Ornament detail and circular labels with metal outline tied to object

Ornament detail and circular labels with metal outline tied to object

[ Source of title : Rachel Hand for MAA ]

Object

Textual record

Z 11678

Creative Commons License: CC BY-NC-ND https://creativecommons.org/licenses/by-nc-nd/3.0/

Accession numbers [Source: Nessa Leibhammer for FHYA using MAA materials, 2012: Cat ID: 109457; ID NO: Z 11678 A - C]

Attributions and conjectures [Source - Nessa Leibhammer for FHYA, 2012, using MAA materials: Names: Ornament - MAA (01/12/1998) Classified: Keyword: Personal Adornment Material: Bead; Glass; Fibre; Metal; Brass Descriptions: Three men's beaded neck ornaments. A: a series of tabs with vertical stripes of white, black, and green, and red edging, with a larger central one bearing chevrons of the same. B: A string of beads wi... MAA (01/12/1998) Local: Maker: Cultural Group: Zulu; ?Zulu Author: Date Made: Dimensions: Source: Beaumont, Violet (donor) Source Date: Place: Africa; Southern Africa; South Africa - MAA (01/12/1998) Africa; Southern Africa; South Africa; ?Southern Natal - Rachel Hand (23/11/2012) Period: Contexts: (bio) (female donor): Lady Violet Beaumont - MAA (01/12/1998) A: The combination of colours, such as the bands of red, black and green, separated by white, sometimes with the addition of pink beads, as in this case, is more commonly found in groups from Southern Natal rather than the Zulu further north. Late 19th/early 20th Century. From notes by Nessa Leibhammer, Curator of Traditional Southern African Collections, Johannesburg Museum & Art Gallery, 21 November 2012. Rachel Hand (23/11/2012) Updated: 23/11/2012 Created: 01/12/1998]

[Source - Rachel Hand for MAA, 2016: The Museum's catalogue cards and labels are part of the institution' and the objects' very history. Catalogue cards were created to add additional object information from the very first accessions back in 1884 and replacement cards were made if the original was lost, usually using both different pens and terms. Original sale or collector labels could be stuck to the cards to add biographical layers of information in the same way that letters and later photographs were sometimes attached to cards. Staff and sometimes visitors would add comments on provenances, measurements and locations over time. Reconnecting an author with their annotations can add to our knowledge of the object's history and associations. The era and author of the cards also is reflected in their physical aspects: initially details were handwritten in ink, the 1930s saw cards stamped and written on a typewriter, followed variously by handwritten details in ballpoint pen, finally moving to word-processed and laser printed texts. Like the cards the physical type of paper and pen used can suggest dates as well as authors. They can be used to confirm the identity of misplaced objects, e.g. Henry Bulwer's collection bears distinctive long, rectangular shaped paper labels and his cursive script. Early labels were handwritten in ink, on small rectangular paper or parchment label and tied through small metal reinforced holes. Others were glued directly to the object. Smaller rectangular or square paper labels, with a printed outline, usually stuck directly to the object, usually originate in late nineteenth or early twentieth century salerooms or via a collector. Larger circular, metal-edged labels were written in the museum, probably from the 1970s onwards. The 1980s bought larger labels on thick yellow paper, and remained handwritten. From c.2000, we have used acid-free yellowish paper labels, that are written on in light-sensitive and waterproof ink.]

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Ornament detail and circular labels with metal outline tied to object