H x W x D: 6.3 x 6.2 x 1.3 cm (2 1/2 x 2 7/16 x 1/2 in)
Paul Singer collection
The Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler Gallery, Smithsonian Institution; a joint gift of the Arthur M. Sackler Foundation, Paul Singer, the AMS Foundation for the Arts, Sciences, and Humanities, and the Children of Arthur M. Sackler
In Brazil, forest space for golden lion tamarins is dwindling, so the National Zoo came up with a plan to breed monkeys and release them back into the wild. From: BABY NEW AT THE ZOO http://bit.ly/1rxIjEb
"Twin Sisters" lipstick case, with pink lipstick inside. Outside has picture of four women.
Previous owner Jacqueliine Griffith was the only child of Delaphine Griffith. Delaphine was the only child of Sarah Thomas. Mother and daughter were very close. However, Jacqueline Griffith was quite private and reserved, therefore little is known about the family, her private life or the collection.l
June P. Brown is the executor of Jacqueline Griffith's estate.
Imprinted Globe Leather logo in black and orange ink at upper right: G [with orange circle and black lines to look like a globe at the center of the G]. Etched against background of black ink vertically at center: USE NO HOOKS. In orange ink at bottom right: USE NO HOOKS. In black ink at top center: TWIN HYDE/595 Third Street, Newark 7, New Jersey. At left: Your order/Roll number/Width/Gross Yards/Yards allowance/Net yards/Gross pounds/Tare/Net pounds
This vessel is part of a collection of three ceramic vessels (catalog numbers E432917 - E432919) made by Caddo tribe member, Jereldine (Jeri) Redcorn, née Cross. The vessel, named "Hasinai Twins" by the maker, is a tall ovaloid vase shape, with a simple restricted mouth and a slightly flared rim. Made of red clay, with the incised decoration filled with white-grey powdered material, likely kaolinite clay. The design features two human figures standing back to back, with a raccoon between them. On the back of the vessel, there are three incised circles inside of each other, with the central circle quartered by two intersecting lines. The phrase "Hasinai Twins" is a reference to the "coninisi", a pair of supernatural children who served as intermediaries between the Caddo priests and God as described by a Spanish missionary sometime between 1691 and 1722 (Hatcher 1927-1928, [Pt. 2]:290-292; Rogers and Sabo 2004:625). In naming her vessel, Ms. Redcorn has utilized this early ethnographic information in conjunction with her interpretation of a design motif found on a partially restored engraved shell (Sam Noble Oklahoma Museum of Natural History, LfCrI, B108-4) from the Spiro site in eastern Oklahoma. The paired figures motif is known from several examples at Spiro, in the Craig A style (Phillips and Brown 1984:136). Citations: Hatcher, Mattie A. (translator). 1927-1928. Descriptions of the Tejas or Asinai Indians. 4 Pts. Southwestern Historical Quarterly 30(3):206-218, (4):283-304; 31 (1):50-62, (2):150-180. Phillips, Phil and James A. Brown. 1984. Pre-Columbian Shell Engravings from Craig Mound at Spiro, Oklahoma, Part 2. Peabody Museum of Archaeology and Ethnology, Cambridge, Mass. Rogers, J. Daniel and George Sabo, III. 2004. The Caddos. In Handbook of North American Indians, Southeast. Vol 14. pp. 616-631. Smithsonian Institution Press, Washington DC.
Harrison Begay (Haskay Yahne Yah [Warrior Who Walked Up to His Enemy]), Diné (Navajo), b. 1917
28 x 32 cm
Santa Fe; Santa Fe County; New Mexico; USA (inferred)
Purchased from the artist in 1952 by Indian Arts and Crafts Board representatives; part of the IACB Headquarters collection (Department of the Interior, Washington, DC) until 2000 when it was transferred to NMAI.
On photo mount label: Mrs. B. P. Vonnoh. Twin sisters (marble). Chicago, Coll Mrs. Charles E. Kohle. Print made by mus. from neg. loaned by Mrs. Vonnoh. Classification number: 282/V946/920. Accession: 47861.
Daniel Libeskind, master planner of the future World Trade Center site, walks us through his architectural designs and their significance to the memory of 9/11. From: CROWNING NEW YORK http://bit.ly/1sdY5qd
A man wearing an animal skin carrying a club (presumably Hercules) has thrown down another man wearing armor. A second man in armor is already on the ground. Behind, a young woman is pursued by an older nude woman brandishing a jawbone. In the background, a landscape and two towns.
H x W: 23.3 x 19 cm (9 3/16 x 7 1/2 in.) (image size)
The first half of the twentieth century gave rise to widespread experimentation with new media by Africa’s artists. Many of Nigeria’s artists, for example, explored new techniques, including oil painting and printmaking. As elsewhere on the continent, some of these artists received training at local and international art schools, while others were taught in community workshops offered by expatriate artists.
Modern African artwork addressed a range of subject matter, from political concerns of the day to depictions of a rapidly transforming landscape due to social and environmental changes.
A major artistic transformation occurred in Oshogbo, a Yoruba town in western Nigeria, in the early 1960s. Expatriates Susanne Wenger, Ulli Beier and Georgina Beier introduced new techniques and materials to Yoruba artists and urged them to find their own forms of expression. Wenger, from Austria, worked with the New Sacred Art Movement to preserve a grove of trees sacred to the river goddess Oshun. Ulli Beier, a teacher from Germany, organized art workshops conducted by Guyanese art historian and artist Denis Williams, African American artist Jacob Lawrence and English artist Georgina Beier. The workshops focused on printmaking but were intended to help participants learn to support themselves as artists. Many of them have gone on to create important family legacies of artists. Twins Seven-Seven, for example, has influenced generations of artists on three continents. Others applied their work to various media.
Born Taiwo Olaniyi Oyewale Aitoyeje, the artist chose the name Twins Seven-Seven as a reference to the good fortune and spiritual power of being a twin in a series of twins. A multitalented musician and artist associated with Oshogbo, he paints, draws, sculpts, designs textiles and works in metal. This piece, entitled "Amos Tutuola's Head," is part of a group of etchings the artist created to illustrate the works of famous Nigerian writer Amos Tutuola (1920-1997). Populated with spirits and ghosts, Twins Seven-Seven's etchings speak well to the writer's fantastical stories; with his imagery also tying to Yoruba oral traditions, myths, religion and his own personal experiences.