x 10.2 x 10.8 cm)
.
.
.
Wood
Wood
Baule; made in Côte d’Ivoire
0
0
Sculpture
The Baule believe each person has a spirit spouse (husband=blolo bian, wife=blolo bla). The presence of a troublesome, jealous spirit spouse can result in illness or misfortune. A carving can be commissioned to ensure the spirit’s protection and good will. These extremely private sculptures are kept hidden in the owner’s bedroom where they are attended to and anointed with oil. Raised scarification patterns represent Baule standards of beauty and identity, while their contained posture and introspective expression reflect social virtues of tradition and decorum.
Bush spirit figures (asye usu) are carved when an uncivilized bush spirit forms an attachment to a human and makes trouble in their life. Asye usu can only be appeased by a sculpted figure kept enshrined and placated with offerings that, over time accumulate in a thick crust. This surface (often cleaned off when the sculpture is sold) is the only way to distinguish between a spirit spouse and a bush spirit, as in all other ways they look the same. For this reason, it is impossible to know if this figure is a spirit spouse or a bush spirit figure.
[Gallery label text, 2009]
1971.19
item
Memorial Art Gallery
11/28/2000
71.19SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
2 x 4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.19DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/71.19_A1.jpg
71.19DI#2
digital image
71.19_A2.jpg
1/22/2008
http://127.0.0.1:5000/Media/images/71.19_A2.jpg
71.19DI#3
digital image
Three-quarter
1/22/2008
http://127.0.0.1:5000/Media/images/71.19_A3.jpg
71.19DI#4
digital image
71.19_A4.jpg
1/22/2008
http://127.0.0.1:5000/Media/images/71.19_A4.jpg
Textiles
Shoowa Velvet
Kuba artist, (active )
Kuba artist
Democratic Republic of the Congo
20 9/16 x 23 1/4 in. (52.3 x 59 cm)
.
.
.
Raffia
Raffia
Kuba; made in Democratic Republic of the Congo
ca. 1900
1895
1905
Textiles
Kuba people are renowned for their shoowa velvet, the creation of which is strictly divided along gender lines; men weave the cloth and women do the needlework. This incredibly time-consuming process can take several months to a year to reach completion on one panel. These panels are not made into clothing, but rather treated as currency and valued as treasured personal objects.
[Gallery label text, 2009]
1992.79
item
Memorial Art Gallery
4/24/2001
92.79SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
92.79DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/92.79_A1.jpg
Textiles
Shoowa Velvet
Kuba artist, (active )
Kuba artist
Democratic Republic of the Congo
Primary
11 11/16 x 27 3/8 in. (29.7 x 69.6 cm)
.
.
.
Raffia
Raffia
Kuba; made in Democratic Republic of the Congo
ca. 1900
1895
1905
Textiles
1992.81
item
Memorial Art Gallery
4/24/2001
92.81SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
92.81DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/92.81_A1.jpg
92.81DI#2
digital image
7/28/2017
http://127.0.0.1:5000/Media/images/92.81_A2.jpg
Textiles
Shoowa Velvet
Kuba artist, (active )
Kuba artist
Democratic Republic of the Congo
Primary
16 5/8 x 17 1/2 in. (42.3 x 44.5 cm)
.
.
.
Raffia
Raffia
Kuba; made in Democratic Republic of the Congo
ca. 1900
1895
1905
Textiles
1992.82
item
Memorial Art Gallery
4/24/2001
92.82SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
92.82DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/92.82_A1.jpg
92.82DI#2
digital image
7/28/2017
http://127.0.0.1:5000/Media/images/92.82_A2.jpg