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Straw with a reed shaft surrounded by vegetable fibers and secured by a copper alloy piece 1 7/8 inches from the top (mouthpiece). The upper 4 inches curves at approximately 30 degrees. The last 3/4 inches consists of much more loosely woven fibers which form a bulb shape, probably functioning as a filter. Under the reed mouthpiece what appears to be two fibers are wrapped around the base. The pre

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 Please note that some records are incomplete (missing image or content descriptions) and others reflect out-of-date language or systems of thought regarding how to engage with and discuss cultural heritage and the specifics of individual artworks. If

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 Please note that some records are incomplete (missing image or content descriptions) and others reflect out-of-date language or systems of thought regarding how to engage with and discuss cultural heritage and the specifics of individual artworks. If

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 Please note that some records are incomplete (missing image or content descriptions) and others reflect out-of-date language or systems of thought regarding how to engage with and discuss cultural heritage and the specifics of individual artworks. If

In North Africa silver coins were often melted down and made into jewelry, a practice still in use today. In Ethiopia,18th century thaler coins from Austria were preferred. The thaler was popular because it was difficult to "clip" since it had writing on the side of the coin. The combination of a ruler and a crowned double eagle also appealed to local symbolism. While sometimes the coin was used d

Robbins, Warren M. and Nancy Ingram Nooter. 1989. African Art in American Collections. Washington, D.C.: Smithsonian Institution Press, p. 193, no. 412.

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 also be asked to make cooking pots and jars. This group of ceramic objects, produced for a special purpose and used only once, probably was assembled within the village where the funeral services were

National Museum of African Art. 1999. Selected Works from the Collection of the National Museum of African Art. Washington, D.C.: National Museum of African Art, Smithsonian Institution, p. 50, no. 29.

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 also be asked to make cooking pots and jars. This group of ceramic objects, produced for a special purpose and used only once, probably was assembled within the village where the funeral services were

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 Camille O. and William H. Cosby, Jr. Washington, D.C.: National Museum of African Art, Smithsonian Institution, pp. xix, 113, no. 7, pl. 43.

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 Camille O. and William H. Cosby, Jr. Washington, D.C.: National Museum of African Art, Smithsonian Institution, pp. 102, 113, no. 64, pl. 42.

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 image or content descriptions) and others reflect out-of-date language or systems of thought regarding how to engage with and discuss cultural heritage and the specifics of individual artworks. If