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As part of our commitment to accessibility and transparency, the Smithsonian National Museum of African Art is placing its collection records online. Please note that some records are incomplete (missing… Long saffron yellow colored gown of richly brocaded cloth with wide bell-shaped sleeves and no collar. It is decorated with a double row of buttons worked in thread down to the waist. On each side of… National Museum of African Art. 2006. BIG/small Family Guide. Exhibition booklet. Washington, D.C.: National Museum of African Art, Smithsonian Institution. Manillas were open bracelets in various sizes and weights cast from copper or brass; later they were composed of a mixture of other metals. From the late 15th to the early 20th century, they circulated… As part of our commitment to accessibility and transparency, the Smithsonian National Museum of African Art is placing its collection records online. Please note that some records are incomplete (missing… This left side of this diptych depicts a young warrior saint. He is probably St. George, who according to the Ethiopian liturgical guide rides a white horse. There is a particularly strong association… The practice of wearing small icons suspended from the neck in cloth or leather bags seems to date to the second half of the 15th century. They were believed to protect against evil. Later a pierced suspension… Chojnacki, Stanislaw. 1983. Major Themes in Ethiopian Painting: Indigenous Developments, The Influence of Foreign Models and their Adaptation from the 13th to the 19th Century. Wiesbaden: Steiner (Series:… As part of our commitment to accessibility and transparency, the Smithsonian National Museum of African Art is placing its collection records online. Please note that some records are incomplete (missing… As part of our commitment to accessibility and transparency, the Smithsonian National Museum of African Art is placing its collection records online. Please note that some records are incomplete (missing… Chojnacki, Stanislaw. 1983. Major Themes in Ethiopian Painting: Indigenous Developments, The Influence of Foreign Models and their Adaptation from the 13th to the 19th Century. Wiesbaden: Steiner (Series:… As part of our commitment to accessibility and transparency, the Smithsonian National Museum of African Art is placing its collection records online. Please note that some records are incomplete (missing… As part of our commitment to accessibility and transparency, the Smithsonian National Museum of African Art is placing its collection records online. Please note that some records are incomplete (missing… As part of our commitment to accessibility and transparency, the Smithsonian National Museum of African Art is placing its collection records online. Please note that some records are incomplete (missing… Kreamer, Christine Mullen. 2012. African Cosmos: Stellar Arts. Washington, D.C.: National Museum of African Art, Smithsonian Institution; New York: Monacelli Press, p. 166, no. 8.9. Kreamer, Christine Mullen and Adrienne L. Childs (eds). 2014. Conversations: African and African American Artworks in Dialogue from the Collections of the Smithsonian National Museum of African Art and… Vogel, Susan (ed). 1981. For Spirits and Kings: African Art from the Paul and Ruth Tishman Collection. New York: Metropolitan Museum of Art, p. 234, no. 145. Visoná, Monica Blackmun, Robin Poyner and Herbert M. Cole. 2008. A History of Art in Africa. Upper Saddle River, N.J.: Prentice Hall, p. 331, no. 10-18. Kreamer, Christine Mullen, Bryna Freyer and Andrea Nicolls. 2007. African Vision: The Walt Disney-Tishman African Art Collection. Washington, D.C.: National Museum of African Art, Smithsonian Institution,… Kreamer, Christine Mullen, Bryna Freyer and Andrea Nicolls. 2007. African Vision: The Walt Disney-Tishman African Art Collection. Washington, D.C.: National Museum of African Art, Smithsonian Institution,… Robbins, Warren M. and Nancy Ingram Nooter. 1989. African Art in American Collections. Washington, D.C.: Smithsonian Institution Press, p. 228, no. 586. Robbins, Warren M. and Nancy Ingram Nooter. 1989. African Art in American Collections. Washington, D.C.: Smithsonian Institution Press, p. 228, no. 585. Robbins, Warren and Nancy I. Nooter. 1989. African Art in American Collections. Washington, D.C.: Smithsonian Institution Press, p. 228, no. 584. Levenson, Jay A. (ed). 2007. Encompassing the Globe: Portugal and the World in the 16th & 17th Centuries. Washington, D.C.: Arthur M. Sackler Gallery, Smithsonian Institution, p. 152, no. A-5. As part of our commitment to accessibility and transparency, the Smithsonian National Museum of African Art is placing its collection records online. Please note that some records are incomplete (missing… As part of our commitment to accessibility and transparency, the Smithsonian National Museum of African Art is placing its collection records online. Please note that some records are incomplete (missing… As part of our commitment to accessibility and transparency, the Smithsonian National Museum of African Art is placing its collection records online. Please note that some records are incomplete (missing… The Ethiopian Orthodox practice of wearing small icons suspended from the neck in cloth or leather bags seems to date to the second half of the 15th century. They were believed to protect against evil.… The Ethiopian Orthodox practice of wearing small icons suspended from the neck in cloth or leather bags seems to date to the second half of the 15th century. They were believed to protect against evil.… As part of our commitment to accessibility and transparency, the Smithsonian National Museum of African Art is placing its collection records online. Please note that some records are incomplete (missing… [2] Documented in James Hooper’s collection in Hooper, J.T. and C.A. Burland. 1953. The Art of Primitive Peoples. London: Fountain Press, no. 62. Beginning in 1957, this figure was exhibited at Hooper’s… Visually, weights fall into two distinct categories: geometric and figurative. Stylistically they are divided into early (c. 1400-1700) and late (c. 1700-1900) periods. This object is an early period… National Museum of African Art. 1981. Life...Afterlife, African Funerary Sculpture. Exhibition brochure. Washington, D.C., p. 6, no. 3. Visually, weights fall into two distinct categories: geometric and figurative. Stylistically they are divided into early (c. 1400-1700) and late (c. 1700-1900) periods. This object is an early period… Although often identified with the Asante, the most numerous and best known of the Akan peoples, weights for measuring gold dust were made and used throughout Ghana and Côte d'Ivoire. For more than five… Visually, weights fall into two distinct categories: geometric and figurative. Stylistically they are divided into early (c. 1400-1700) and late (c. 1700-1900) periods. This object is a early-period geometric… Visually, weights fall into two distinct categories: geometric and figurative. Stylistically they are divided into early (c. 1400-1700) and late (c. 1700-1900) periods. This object is an early period… Although often identified with the Asante, the most numerous and best known of the Akan peoples, weights for measuring gold dust were made and used throughout Ghana and Côte d'Ivoire. For more than five… Goodman, Elaine Sooy. 2009. "Warren M. Robbins and the Founding of the National Museum of African Art." Tribal Art XIII:2 (51), p. 95, no. 20. Tellem headrests that have been excavated from documented cave sites have elegant silhouettes but minimal decoration. Other undocumented examples, are adorned with circles, zigzags or other geometric… This ivory tusk, collected in 1861, is an example of an important tradition of export art. It was carved by an artist who lived along the Loango coast in the Congo region. He rendered with detail a series… This ivory tusk, collected in 1861, is an example of an important tradition of export art. It was carved by an artist who lived along the Loango coast in the Congo region. He rendered with detail a series… Geary, Christraud M. and Andrea Nicolls. 1992. Elmina: Art and Trade on the West African Coast. Exhibition booklet. Washington, D.C.: National Museum of African Art, Smithsonian Institution, p. 11. Visually, weights fall into two distinct categories: geometric and figurative. Stylistically they are divided into early (c. 1400-1700) and late (c. 1700-1900) periods. This object is an early period… As part of our commitment to accessibility and transparency, the Smithsonian National Museum of African Art is placing its collection records online. Please note that some records are incomplete (missing… Visually, weights fall into two distinct categories: geometric and figurative. Stylistically they are divided into early (c. 1400-1700) and late (c. 1700-1900) periods. This object is an early period… As part of our commitment to accessibility and transparency, the Smithsonian National Museum of African Art is placing its collection records online. Please note that some records are incomplete (missing… Visually, weights fall into two distinct categories: geometric and figurative. Stylistically they are divided into early (c. 1400-1700) and late (c. 1700-1900) periods. This object is an early period… Farmers among the Kissi people of Guinea sometimes find stone statues in their fields. Most are cylindrical in overall outline and human in subject. They are not made by the Kissi and are described by… When a royal personage died, a potter would be commissioned by the family to make a commemorative portrait along with sculptures representing family members, associates and servants. The potter would…
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